Though goals and results drive modern society, it’s only after struggle and pain that we learn the journey is the destination. Local singer-songwriter Katy Martin’s latest solo album, “Are We There Yet,” captures this wisdom in eight indie folk songs that play with bright, twee sounds wh ile tackling an ever-present heaviness. Martin, half of the acoustic duo The Local Hang-Ups, is an evocative and gifted songwriter, approaching subjects of loss and faith with a nimble touch. She recorded the album with Eric Andersen at the latter’s Barn Burner Studio in Rochester and released it in October. The pair use the studio’s toolbox to bring these delicate songs to life, spanning chorus vocals and sweeping strings as well as light percussion. Opener “Tin Cup” channels David Bowie’s “Space Oddity” through the sonics of early Sufjan Stevens and his angelic backing choir. The orchestral, brief “Love” feels like a buried “Bridge Over Troubled Water” b-side. It would be easy to crowd out Martin’s fine compositions by adding these flourishes, but Andersen keeps the sound balanced, always centering Martin, her voice and her direct and unflowery lyrics. (Sample: You’ve always had your hand on my shoulder / Even when I have been misty and gray.) This is not overt praise music, though Martin’s faith informs every note. She announced the album with a mention of “the Image of the invisible God, by whom all things are held together” as well as the 2024 death of her father, the cult folk musician known as Zilch Fletcher. While the music rests comfortably along contemporary hymns, it also taps into a well of playful curiosity. “Wait” is a wordless duet with an automated crosswalk warning voice, and a sparse, faithful cover of Bob Dylan’s “It’s All Over Now, Baby Blue” brings gravitas. “Are We There Yet” breezes by in 21 minutes, offering another journey: replaying it. The post REVIEW | ‘Are We There Yet’ by Katy Martin appeared first on CITY Magazine. Arts. Music. Culture.. ...read more read less