It’s been a CMAT summer, for sure. She’s charmed the pants of many a festival – sealing the deal with real Glastonbury moment – ‘Running/Planning’ was ironically inescapable for radio play, and she struck TikTok gold with the celeb-endorsed viral dance challenge for ‘Take A Sexy Picture Of Me’. There’s an infectious joy to all that Ciara Mary-Alice Thompson does, but she wouldn’t be here (on the brink of proper superstardom) if it wasn’t for the emotional suckerpunch she lands with each LOLsome lyric, every pintful of charisma, every bedroom mirror dance moment.
While her strong 2022 debut ‘If My Wife New I’d Be Dead’ and buzz-building follow-up ‘Crazymad, For Me’ saw her hailed as “Dublin’s answer to Dolly Parton” by translating her troubled romances and chaotic personal life into rootin’ tootin’ bangers, the political pressures of the world elevate her third album to a more profound level. Camp, conviction and catharsis burst from ‘Euro-Country’.
Birdsong and a gentle Irish voice lead us into ‘Euro-Country’, but where are we? It’s as much a place as it is a concept and a state of mind. As she puts it herself, it’s a term she coined for her continental take on the genre, a nod to how Ireland still sits proudly in the EU under the euro, and how “capitalism is one of the worst things to ever happen to us”. “I was 12 when the da’s started killing themselves all around me,” she sings on the opening title track, remembering the impact of the financial crash on families when she was growing up, “And it was normal… Building houses that stay empty even now.”
There are straight lines to be drawn between this and For Those I Love’s recent opus ‘Carving The Stone’ in the depiction of the havoc wreaked on Ireland by greed, but this is less brutal, with different shades of light. Adele-sized in its scope and in showcasing Thompson’s lung capacity, ‘When A Good Man Cries’ takes a fiddle to the heartstrings as she cuts to the heart of her evolution as a writer (“All of my jokes have turned to prayers because they’re scarred just like their mother”), while the the pop highs bring on altitude delirium.
The mini-epic almost proggy pure jam of ‘The Jamie Oliver Petrol Station’ is a hilarious therapy session on her misplaced not-really-hatred for the celebrity chef in lost hours at motorway services, while ‘Take A Sexy Picture Of Me’ just totally pumps while reflecting on the pressures of social media and ultimate ear-worm ‘Running/Planning’ lampoons the relationship expectations put upon women.
From the bubbling, genre-smashing ‘Tree Six Foive’ to the existential ‘Ready’, the hilarious open road anthem ‘Coronation St.’, the brilliantly bitter ‘Lord Let That Tesla Crash’, and pleading showstopper ‘Janis Joplining’, the personal meets the political over a cosy bed of dreamy pop.
Modernity has failed us, but that won’t stop Ciara Mary-Alice Thompson. That’s the CMAT way in 2025: approach with absolute confidence, total honesty is the only option, and you might as well have a laugh and shake your bits while you’re at it. ‘Euro-Country’ has the courage and the consistency to land high on the fast-approaching end-of-year lists, and to make CMAT the icon she’s been giving all this time.
