[1] One biography noted that the collaboration allowed Niall to expand Lúnasa's "innovative use of harmony and rhythm," taking advantage of the harmonic and rhythmic potential of "the full orchestral sound.

[4] Recording the album allowed Lúnasa to continue exploring "new directions in the world of Irish traditional music;" band member Kevin Crawford commented: "Thankfully, the huge melting pot of music that exists within the Irish tradition allows us to seek out exciting and unexplored melodies that work for a band like ourselves.

"[1] "There are times where you can pretty much just hear a single instrument, but dynamically it doesn't feel like a solo, more like a contribution to the greater whole, a contrast to a broader, and often smoother, sound when the arrangement calls for everyone to be playing."

"[6] While Niall's arrangements are "grand and symphonic," they nonetheless "frame and support individual and group contributions from Lúnasa with a sure, often sublime touch.

"[7][8] The plucked and bowed double bass of Lúnasa member Trevor Hutchinson serves as the "sonic and symbolic pivot between the two genres [classical and Irish folk]," while also expanding the depth and range "of the ensemble's sound.

"[6] Several reviewers have said that the recording establishes an even balance between the traditional and orchestral instruments, rather than one element dominating the other; Tara Dougherty of Irish America said "the orchestra adds a gusto to the traditional songs that never overpowers Lúnasa's unique voice; rather, the arrangements seem dedicated only to enhancing it,"[10] while Caith Threefires of Bass Player said "it's as if the orchestra were led by the band on a stroll through the Emerald Isle countryside, rather than the band becoming a Celtic ornament in the concert hall.

"[4] PopMatters said: "The individual fiddle and pipe go skipping near the end of 'Morning Nightcap' and the cushion of strings rolls massively after them like a willing St Bernard.

[6] "The Merry Sisters of Fate" begins with a double bass and fiddle introduction by Hutchinson and Seán Smyth and proceeds into "a final musical firework with 3 traditional dance tunes.

[2][16] A live film clip from the National Hall Performance, directed by award-winning director Myles O'Reilly, was produced by Lúnasa and released on 17 March 2013 to promote the album.

"[18] Interviewed at the time of the album's release and subsequent touring, Seán Smyth said that "as for the future, there are many, many musical journeys left open to us.

"[19] Caith Threefires of Bass Player called it "a flawless and moving performance" and noted the album's "defining nuances" help it avoid becoming "subverted and washed out" because the "beautifully arranged" music is performed "as if the orchestra were led by the band on a stroll through the Emerald Isle countryside, rather than the band becoming a Celtic ornament in the concert hall.

"[9] Michael Quinn of Songlines said "Vallely’s arrangements are grand and symphonic but they manage to frame and support individual and group contributions from Lunasa with a sure, often sublime touch.

"[14] While Deanne Sole of PopMatters compared it with the Indian and Western classical fusion album Samaagam (2011), a collaboration between Amjad Ali Khan and the Scottish Chamber Orchestra,[11] the album was also described in 2014 by Ceili editor Chuck Bloom as the first of two recent Celtic CDs that "have brought symphony orchestras into the fold within the past year," the second being Live in Washington, D.C., a collaboration between American Rogues and the United States Air Force Symphony.