Youthful exuberance at Live at the Marquee as Mimi Webb takes to the stage

While legacy acts are a common feature of Live at the Marquee events (Christy Moore remains a stalwart of each outing and this year will feature a multi night stint from Rod Stewart) the enduring concert initiative has always struck a good balance between established and acts. The most fitting word to describe last night’s Mimi Webb concert was undoubtedly “youthful”. Both onstage and off.

Filled to the brim with enthusiastic families, giddy tweens and selfie-taking teens, it was heartening to see an inclusive all ages event in the venue which is usually the domain of narrower demographics.

The exuberance of the crowd was well matched in the performer, clearly feeding off this charged adoration and perfecting a confident stage stride as she tore through songs from her current debut album 'Amelia'. A loose concept album about relationships and break ups, she playfully referred to Amelia as her “roommate” on stage and this homespun description is perfectly apt for the work. A series of gossipy pop numbers and regretful ballads, many do indeed feel like the conversations or consolations to be found in late night venting sessions where details are obsessively pored over while drinks are incessantly poured out.

Following a somewhat meteoric rise buoyed by TikTok, it’s clear that Mimi can author peppy and engaging songs replete with sturdy hooks. The live arrangements took the clean production of the record and augmented them with muscular force, allowing her band quite a robust work out. 'Is It Possible' leaned into this and the full power ballad potential of it was unleashed on stage, alongside a hyperactive 'Dumb Love', which struck a relatable chord with an appreciative audience sing-along.

While the crowd thrilled to the crunchier catchy numbers, some of the slower songs did get a little lost in the shuffle. Only the tender intimacy of 'Last Train to London' found some footing and this may have been helped by Mimi sitting down, centre stage, directly addressing the front row, the song’s innate vulnerability feeling like a whisper between friends. Here she showcased a fusion of Adele-esque soaring vocals with a twist of Amy, that predictably brought the (Wine)house down. An early gesture had her accept an Irish flag from a fan and drape it across her mic stand while later her immaculate song 'Red Flags' was flown to impressive results. Her most propulsive single, it landed beautifully, and its tale of a problematic paramour is her most well observed piece. Turning from soulful to slinky on a dime, we were back to full force anthemic animosity on the literally scorching 'House on Fire', a torch song for an arsonist gleeful at righteous retribution.

Her songs may deal with private desires or crystalise off hand details through the prism of pop but this crowd related to her declarations and dissections of love and heartache. Whether a friend of a friend or a trusted confidant, it seems we all know someone like Amelia, or indeed, someone like Mimi Webb.