© 2018 Mary Barnecutt

  • w-facebook
  • SoundCloud - White Circle

NEWS

  1. August 10th 2019 Mary@ the Pigeons Adrigole Arts Centre, Beara, Co Cork Performer/composer

  2. June 28th 2019 Mary@ the Pigeons Performer/composer

  3. June 29th Mary@ the Pigeons support to Liam Ó Maonlaí The House Presents 

  4. March 29 2019 GlasDrum New Sounds in an Old Place,  (performer/composer) 

  5. Feb 11-21 2019 Swan Lake/ Loch na hEala Perth Festival, performer

  6. Feb 2019 Stringplay– Ark/IMC commission, composer/performer

  7. Feb 2019 Spike Cello Festival 3 director

  8. Nov 12-19 2018 Swan Lake/ Loch na hEala Hong Kong New Vision Arts Festival, performer

  9. Nov 6-11 2018 Swan Lake/ Loch na hEala Dun Laoghaire Pavillion, performer

  10. Nov 2nd 2018 w/ Erik Frielander – Fumbally Stables, Note Productions Duo series performer

  11. September 2018 Pigeons of Discontent- Paddy Cahill film music* composer

  12. February 9-11 2018 Spike cello festival 2 performer and co-director

  13. September October 26/27 2018 The Plot by Paula Lonergan – composer/performer (solo)

  14. 13 2018 Ergodos September 21 Cobh Sirius Culture Night (solo)

  15. June 20 2018 Stoneybatter festival performer (solo)

  16. May 2018  w/Cello Ireland performer in The Whale theatre

  17. Jan-June 2018 Swan Lake/ Loch na hEala Tour Dates Ireland and international, performer

  18. February 2018 Guest for Self-Made 1 (solo) panellist and performer

  19. June 2017 National Gallery of Ireland Liz Roche Totems,co-composer/performer

  20. March 2017 Union Chapel Daylight Music, London UK 

  21. February 2017 Spike Cello Festival 1 director

  22. January 9 2017 Hugh Lane Gallery Sundays@Noon Vanishing Lakes performer

Stringplay

  

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.