Jayne Pomplas Finds Renewal Inside Collapse on “This Is How The World Ends” Album

“This Is How The World Ends” gives Jayne Pomplas a way to document growing up. Across 11 songs, the Dublin fiddle player, vocalist and composer moves between Irish traditional music, folk writing and cinematic sound, creating an album that feels restless.

The premise matters. Pomplas describes reaching 27 and recognising how much of life had been spent playing safely. That realisation shapes the album’s movement. The title suggests collapse, yet the songs point toward renewal, making endings feel like stages of change.

“Mother Superior,” the forthcoming single, captures that approach. Traditional Irish motifs meet orchestral drums, experimental samples and choral voices, producing a hypnotic atmosphere around the inner monologue. It is ambitious without abandoning the fiddle identity connecting Pomplas to her roots.

The production philosophy gives it character. Live-room recordings, houseboat sessions on the Thames, field recordings and studio experimentation allow imperfection and atmosphere to remain audible. That choice suits material concerned with uncertainty, because polished surfaces could weaken the emotional friction at its centre.

Collaborators including John Francis Flynn, Adrian Crowley and Lunatraktors expand the palette while keeping Pomplas’ authorship central. Her interpretations of “Blackwaterside” and “The Lonesome Boatman” connect contemporary songwriting with Irish folk tradition.

The album’s ambition occasionally risks making its emotional world expansive at the expense of immediacy. Yet its willingness to embrace contradiction is its appeal. “This Is How The World Ends” is a debut that treats growing up not as a finished destination, but as a cycle of loss, discovery and beginning again.