Some songs call to mind traditional Irish music even more strongly than much of her earlier work, while two other tracks are haunting rearrangements of old, traditional numbers. "Caribbean Blue," the lead single, avoids repeating the successful formula of "Orinoco Flow" by means of its waltz time - a subtle enough change, but one that colors and drives the overall composition and performance, the closest Enya might ever get to a dance number. Though the total continuity means that those who enjoy her work will again be pleased and those who dislike it won't change their minds, in terms of finding her own vision and sticking with it, Enya has increasingly polished and refined her work to a strong, elegant degree.
Shepherd Moons does have one key factor that's also carried over from Watermark - it's quite good listening. Like Watermark, Shepherd Moons opens with the title track, a calm instrumental, has another brief instrumental titled after a Dora Saint book smack in the middle ("No Holly for Miss Quinn"), and concludes with a number incorporating a striking uilleann pipes solo, "Smaointe." In general, Enya's own musical style and work remains the same, again assisted on production by Nicky Ryan and with lyrics by Roma Ryan. Calling Shepherd Moons a near carbon copy of Watermark puts it quite mildly.
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