NEW YORK SONGWRITER LAWRENCE KIM RELEASES NEW SINGLE “RODEO” FT. EMMA TRICCA + RACHEL COX

New York-based songwriter Lawrence Kim steps into the spotlight with “Rodeo,” a sharp, self-aware new single that takes aim at ego, ambition, and the often gruelling realities of the creative process. Featuring Emma Tricca and Rachel Cox (Oakley Hall), the track offers a compelling preview of Kim’s debut solo album The Hours and The Times, arriving May 15.

Best known for his work with BMX Bandits and Scam Avenue, Kim’s first solo outing is a deeply personal project—one that explores solitude, perspective, and artistic identity. Ahead of the release (and a Brooklyn launch show at Mama Tried on May 17), we caught up with Kim to talk about the ideas behind “Rodeo,” stepping out on his own, and bringing an introspective record to the live stage.

Your new single “Rodeo” explores themes of ego, ambition, and the frustrations of the creative process—what inspired you to tackle those ideas in such a direct way?

I actually thought the lyrics were kind of cryptic but apparently not, haha. The stuff about the frustrations of the creative process come from personal experience. With me it seems to be either feast or famine. The songs on this album came to me fairly quickly but I often have long dry spells and it’s the worst feeling in the world. As for the lines relating to ambition, I’ll just say that there’s nothing wrong with having a healthy dose of ambition but some people take it too far.

“The Hours and The Times” centers around the idea of being alone rather than lonely—how did that distinction shape the songwriting and overall tone of the album?

I think people often think that being alone means being lonely, and that’s simply not true. I do spend quite a lot of time alone these days, and—being a human being—I do feel lonely occasionally, but overall I’m grateful for the perspective I’ve gained. I’ve been able to be more present in the moment, and I’ve been able to notice little (or big) details that I might otherwise have missed. The movie director Robert Bresson said that the supernatural is the real in close-up; I think maybe what he was getting at is that paying close attention to the world around you is a form of reverence—a way to connect to something larger. I’d be honored if this album could provide a similar experience for people who listen to it.

https://www.youtube.com/watch?v=ErkLUKnZ3gA

After years of working in bands like BMX Bandits and Scam Avenue, what pushed you to step out and create your first solo record at this point in your career?

These songs are some of the most personal songs I’ve ever written, so it felt appropriate that they should be released under my own name. I definitely don’t enjoy being in the spotlight but that seemed like the right thing to do, artistically. Also I like being in a band—I like that feeling of us versus the world—but I felt it was finally time for me to release something under my own name. In a way I guess I was hiding behind band names and I wanted to finally step out and say, this is who I am.

You handled much of the writing, production, and performance yourself but also brought in a wide range of collaborators—how did you balance that independence with collaboration?

I entered the studio with all of the music and words and a lot of the arrangements written, but I left room for the others to do their thing. Occasionally they would suggest ideas that worked better than what I had envisioned so I went with them. It was like directing a movie or a play—you need to have a firm idea of the shape of the overall work, but you also leave room for the actors to add their contributions.

With your Brooklyn album release show coming up, how are you thinking about translating such a personal and introspective record into a live performance setting?

For a long time, I believed that a song played live should sound as much like the recording as possible, but I’ve shifted my view in recent years. Especially given that the release show is at an outdoor venue with cars roaring by on a highway almost directly overhead, copying the album arrangements wouldn’t work, anyway. So, when in Rome, necessity is the mother, etc. I’m planning to do more rocking versions of the songs. I might even rearrange some completely.