New Orleans-based queer indie artist Chris Giarmo announced the eponymous debut album from his solo project Boys Don’t Fight, set for release on October 17, 2025, via Bandcamp. The album, a vibrant collection of lyrically dense electropop songs, introduces Giarmo’s singular voice to the world, following his acclaimed tenure as a “mustachio’d standout” in David Byrne’s American Utopia (Slate). The lead single, “The Megaman Song,” accompanied by a music video now streaming on YouTube, offers a tender glimpse into the album’s emotional core, using the metaphor of a 1990s video game character to explore love’s aspirations and human limitations. With a career spanning performances at iconic venues like the Sydney Opera House and Coachella, as well as contributions to New York’s experimental dance-theater scene, Giarmo’s Boys Don’t Fight is poised to resonate with audiences from Manila’s indie music hubs to Mumbai’s vibrant festival circuits, blending queerness, revolution, and introspection in a sonic wave that feels like falling in love.
The nine-track album—featuring songs like “Drown,” “Challenge,” “Jo,” “Bolero,” “Semi-Precious Time,” “Resume,” “Dismantle,” “The Megaman Song,” and “Rescue”—is a rumination on queer longing, unrest, vulnerability, and autonomy, unfurling in electro-pop anthems that pulse with both exhilaration and weight. Giarmo describes the experience as “being in the ocean and getting caught in a series of waves,” a metaphor for the exhilarating yet pummeling sensation of love and self-discovery amid late-stage capitalism. The album, self-produced by Giarmo during the tail end of the American Utopia world tour, draws inspiration from the Italo-disco track “Disco Clone” by Cristina, reflecting his knack for weaving retro influences into modern soundscapes. Available for pre-order on Bandcamp, the album is accompanied by a book, Boys Don’t Fight, featuring song lyrics, production photos, essays, and conversations with collaborators like Jess Barbagallo, complete with a download code for the music.
“The Megaman Song,” the album’s lead single, is its most poignant offering, using the narrative of Mega Man—a robot boy who gains skills by defeating enemies—to explore the tension between wanting to be everything for a loved one and embracing human imperfection. The track’s lo-fi electropop vibe, layered with Giarmo’s emotive vocals, strikes a balance between simplicity and depth, earning praise on X for its “sweet, nostalgic heart” (@indiepopvibes). The music video, directed with a minimalist aesthetic, enhances this narrative, blending retro gaming visuals with intimate close-ups that echo Giarmo’s vulnerability. Available on platforms like Spotify, Apple Music, and Tidal, the single has sparked early buzz, with fans in Southeast Asia—where indie pop thrives at festivals like the Philippines’ Wanderland—embracing its universal themes of love and limitation.
Giarmo’s multidisciplinary artistry sets Boys Don’t Fight apart. A New Orleans-based performer, composer, and drag artist, he’s known for his magnetic stage presence, described by Vulture as “impossible to take your eyes off.” His resume includes performances with David Byrne’s American Utopia across Broadway, a Spike Lee-directed film, and global stages like The O2 Arena and Red Rocks Amphitheater, as well as collaborations with Taylor Mac and Annie-B Parson’s Big Dance Theater. Giarmo’s work in New York’s experimental scene—composing for Tina Satter, Faye Driscoll, and Young Jean Lee—infuses his music with theatrical flair, while his drag persona, Kimberly Clark, pioneered the “anti-haul” YouTube movement, critiquing consumerism with sharp wit. His recent Kickstarter campaign for Boys Don’t Fight highlights his grassroots approach, raising funds to bring the album to life, a nod to his commitment to authentic, community-driven art.
The album’s themes of queer identity, revolution, and video game-inspired storytelling resonate globally. In the Philippines, where Wicked: For Good and artists like yung kai fuel a music-cinema synergy at SM Cinemas, Boys Don’t Fight could find a home on playlists alongside Hayley Williams’ Ego Death At A Bachelorette Party. In India, where NH7 Weekender embraces eclectic sounds, Giarmo’s electro-pop aligns with acts like Prateek Kuhad, offering a fresh take on emotional storytelling. X posts from @queermusicnow celebrate Giarmo’s “lyrical complexity,” while @nolaarts hails him as “New Orleans’ indie gem.” With over 1 million streams projected for the album’s rollout, Boys Don’t Fight is set to make waves, its blend of nostalgia and innovation echoing from New Orleans to global stages. As Giarmo navigates love, loss, and autonomy, his debut invites listeners to dive into the tumult—and emerge weightless.
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