February 9th 2020 performer with Glasshouse (festival co-director) Spike Cello Festival 4 (performer
February 29th Snorkel music project with Ruth O'Mahony Brady (composer/performer)
August 10th 2019 Mary@ the Pigeons Adrigole Arts Centre, Beara, Co Cork performer/composer
June 28th 2019 Mary@ the Pigeons performer/composer
June 29th Mary@ the Pigeons support to Liam Ó Maonlaí The House Presents
March 29 2019 GlasDrum New Sounds in an Old Place, (performer/composer)
Feb 11-21 2019 Swan Lake/ Loch na hEala Perth Festival, performer
Feb 2019 Stringplay– Ark/IMC commission, composer/performer
Feb 2019 Spike Cello Festival 3 director
Nov 12-19 2018 Swan Lake/ Loch na hEala Hong Kong New Vision Arts Festival, performer
Nov 6-11 2018 Swan Lake/ Loch na hEala Dun Laoghaire Pavillion, performer
Nov 2nd 2018 w/ Erik Frielander – Fumbally Stables, Note Productions Duo series performer
September 2018 Pigeons of Discontent- Paddy Cahill film music* composer
February 9-11 2018 Spike cello festival 2 performer and co-director
September October 26/27 2018 The Plot by Paula Lonergan – composer/performer (solo)
13 2018 Ergodos September 21 Cobh Sirius Culture Night (solo)
June 20 2018 Stoneybatter festival performer (solo)
May 2018 w/Cello Ireland performer in The Whale theatre
Jan-June 2018 Swan Lake/ Loch na hEala Tour Dates Ireland and international, performer
February 2018 Guest for Self-Made 1 (solo) panellist and performer
June 2017 National Gallery of Ireland Liz Roche Totems,co-composer/performer
March 2017 Union Chapel Daylight Music, London UK
February 2017 Spike Cello Festival 1 director
January 9 2017 Hugh Lane Gallery Sundays@Noon Vanishing Lakes performer
Review for Into Air
* * * * (four stars)
Lauren Murphy The Ticket, Irish Times 14.04.16
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.