Brieley's most recent projects have included professional recitals in Sydney and Melbourne with musicians such as Christopher Pidcock (cello), Kristian Winther (violin), Jessica Lee (flute) and David Silva (flute); AMusA exam performances; assisting vocalists in the Sydney Eisteddfod open sections; and performing with Sydney Conservatorium tertiary students for recitals and examinations. ​​
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Brieley has been working collaboratively for over 30 years. An initial experience was when she was 13 years old and invited to perform Faure's Violin & Piano Sonata No.1 with a fellow undergraduate student for Yehudi Menuhin at the Queensland Conservatorium. Later accolades include winning collaborative awards such as the Basil Jones Sonata Prize (for piano with a strings instrument) and Margaret Nixon Prize (art song) at the Queensland Conservatorium. She was later invited back to adjudicate for the Margaret Nixon prize.
Brieley has since collaborated with leading professionals - such as Alexander Baillie (cello) and Michael Cox (flute) - and with leading ensembles, such as Ensemble Trivium, Australia Piano Quartet, Collusion, Topology and the Queensland Symphony Orchestra Chamber Players.
Brieley's awarded concert series in Brisbane, DeClassified Music, followed her enthusiasm for collaborative music making (2011-2015); her doctoral studies explored the skills required by pianists working in small ensembles (2016); and she published an opinion piece for Limelight Magazine entitled The Power Behind the Throne where she shared her viewpoint that the concert pianists' musical part and role in collaborative work should be proactive and vital, not just supportive, "In a duo situation, the pianist is invariably considered subservient, an accompanist supporting a soloist. Brieley Cutting begs to differ, suggesting that it could just be the other way around" (2018).​​​
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Brieley is a member of the Accompanists' Guild of NSW and an associate of the Australian Guild of Collaborative Pianists.