A Brisbane heatwave across a long weekend is enough to scare the hardiest of hearts.
The crowd queuing for the show at The Fortitude Music Hall in Brisbane's Fortitude Valley showed no sign of caring (25 January). They're here for something else that's hot – an Irish country-pop sensation that's recently been lighting up stages around the globe, CMAT.
The crowd is as eclectic as an impromptu biscuit tray your eccentric aunt hurriedly cobbles together when surprise guests land on her doorstep. Everyone is represented: casual friends, LGBTQI+ collectives, mums with young daughters, older couples and cosplay cowboys. It's a perfect example of the freedom CMAT exudes by not allowing herself to be boxed or labelled.
An approaching storm throws lightning across the darkening sky as the venue doors open. Ice cold air-conditioning brings welcome relief for the throng. The upper level of the venue is closed, prompting fans to take positions on the floor.
It's a relaxed affair as most take their time and choose to socialise in the foyer bar, even as the support act, Holiday Sidewinder, commences. A Sydney native, she literally crawls onto stage, sultrily greeting the crowd while adorned in a glossy patent leather outfit and a headset microphone.
Holiday Sidewinder comes from a creatively fuelled family full of singers, actors and artists. Her first band, Bridezilla, was a Dirty Three-esque experimental indie group who supported many respectable global acts in the late 2000s.
Tonight promises to be an interesting showcase of what the freshly returned expat can do. Unfortunately, from the outset, this reviewer struggled to connect with the performance.
Holiday Sidewinder sang to a backing track while performing what looks to be self-choreographed moves. That was the show. The music felt unimaginative, bordering on a desperate clutch at modern pop.
The moving seemed to bring on breathlessness, ultimately affecting her voice. By the third song (out of approximately seven or eight), a good slice of the crowd had made their way to the foyer lounge. I'm sure Holiday Sidewinder is talented and has much to offer, but sadly, tonight felt like an audition for a reality talent show.
However, it's Ciara Mary-Alice Thompson (CMAT) that brings fans to the floor. Front-of-stage quickly fills with the human tapestry, eagerly waiting to see this new icon strut onto it.
This reviewer first saw CMAT just over one year ago, during a one-day festival where she was second on a bill of five. If tonight is anything like her show then, we're in for a treat.
Think of modern Irish music and you'll most likely go straight to soft Celtic waves of Enya or the U2s of the world. Recently, CMAT and musical kin Fontaines D.C., Kneecap and The Mary Wallopers (to name but a few), have reignited the Irish flame around the world. CMAT has even managed to reconnect traditional country music to her homeland.
The Very Sexy CMAT Band take the stage and piano chords harking to 'eine kleine nachtmusik' ease in 'Janis Joplining' from 2025's 'Euro-Country'. The Dublin-born singer surprises and sends fans into a frenzy by merely uttering the first few words of the song from the mezzanine balcony.
Fans roar and whip out their phones, as if witnessing the appearance of a floating angel. She makes her way to the stage for 'The Jamie Oliver Petrol Station', sending fans into another frenzy.
I wonder how many of them remember 'The Naked Chef'? This reviewer learned many kitchen tricks and adored the Brit-pop soundtracks during its heyday. So to hear ol' Jamie get kicked feels like a low blow. It's a ripper track though and has CMAT performing her various moves and signature high kicks.
"I'm too ginger for this heat, Brisbane!" she cries, Irish lilt in full effect. She's mastered crowd participation and takes no prisoners when cavorting through each song.
'I Really Don't Care For You' and the excellent 'Aw, Shoot!' brings her early country work back to the fore. Her voice is excellent as she falsettos on a dime while stomp walking across the front of stage.
Her band is more than just musicians. They're all on the same page musically, personally and characteristically. It's a large family with lead guitarist Jack Wolter, Daniel Vildósola on pedal steel and acoustic guitar, Holly Carpenter on fiddle/ vocals, keyboard master Colm Conlan, Hannah Morgan on drums and bassist William Bishop.
They're all part of the show, camping it up with their singer and playing into all innuendos and impromptu dancing. Just when it's about to teeter into pantomime overkill, CMAT brings the spotlight back to her and her self-deprecating ways. It's a glorious, cheer-inducing mess!
Most of the set comes from the recent 'Euro-Country', a highly-lauded album that has garnered a swag of award nominations. She almost pipped Sam Fender for the 2025 Mercury Prize. It's a blend of pop, ballads and beautifully arranged country (modern and traditional).
This makes it very difficult to pin CMAT in a genre, but who'd want to do that when it's working so well for her? The song colour range creates an unpredictable show that takes her audience on a journey; and just like the crowd itself, there's something for everyone.
A cake is brought on to the stage for Wolter's birthday, prompting a crowd sing-along.
'Tree Six Foive' bounces in and 'Have Fun!' lifts spirits higher. A bit of banter and laying on the stage floor (and, dammit, why not?!), the global smash 'Take A Sexy Picture Of Me', the beautiful 'Iceberg' and a duet with Holly Carpenter on 'Where Are Your Kids Tonight?' (originally with John Grant), plus 'Running/Planning' usher the first set out.
A quick refreshment break sees the band back onstage and into the title track 'Euro-Country'. CMAT remarks about it being a song about certain 'claiming' of land by a certain empire in the past.
Written from an Irish perspective, she quickly links it to the subject of the impending Australia Day. She leaves it there and the crowd completely understands what she's leaning into. Her voice is sublime in the song intro. It has a Lana Del Rey mixed with Olivia Newton-John (what's with the three-part names?) timbre.
The effervescent 'I Wanna Be a Cowboy, Baby!' follows, complemented with a CMAT choreographed audience 2-step dance. It's hypnotic to see the entire crowd step left, then right, in sync through the song.
In true CMAT fashion, she managed to fit in one more surprise in the form of a shoey from her own (most likely well-marinated) boot. The fans love it, albeit it's not for the weak stomachs.
'Stay For Something', from 2023's 'Crazymad, For Me', rounds the night out. It's an excellently paced track with sublime hooks to bring the night back to reality.
As this reviewer compares 2025 CMAT with 2026 CMAT, the only word that comes to mind is 'maturity'. While she retains all the things that made her 2025 show amazing, her songwriting has simply become better and better.
CMAT uses her unique stage presence for all the right reasons. She shames the trolling body shamers, celebrates diversity, fiercely defends Irish culture, and invites unadulterated fun – something often missing from a live show.
For all levels of fans, this show would have contributed something positive in their life. The mother who brought her two young daughters came to see a strong, creative female role model. The proud LGBTQI+ fans came to see an advocate and ally deliver positive entertainment. No matter who you were, you saw a brilliant artist put on an excellent show with a family of musicians that delivered everything you wanted in spades.
