Micah McLaurin Goes 'Baboom'

Micah McLaurin Goes 'Baboom'

Jan 22, 2025

After building a reputation as Paris Fashion Week’s breakout style star, it’s only fitting for New York-based pop artist Micah McLaurin to release a song entirely sung in French. The classically trained pianist has been performing “Baboom” around NYC parties in recent months (including Susanne Bartsch’s NYFW bash) and now he’s sharing an accompanying visualizer recorded inside the iconic Chelsea Hotel.

The track follows McLaurin’s ongoing love affair with French-inspired music (“Don’t Give Up on Love” and “Let’s Go to France”), and was created in collaboration with songwriter Simon Wilcox (Carly Rae Jepsen) and producer Fernando Garibay (Lady Gaga). Described by McLaurin as a “next generation club anthem,” his latest single builds into an instrumental break that will have everyone singing “Baboom” in the middle of sweaty dance floors across the globe.

You're best known as a pianist, but when did you start songwriting?

I was always captivated by the songs of ABBA from a young age and then later Lady Gaga. My piano training and passion were too intense to allow time to explore anything else, so I stopped pursuing becoming a composer — but during the pandemic, while finishing my master’s at Juilliard, I started to crave more in music and wanted to write music that I could call my own. I wanted to write in styles that could communicate with everyone and didn’t need to be deciphered with a musical education, so I started arranging pop songs by Lady Gaga and ABBA and Madonna, and started learning jazz and harmony independently. During that process I met the producer of my Diamonds album, Nick Patrick, and he set me up in a few songwriting sessions since I mentioned to him I was curious about them and what might happen if I were in a room with others bouncing off ideas. I loved it and just kept going, and here I am.

What made you choose to write a song in French?

The French thing started with “Don’t Give Up on Love,” where I do spoken French over the piano intro. Then, I did a song called “Let’s Go To France.” I was loving the French themes, and after hearing “Justify My Love” by Madonna, I thought, Let’s write a song that’s all in French. My co-writer Simon Wilcox, who speaks French, wrote the lyrics. I don’t speak French, but I had a coach during the recording session to help with the pronunciation. I think the significance of France to me starts with classical music, especially Chopin, Ravel and Debussy. I was lucky enough to perform in the Salon where Chopin had his Paris debut, and I have performed in festivals in Paris and at Chateau de Fontainebleau. The opulence, musical history, language and patisseries are just like nowhere else.

What is the significance of the Chelsea Hotel? It feels like you brought Paris to NYC.

I live in Chelsea and can see the Hotel Chelsea sign from the apartment. It has a rich history of artists, and some of my friends, such as designer Zaldy and nightlife icon Susanne Bartsch, have lived there. It has an old world feel and feels like stepping out of NYC when you enter the hotel. The rooms have French doors to Juliette balconies, and it just feels so European.

It's a very glamorous video. What moments feel the most Parisian to you?

The balconies feel French, so we shot scenes on the balcony. I wanted to capture a fashion, Vogue feeling in the video and styled it myself with existing outfits, some of which were made for me and some I put together.

What is the thread that connects your ability to move between concert pianist and pop artist?

Music is 12 notes and all genres have the those 12 notes to work with, but there’s infinite possibilities, colors and combinations. It’s really just learning different styles, different characters, different ways of interpreting. It’s like an actor playing different characters or different genres, like a comedic actor that can also do Shakespeare, theater or a TV drama. I’m doing music from two angles: as a performer, and as a composer and writer. They are different skills, but overall enhance each other when you develop them both. I don’t like to stick to one genre, because classical isn’t the only mood I’m in all the time and it’s not the only part of my life. I love dance music, I love jazz and they all serve slightly different functions, but they’re all music. Even when performing a pop song, it’s not that different from performing a classical piece. You still have to find the right sound, the timing, the character, the passion and ultimately deliver a convincing performance for the audience. People and artists are not one-dimensional, so why should I be one -dimensional as a musician?

What have been some of your recent highlights along this journey?

I have been performing my pop songs in clubs and played an ABBA/Debussy piano medley at sunrise for the Pines Party. Having the chance to perform classical in a party environment, and my own dance pop in similar environments, has shown me that what really matters is doing whatever I do, playing from the heart. The Pines Party was my first time playing classical for an almost entirely millennial or younger audience, and I was surprised at how much I connected with them just playing piano. Doing my own songs live, I’m able to incorporate my classical influences and piano with songs and lyrics that everyone can sing and dance to. Finding my singing voice also feels like finding the missing puzzle piece because piano and voice is the perfect combination.

You've been performing "Baboom" around New York. How was it received at the Drag Race Premiere Party?

I have been performing “Baboom” the last few months before release, and it’s fun because people start to know it and then ask about when it’s coming out. Maybe I’ll be a judge on RuPaul’s Drag Race one day.

What’s next for you?

I have more songs coming out and I’m working on some upcoming Pride performances.

People and artists are not one-dimensional, so why should I be one -dimensional as a musician?

Photography: An Le