Domino developed a heightened sense of empathy and appreciation for art and music as a kid in London. As the daughter of Bad Company and Free drummer Simon Kirke and Geminola Boutique owner Lorraine Kirke, creativity surrounded her. Once Domino’s parents heard her rendition of Sinéad O’Connor’s “Nothing Compares 2 U” in the backseat, they enrolled their daughter in choir. She formally studied classical voice and piano at the renowned Fiorello H. LaGuardia High School. “Singing was so important to me because it brought me into my body and got me out of my looping thoughts,” she admits. “I remember feeling physically and physiologically better when I would sing—and I still do.” 

She initially captivated listeners at the helm of the band Domino, touring with everyone from Lily Allen to Gang Of Four. She evolved across solo releases such as Everyone Else Is Boring EP [2006], The Guard EP [2012], and the unanimously applauded Beyond Waves [2017]. Beyond acclaim from American Songwriter, Billboard, BUST, The Daily Beast, NYLON, and more, WWD praised how the latter exhibits the “same energy that illuminates what makes her a natural at doula work,” and W Magazine praised her “folky, bohemian sound” and “deeply personal lyrics.” Wonderland. hailed her 2022 single “Mercy” as “a captivating listen.” Her journey into motherhood paralleled this musical trajectory. She first became a mom in 2009 and welcomed her second son during 2020. In the meantime, she concurrently founded and led in-demand Brooklyn-based doula collective Carriage House Birth and co-authored the 2021 book Life After Birth: Portraits of Love and the Beauty of Parenthood.

Along the way, Domino carefully assembled Most Familiar Star. She wrote and recorded music with Elliot Krimsky and Grizzly Bear’s Chris Taylor. Plus, Chris Bear lent his talents behind the drumkit and Lizzie No played harp. Taylor artfully shaped a living and breathing soundscape anchored by rich instrumentation suited to Domino’s range and lyrics. His production mirrored the ebb and flow of her vision. Illustrative of the harmony in the studio, conversations about parenthood abounded.

She goes on, “We’re all deeply creative, but we’re also really invested in being attentive parents. We wonder, ‘Can we do it all?’ A lot of the songs are about this central question. Most people attempt to become parents in silos and corners of themselves without art, creativity, or community. That’s impossible. I believe parents need to be witnessed by each other, communities, and themselves.”

The single “Not There” [feat. Angel Olsen] revolves around a ghostly Sharon Van Etten sample. The loop echoes alongside Domino’s vulnerable intonation, and Angel counters with a striking vocal of her own. Ethereal guitar twists around a steady beat as saxophone wails in the background. Locking into a hypnotic cadence on the chorus, Domino repeats, “It’s not there.”

“It references family, conception, and questioning the person you chose,” she reveals. “You can be with someone for a life and do insane things with them like having kids but still feel unsure. I was speaking to the father of my firstborn.”

A light acoustic guitar arpeggio tiptoes between piano and hazy electronics on “Teething” co-written by Timo Ellis. Strings underline a promise, “I’m not leaving.”

“‘Teething’ is about hanging in there and waiting for someone to bloom, blossom, or grow up,” she goes on. “For me, ‘Teething’ was really about watching myself become an adult. I’m coming-of-age.”

Stark piano sets the tone for the opener “City” with a bright melody punctuated jazz-y horns. She exhales a luminous hook through her high register. “The lyrics dive into an old vision of New York and what the city means to me,” she says. “It's also about my relationship with my now-husband. I was raised in New York, so I’m thinking, ‘Maybe this guy won’t be able to take care of me in a city where I’ve taken care of myself for so long.’” 

Dreamy strings belie the brokenhearted catharsis of “Secret Growing.” She sighs, “I had childhood sexual abuse, and I talk about that. I’m essentially speaking to young Domino. The last section goes into this idea of parenting differently than I was parented, and meeting people in life that force you to look at who you are more closely.” 

Then, there’s “Most Familiar Star”—another Ellis co-write. Her vocals practically melt into an ethereal soundscape anchored by luminous keys, wistful harmonies, and dynamic guitars. As the bridge builds, her voice booms, “We’re on our way.”

 “It’s about coming back,” she declares. “It goes back to a relationship that didn’t pan out. I’m reuniting with someone from my past who showed me where I am in my present. I didn’t need him to see where I am now; I needed to see it. It felt important for this to be the title.”

Ultimately, Domino might just make you love yourself a little more.

“When people listen to this, I really want them to listen to the words carefully,” she leaves off. “Fans will often tell me, ‘Wow, I didn’t know I needed to hear you say that.’ I hope these songs are a balm for your soul, but also force you to maybe go to therapy,” she laughs.