Maria Kelly’s sophomore album, ‘Waiting Room’, is an invitation into her world—a world that is as introspective as it is atmospheric. Following her beloved debut, ‘The Sum of the In-Between’, Kelly takes an even bolder step into vulnerability, laying bare her struggles with mental health, Ireland’s broken systems, and the transitions that shape us all. It’s a record that feels deeply personal yet universally resonant, a delicate balance that Kelly has mastered over the years.
The album opens with Like a Wave, immediately setting the tone with ocean sounds and grungy guitars, mirroring the ebb and flow of change. It’s a clever introduction to an album that is rooted in movement—whether physical, emotional, or existential. The title track, Waiting Room, is another standout, layering sterile EKG beeps under Kelly’s gentle vocals, perfectly capturing the frustration of searching for answers in an unyielding healthcare system. The lyric “tell me what’s wrong” rings through, an aching plea that many listeners will find all too familiar.
Kelly’s storytelling shines brightest in tracks like Drive, Something Better, and Rearview Mirror, which explore transition periods with a mix of nostalgia, longing, and a quiet hope for something more. Whether it is the sense of being around friends who aren’t really your friends anymore or wishing for closure that just won’t come, Maria communicates these personal experiences in a universal way.
The album doesn’t shy away from the realities of Irish life, either. From the housing crisis to the relentless pressure to always be “more,” Kelly tackles these themes with unflinching honesty. Songs like His Parents’ House capture the bittersweet reality of young adults forced to move back in with family, while Nearly Thirty reflects on the exhaustion of trying to carve out a stable life in a system that seems stacked against you.
But ‘Waiting Room’ isn’t just melancholic musings—it also embraces a newfound sense of anger and power. When I’m Angry is a rare moment where Kelly lets her frustration take centre stage, an exhilarating break from the soft introspection that dominates much of her work. And then there’s Appointments, the album’s closer, where Kelly pushes her voice to its rawest, most cathartic point. It’s a stunning moment of release, one that lingers long after the final notes fade.
Recorded between Start Together Studio in Belfast and Black Mountain Studios in Dundalk, ‘Waiting Room’ benefits from the expertise of long-time collaborators like co-producer Matt Harris (HAVVK, Birthday Problem), drummers Hannah Hiemstra and Nigel Kenny, and mixer Rocky O’Reilly. Harris, who also worked on Kelly’s debut, encouraged her to step beyond her folk roots, weaving indie rock and electronic elements into the album’s dreamy, layered production.
If you’re a fan of slow-burning, introspective folk with an indie-rock twist, ‘Waiting Room’ is an album worth spending time with. It’s the kind of record that pairs beautifully with a quiet morning and a cup of tea, or a long walk by the sea. While not without its moments of heaviness, it offers a sense of comfort, like an understanding friend who simply sits with you in your emotions. Maria Kelly has built a world with this album—one that feels both deeply personal and strikingly familiar.