Mary Barnecutt has spent the last few years as a collaborator with Irish acts such as Adrian Crowley and Vyvienne Long, but now it’s her turn to step into the spotlight.
A cellist by trade, her debut album is unsurprisingly constructed around stringed instruments, with a hint of piano here and a touch of woodwind there.
The result is a lush collection that sounds organic and occasionally magical, as Halfway There demonstrates – although there is an unsettling darkness lurking just underneath the surface of songs like instrumental Stranger Than and Moving.
Barnecutt’s voice is no powerhouse, but there is a charm to her delivery, and her lyrics tell imaginative stories.
Yet it’s the music that takes centre stage, speckled with heart-swelling flourishes and sinister undercurrents.
