Officials Iowa Hawkeyes 2025 Reliaquest Bowl Champions Helmet Runway Shirt
Kirke studied classical piano and voice at LaGuardia High School and embarked on a solo career in music until she got pregnant at age 25. After giving birth to her son, Cassius, and feeling unsupported—by her family, artist community, and birth team—she found herself setting aside music for bodywork, later becoming a doula. In 2012 she cofounded the childbirth collective and community space Carriage House Birth. In its first five years, it grew from 10 to over 100 full-time doulas in New York and Los Angeles. In 2018 she cofounded the community space Grand Street Healing Project in Williamsburg, Brooklyn. “I had a crash course in intimacy,” Kirke says of her work as a teacher and doula. “I witnessed hundreds of families with their parents and in-laws, and I would see so much love and care that I just couldn’t identify with.Officials Iowa Hawkeyes 2025 Reliaquest Bowl Champions Helmet Runway Shirt
“And I was there just giving, giving, giv—,” she says before taking a breath between tears. “And giving. I had my son at home while I was giving to others. There was a lot of imbalance [in my life].” Kirke began to spend more time at home with her son, writing and releasing songs about staying embodied while always remaining involved with birth work as a doula mentor. The Most Familiar Star is her latest musical foray into giving back—this time, first and foremost, to herself. “Mercy” is the first song on the record, and it shimmers, beginning with weeping notes of a cello over a crescendoing piano, with lyrics: “You’re still out there, I can see your face in time / You’re still out there, but you’ve barely been mine.” Kirke wrote the song after experiencing a second miscarriage with her husband, actor Penn Badgley, with whom she just celebrated eight years of marriage. “I was still bleeding from the D&C, and I just got on the piano and was like, Who was this soul, and where did they go?” And then there is “Teething,” the album’s finale, an eerie, almost taunting love song about the end of her relationship with her eldest son’s father, folk musician Morgan O’Kane—“the person who made me a mother,” she says. “Growing up, I had a lot of door slamming, physical abuse, a lot of Boomer generation, like, Argh! And [my parents] would fight and leave me to think, Was I bad? Am I bad? And so ‘Teething’ is my way of saying to my son and his dad, ‘I’ll never do that to you.’”
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