
The Summer of CMAT - how Ireland's gobbiest pop star conquered the music world
How did a young musician from Ireland become the kind of performer that can play to tens of thousands of fans (as she did last week), encouraging them to do the 'Dunboyne, County Meath two-step" at Primavera Sound? Barcelona has never seen the likes - but if anyone can achieve such a feat, it's Ciara Mary Alice Thompson.
The 29-year-old musician's rise has been a slow but steady one over the last five years. Considering she launched herself as a solo artist at the same time as a pandemic - which gave her little to no opportunity to promote her debut single Another Day (KFC) - she's doubly defied the odds. I remember interviewing her around the time that that song (a heartache-addled tune inspired by her debit card failing in KFC after being dumped) began to gain traction.
"I feel if you make the song good enough, structurally and sonically, then you can literally do whatever you want with the lyrics," she said. "I also find that if you make a song really funny, you also free up a lot of space to talk about serious issues without coming across as po-faced. I think a lot of people, when they write a song, they put it on a pedestal – and it shouldn't be. Music should not be that serious, it should not be treated as such a high art form – because a lot of the time, it's not."
Even in those early days - although she had previous experience in the industry as one-half of indie duo The Bad Sea - CMAT's vision was striking. She was referring to herself as a 'global pop star' long before anyone else did, but she also had the musical chops to go with the self-confidence. It was clear that she was an artist who knew her onions, speaking about influenced by Dory Previn and the McGarrigle sisters as well as Villagers, and writing songs about people like comedian Rodney Dangerfield and actor Peter Bogdanovich - figures that most of her fellow Gen Z brethren would be baffled by.
Despite her prowess on record, it's arguably CMAT's dogged touring schedule and her reputation as an outstanding live performer that has been key to spreading her gospel.
She was also a journalist's dream: an interviewee eschewing the bland media-trained responses of her young peers and unafraid to speak her mind. It's something that she has continued to do to this day. In a recent interview with The Guardian newspaper - which referred to her as "pop's gobbiest, gaudiest star", she spoke about the fallout from cancelling her set at last year's Latitude festival due to its sponsorship by Barclays. "They ghosted me," she said of a planned endorsement deal with a big brand that fell through. "I lost a lot of money. But who f**king cares? I'm aware of the fact that my career is going to struggle as a result of this stuff, but I also think everyone else in music needs a kick up the hole. Where's all the f**king artists? Where's all the f**king hippies?"
Listen: CMAT introduces her favourite songs for RTÉ Radio 1's Mixtape
Born in Cedarwood Avenue, a subsequent move to Clonee and then the aforementioned Dunboyne saw her spend her teenage years languishing in suburbia and honing her songcraft. In her early days as a solo artist, following brief spells living in Denmark and Manchester and after the break-up of The Bad Sea, she used an out-of-hours yoga studio on Camden Street as a makeshift rehearsal and recording studio, sharing it with fellow artists Aoife Nessa Frances and Rachael Lavelle as she worked a humdrum day job.
Her 2022 debut album If My Wife New I'd Be Dead made her a star in Ireland, thanks to hits like the country-pop-infused I Wanna Be a Cowboy, Baby!, but it was 2023's Crazymad, for Me album that made international audiences sit up and take notice. High profile appearances on the BBC's Later with Jools Holland and The Graham Norton Show, as well as radio hits like the wistful pop rollick of Stay for Something, saw her plant her flag on UK territory. Suddenly, there were BRIT Award nominations (including a red carpet kerfuffle with that fabulous bum-baring dress); Robbie Williams was calling her duet with John Grand 'majestic', and Elton John himself was heaping praise on the album, calling it "All the things I love… bold, eccentric and a touch mad!"
Despite her prowess on record, it's arguably CMAT's dogged touring schedule and her reputation as an outstanding live performer that has been key to spreading her gospel. Her 5-star homecoming gigs at Dublin's Olympia Theatre in November 2023 were the real signifier that something special was happening. Here we had not only a woman who could write pop bangers with emotional depth, but who knew, alongside her excellent band, how to entertain an audience. In simple terms, she had star quality - and a forthcoming sold-out 3Arena gig this December to prove it.
Fame, of course, has not been without its pitfalls. In true CMAT style, however, she has spun at least one of them into something positive with her new single Take a Sexy Picture of Me - a song written in response to the online trolling she has had in response to her body - and it's even spawned its own TikTok dance. The Apple Dance? That was so last year, babe.
On his recent appearance on Louis Theroux's podcast, Ed Sheeran said that you need three things you need to succeed - work ethic, personality and talent - and if you have the first two, the third doesn't quite matter as much. CMAT possesses all three in abundance, so who knows where she might land with her forthcoming third album Euro-Country. She has, by her own admission, been living life on the edge in recent times: "The kind of headspace that good songs come from is one of extreme emotion, extreme depth of feeling," she said, "which has an impact on my life. I do live in that really heightened state of emotion all the time. I'm crazy and I do crazy things, and I have crazy relationships with people." Hopefully she's savvy enough to recognise when it might be time to step back from the madness. For now, at least, we can relish the Summer of CMAT. Giddy up.
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Irish Times
14 hours ago
- Irish Times
Why did CMAT have to sell out the 3Arena before she could get exposure on Irish radio?
Two reports published this month tell an interesting story about the Irish music industry. One by the Irish Music Rights Organisation (IMRO) and compiled by CORE Research, showed Ireland's music industry generates €1 billion annually. The average adult in Ireland spends almost €1,000 on music-related products and services annually. In 2024, €375 million was spent on streaming services in Ireland, with €786 million spent on live events. The industry employs more than 13,400 people, but only 43 per cent of those working in the music sector hold full-time positions. This rises to 68 per cent for IMRO members, who rely on jobs in other sectors. The second report was published by Why Not Her?, an organisation that examines gender disparity in radio play. That report compiled Irish radio play data between January 1st and July 1st 2025. During that period, just 14 Irish acts appeared in the top 100 most played songs on Irish radio, while the other 86 per cent of the top 100 chart was made up of international acts. Only three female solo Irish artists featured; CMAT , Jazzy, and Allie Sherlock. Contrast this with the UK. In 2024, UK radio had more women than men in the top 100 for the first time. Woman artists accounted for 41 per cent of the top 100 artists, male artists 39 per cent, with mixed-gender collaborations at 20 per cent. In 2023, 48 per cent of artists played on radio there were UK artists. When it comes to Irish radio play, we have a gender, genre, and geographic issue. READ MORE In 2020, Eamon Ryan shot down the idea that there could be a quota for music by Irish artists on radio. In 2016, a bill calling for a 40 per cent quota of Irish music on radio was defeated in the Dáil. While we don't necessarily need a legislative or regulatory commitment (although that is something Comisiún na Meán could consider), there is nothing stopping stations themselves from making a policy commitment. I gave Molly King – the head of development at Other Voices , an entity that has long-championed and platformed Irish talent, both emerging and established – a call to discuss this. The importance of radio play is multifaceted, but King pointed out that at a fundamental level, 'radio play is still a viable source of income for artists in a way that streaming obviously doesn't deliver'. She articulated a 'disorientating' feeling when considering the support for Irish artists on UK radio, particularly the BBC. 'And the thing is,' King says, 'a lot of these acts Irish radio are not playing are commercially successful musicians. Festivals book so many Irish acts. You can stack Irish headliners and still sell tickets in a way that feels consistent. But we have this cultural aversion on commercial radio to playing Irish. Nobody seems to be able to explain it to me. It's a disconnect. Why is CMAT reaching the level she is at now on Irish radio, after she has sold out the 3Arena? Because she has become unignorable? UK radio has embraced her for years. This thing of 'we will pay attention to you when other people pay attention to you'? I don't get it. It hasn't changed enough on Irish radio over the years. It would benefit the stations. It would benefit the brands of stations. It's easy. Just do it.' The DJs and stations that do play Irish artists consistently need to be commended. But we need more of it, particularly across commercial radio, and especially to address the gender disparity. The Irish artists that fill arenas around the world today didn't arrive fully formed. They developed. Yet during that development, something many of them tended to lack as they progressed is consistent Irish radio play. [ Irish female artists make up just 2% of most-played songs on Irish radio in past year – report Opens in new window ] While I would love this context to change overnight, an easy commitment Irish radio could make would be to choose a few of weeks of the year to play only music of Ireland. This should be diverse in gender, genre, and geography. [ New Irish albums reviewed: Sons of Southern Ulster, Poor Creature, Darragh Morgan, The Swell Season and California Irish Opens in new window ] The artists we love have created an incredible wave of contemporary music and send their creative transmissions around the globe. But we need to amplify them on Irish radio – not from a position of territorialism or nationalism, but from one of support and pride. Quality is not an issue. There is plenty of it. Changing this matters for musicians' incomes, prospective opportunities, exposure and affirmation. It would be a validating exercise for artists, industry and audiences alike. Referencing this year's Glastonbury, King reeled off the names of Irish acts who were the talk of the festival. 'I don't want to get stuck in the 'Irish Wave' thing. What's happening is a steady development and self-possession of Irish people stepping into their culture instead of feeling obliged to imitate. There's a degree of confidence ... That should really be translated to radio. That loop needs to be connected. It feels like the last node in the circuit. If we supported our artists the way BBC 6 Music supports UK artists, we would be off to the races. These are things that are eminently fixable and we can do them.'

The Journal
2 days ago
- The Journal
"The recession has followed us, it's marked us": The children of the boom and bust
THE NEW SINGLE from CMAT with its recession-era inspired lyrics has shone a light on the experience of children who were born into the boom, but grew up during the bust. The artist shared a snippet online from her upcoming song Euro-Country this week, which includes the lyrics: 'All the big boys/All the Berties/All the envelopes, yeah they hurt me/I was 12 when the das started killing themselves all around me/And it was normal/Building houses that stay empty even now.' The lyrics hit home for many Irish people who were kids between 2008 and 2013 and are now in their twenties and thirties. 'What happened when the Celtic Tiger collapsed was the worst thing I've ever experienced as a child. Countless suicides, ghost towns and pay cuts,' one man said online. 'Not enough attention to this part of our recent history. It affected the younger generations so much', another person said. While another said they have never 'felt so specifically and deeply for a lyric.' As a child of the recession, the CMAT lyrics struck a chord with me, too. I remember trying to predict how long the recession would last over lunchtime in third class, and teachers warning us there was no future for young people in Ireland. During a visit to family in Donegal, playing in the local ghost estate became my favourite pastime. Paul Murray's award-winning bestseller The Bee Sting examined the same themes, looking at recession-era Ireland through the eyes of a couple – and of their son and daughter. The book showed the stress, anxiety and fear the children experience as their father's business falls apart and their parents' marriage comes under increasing strain RTÉ journalist Adam Maguire has a book coming out in September about the same topic. The book, called The Bailout Babies, examines how recession kids grew up in an era of economic prosperity but never got to benefit from it - and are now navigating a new type of adulthood in post-boom Ireland. Research from the massive Growing up in Ireland survey suggests the recession hit children hard. Mothers under economic pressure were 84% more likely to experience depression than mothers who weren't, while parents who felt economic distress – which was a lot of people – showed harsher styles of parenting and less warmth. They also experienced marital issues, reporting more arguments and unhappiness in their relationship. The worsened relationships between children and parents were associated with higher anxiety in children, bad behaviour, lower child happiness and lower educational test scores. 'I wouldn't have a lot of trust in things' Shannon, who was 14 when the crash hit, was hospitalised with anorexia in 2008, something she believes was partly caused by the stress of the recession. 'I remember life going from zero anxiety to being surrounded by it. You picked up the anxiety around you,' she told The Journal. As a teenager, Shannon was aware of what was going on with her family and the country as a whole, and struggled as there was nothing she could do to help. Advertisement She witnessed an increase in alcoholism and suicide, with several of her friends' older siblings taking their own lives. The stress she experienced as a teenager has never left her. 'I'm always on high alert. I wouldn't have a lot of trust in things. I know a lot of my generation are like that, that's just the way we grew up,' she said. Ultan from Wexford was 9 when the recession hit. His family were significantly impacted by the crash as they struggled to pay off loans they had taken out during the boom. '[My parents] tried their hardest not to let us feel they were stressed, but you could tell', he said. 'Mam and Dad had to work through Christmas because they couldn't afford not to,' he added. Ultan struggles with a scarcity mindset due to the experience, and finds it hard not to spend his money immediately. He said: 'I struggle with holding onto money because I feel like as soon as I have it, it will go. It's not a guarantee that it will be here next month.' He said seeing the CMAT lyrics brought back memories of the recession he hadn't realised had impacted him so much. 'The das killing themselves line, it brought back a lot of memories of being in school and it happening to people in my class', he said, explaining that as a child he didn't realise why it was happening. Several family members and whole families from his school emigrated. 'I remember thinking, this is just going to be how it will be, I'll just have to leave Ireland when I'm older. It wasn't until I was 21 that I realised I could stay,' he said. Róisín McManus from Cavan was 11 when the recession hit. She said news of the crash and stress over money was a constant during her childhood, something she feels has never left her. 'I think for people in our generation, the recession has followed us, it's marked us, we felt the burden of money from a young age, and we still do', she said. 'At this stage, it's almost like a lifelong experience that money can be tight, and you're always conscious of that,' she added. 'Growing up, I was more conscious of money and how it doesn't go very far,' she said. She recalls noticing things in her life were suddenly different, as trips to the cinema and meals out ended. Róisín's major memory is of people in their early twenties in her community emigrating for work. She wonders if growing up in this environment has contributed to a pattern where Ireland's young people are once again emigrating. Readers like you are keeping these stories free for everyone... A mix of advertising and supporting contributions helps keep paywalls away from valuable information like this article. Over 5,000 readers like you have already stepped up and support us with a monthly payment or a once-off donation. Learn More Support The Journal


The Irish Sun
2 days ago
- The Irish Sun
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