Another hit in the world of country pop, CMAT’s latest album is a mixture of europop interweaved with synthetic waves of country. EURO-COUNTRY is a fruity and somewhat gaudy cocktail with lyrics that offer a slightly more bitter flavour.

CMAT’s lyrics capture the messy dissonance felt within this relationship, encapsulating a fragmented, kaleidoscopic view of Ireland and its politics. It is the latest addition to Ireland’s political music scene. This genre has been battling politics and reclaiming its identity as Irish, as has been seen with Kneecap and Fontaines DC. CMAT herself has been outspoken on her political views, both within and outside of her music. In discussing her relationship with her country she referred to Ireland as being stylised as ‘this vulnerable, innocent woman that must be protected at all costs.’ However, her experience of Ireland is more akin to a ‘bad, toxic boyfriend.’

The song’s light-hearted and soulful melody is accompanied by lyrics that take a more sombre tone. Being both too young and old enough to understand what was happening, CMAT is able to encapsulate the experience of growing up during the 2008 financial crash by illustrating the fallout throughout the community. There is no tidiness to her lyrics, telling the story through a series of fragments and topical references. She highlights the bigger events but also the more minute moments too: ‘mooching around shops’ and ‘building houses, that stay empty even now.’

Between her embittered lyrics is a fondness that hopes for a better day. ‘And no one says it out loud,’ CMAT sings, ‘but I know it can be better if we hound it.’ It’s also seen in how she affectionately refers to Ireland as ‘my EURO-COUNTRY.’ It’s what makes this relationship with her country so toxic, she can’t help continuing to love it. It’s also why she cares so much, why she is advocating for a change. CMAT is responding to the political climate, past and present, urging her listeners to do something towards a different future. 

This album’s release seems to coincide with yet another changing political climate. This disillusioned attitude has not been exclusive to Ireland, but has been taking form throughout different political systems, ranging from the youth-led revolution in Nepal to the polarisation of voters in the UK. The latter has been seen through the number of registered voters who have been turning away from mainstream parties towards the Greens and Reform. Voters seem to be frustrated with the unfulfilled promises of mainstream political parties. As such, they are being funnelled towards more extreme sides of the political spectrum. 

A concern with this rise in alternative politics is the increased polarisation with the draw further away from centre politics. This trend has a significant age divide with 40% of 18-24-year-olds leaning towards Polanski’s Green Party, while Farage’s Reform lead the way for the 50-64-year-olds. CMAT’s lyrics capture where this sense of disillusionment has arisen from in terms of the younger demographic. Many young people in particular do not seem to feel represented within mainstream politics and many of the older generation believe that mainstream parties are not taking hardline political stances, such as in terms of immigration.

This move towards alternative politics stems from some of the same issues that CMAT sings about – a disillusioned state and an uncertain future. Both parties feel as though those in power are not prepared to take the necessary measures. Their messaging has been advocating them as ‘the alternative solution’ respectively. In addition, both parties share messages of no-confidence in Labour and the Conservatives. In essence both sides are after the same thing, they both want their ideologies to be better represented in politics, however their stances on issues could not differ more. 

CMAT’s EURO-COUNTRY is able to playfully tie together the disillusionment in mainstream politics that has led to the polarisation of voters away from major parties. While this mobilisation might be welcomed by some, it does bring forth questions about the future of politics. Momentarily this fragmentation has a near even split throughout all the political parties, except reform who has a 10% lead over everyone else at 27%. The question then becomes, what would a polarised and fragmented political representation look like? Perhaps CMAT’s follow-up album will be able to illustrate that when the time comes.