France-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music that reflects what The New York Times describes as “a kaleidoscopically vivid inner world.” She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, Barbara, she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects.

The first was Barbara, an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one’s own identity that would go on to be deemed “one of the most complete pop full-lengths of 2022” (Billboard) and “an album that truly sounds like no other” (Consequence). Garnering praise from FADER, NPR, PAPER, and NYLON, Barbara saw Barrie’s artistic ambitions become emboldened. Barrie even reinvented her live show, adding group choreography that thrust her front and center during a run of headlining shows. It was her first time dancing in any organized fashion and put her in a vulnerable position, but it was a hit — she was invited to bring it on the road as an opener for both Alex G and Japanese Breakfast.

The remaining five tracks from the Barbara sessions – more light-hearted and off-the-cuff – were compiled into a new project. An avid runner, Barrie named the EP 5K after the common foot race. Explains Barrie: “The music felt like a good arc for running. I want this music to be good company; steady and light enough. It’s literal and it’s metaphorical; this EP is meant to be your running partner for whatever form of 5K you’re doing.”

Opener “Nocturne Interlude” is the haunting bridge between Barbara and 5K, Barrie stacking her voice into a Greek chorus against a cinematic cascade of sampled woodwinds. The aptly titled lead single, “Races,” is baroque daydream pop set to a 12/8 time signature, with crashing drums and stately keyboards that swoon with giddy romance. Second half highlight “Ghost World” (recorded entirely by Barrie, serving as her own band on guitar, bass, keys, and drum kit) is an exercise in propulsive restraint. Its shuffling switchblade beat and ringing guitar riff beg for a cliche distortion pedal drop, but instead Barrie luxuriates in a softer, reverberant palette — a savvy songwriting move that leaves the listener wanting more. And “Unholy Appetite” summons a uniquely expansive vision of Madchester, stripped of masculine bravado and executed with Barrie’s sophisticated subtlety and yearning melodicism.

Even though most people would finish listening to the project front to back before finishing a 5 kilometer run, the EP rewards repeated listens, revealing lovingly crafted details buried in each song. 5K showcases an artist in an exploratory mood, sketching out new sonic territory that remains true to the enveloping sound world that has become Barrie’s signature. While 5K links the supple dream pop of Barrie’s debut LP Happy To Be Here to the more emotionally-grounded and experimental sounds of Barbara, it also points towards various avenues of possibility. It’s simply up to Barrie which road she runs down next.