The musician’s experimental folk sound in her sixth studio album, Blurrr, has made it to the top 10 of the American online music magazine Pitchfork’s 50 Best Albums of 2025.
Robertson moved to Glasgow in 2018, after having lived in London, and has since taken the UK’s underground music scene by storm.
Reviewing Blurrr earlier this year, Pitchfork’s Emma Madden hailed the album as Robertson’s “undisputed masterpiece,” adding that the musician’s sound had reached a “stratosphere where the soul can stretch its legs and roam more freely”.
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Naming Blurrr as number eight in their top 50 list, Pitchfork described Roberton’s playing as “more eraser marks than pencil stroke” and that she “sweeps away the lines between voice and fingers.”
The musician and painter joined the likes of the Bolivian-American duo’s Los Thuthanaka self-titled debut album, which was hailed by reviewers as “ahead of its time” and Bad Bunny’s DeBÍ TiRAR MáS FOToS, whose single DtMF reached 2 in the UK’s indie charts.
Pitchfork’s review for Blurrr’s inclusion in the list read: “Joanne Robertson’s gossamer, improvisatory folk is more eraser marks than pencil strokes. Even the ‘r’ in Blurrr is smudged.
“On her sixth album, the Glaswegian singer-songwriter and painter sweeps away the lines between voice and fingers, fingers and guitar, guitar and the thrum of Oliver Coates’ cello.
“Her lyrics, riddled with em-dashes and elisions, seem to map her spontaneous neural firing. On “Gown,” Robertson is momentarily possessed by the living ghost of Chan Marshall, though where Moon Pix once languished in the throes of sleep paralysis, Blurrr is totally lucid.”
Blurrr has been best likened to another Scottish artist, Cocteau Twins, with her music described as a lo-fi rendering of the band’s sounds as she is joined by cellist Oliver Coates in the latter half of the album.
You can find Robertson’s Blurrr on most streaming sights as well as on Bandcamp.