CMAT – EURO-COUNTRY | soundsfromthedarkside

Let’s talk about some country pop you didn’t know you needed.

Irish singer-songwriter Ciara Mary-Alice Thompson, aka CMAT, is probably one of the few good things that came from the pandemic and doesn’t need introductions anymore. After only releasing two award-winning albums Thompson is among Europe’s best stars today and is a major festival presence, known for her high-energy, fun, and cathartic shows. So I hear you thinking, what about the metal? And what about the avant garde-ish indie rock? You are right, we usually are not very pop orientated but for one of 2025’s biggest albums we gladly make an exception. Why? Because we think CMAT’s third could even be a generational work. Could be of course. Here is our assessment.

Euro-Country hits the ground running and from the beginning on her signature country-pop melodrama, soars to great heights. The title track serves as a perfect overture and shows off CMAT’s capabilities and superb production. After an acappella passage in Irish she immediately dives into the problems of modern Ireland, which once was proudly called Europe’s Celtic Tiger in the 90s but now struggles with who and what they are. Thompson addresses what the soul-crushing, consumerist economy has done: […] “it was normal, building houses. That stay empty even now, yeah. And no one says it out loud but I know it can be better if we hound it”. All this pretty heavy political rage is accompanied by sweeping synths and a weeping pedal steel, but the chorus remains uplifting and even danceable. After the hooky country outing When A Good Man Cries, CMAT reaches new heights on The Jamie Oliver Petrol Station. In about five-and-a-half-minutes a groovy krautrock-infused pop gem unfolds about an irrational hatred for a certain very commercial TV chef. This witty storyline again stands for bigger issues such as self-doubt and feeling alienated in modern society. The funny, self-aware moment when Thompson thinks, “So OK don’t be a bitch. The man’s got kids and they wouldn’t like this” showcases her skill to turn big issues into something relatable. The Jamie Oliver Petrol Station is one of Euro-Country’s cornerstones and could well be the best song of the year. Things get even more hookier on Take a Sexy Picture of Me. Below the upbeat music and massive chorus lies the dark subject of women needing to conform to impossible beauty standards. In a way this radio friendly song is a Trojan horse that smuggles in a biting critique on societal pressure. As the brilliant rush of the first half ends and the second half starts up with the promising and chorus heavy Ready.

Well I guess I wasn’t ready for the album’s sudden drop in energy after the rush it brought on the first 25 minutes. On the latter songs mid-tempo or even a slower pace take over and gone are the fun and theatrics. Iceberg is quiet and even boring. Surely a quieter moment is a good idea after the early fireworks but this song even feels misplaced. Although the introspective Coronation St. has a better feel, it also continues the overall lack in dynamics. Nevertheless there is a standout in the second half. With “Lord, Let That Tesla Crash, CMAT reflects on the sudden loss of a close friend, which also comes with some grim humor: “I heard death comes in threes. I misheard, it bein’ from Dublin I thought ‘death’s in the trees’. Which makes sense cuz they’re the saddest cunts”. Eventually CMAT finds a scapegoat for her loss in a Tesla car which to her is a symbol for everything that is wrong with the world today. At this point on the album not only the Tesla crashed but also the diverse musical journey went up a tree. The pop grandeur seems revived on closer Janis Joplining that winds up the pace a bit from starting out as a warm piano ballad. In the end alas, there is no true finale as the song steadily fades out.

Euro-Country had every potential to be CMAT’s tour de force. But instead of doubling down on the electrifying first half, the album slides into a form of creative exhaustion on the second half. The first half simply outflanked the second half with ease. This division isn’t all bad, for a close listen still reveals some beautiful moments. However, a quieter CMAT is not that much different from all other powerhouses that flock around the country-pop genre. Nevertheless, CMAT remains a Gen Z heroine and cements her status with this latest album.