Momoland’s Bboom Bboom only improved the more popular and ubiquitous it became. There’s something irresistible about cultural touchstones — hooks and moves and moments that everyone knows (whether they enjoy them or not). But this mega-hit status presents one very big problem. How do you follow up on a phenomenon? Years ago, Crayon Pop were faced with the same dilemma when attempting to replicate the success of their novelty hit Bar Bar Bar. A lack of new ideas ultimately did them in — but then again, they didn’t have the proven production work of Shinsadong Tiger behind them.
He returns for BAAM, which replicates Bboom Bboom’s structure to a tee — down to the Daisy-led trap rap breakdown immediately following the first chorus. I don’t think this copy-and-paste formula is a smart move in the long run, but it results in another addictive pop song with an even higher tempo than its predecessor.
Not since the days of T-ara have we heard BAAM’s giddy mash-up of girl group techno and disco. Its verses pulse with unflagging spirit, which helps to cover the absence of a distinctive melody. What we get during these segments is perfectly serviceable, but feels recycled. The same could be said about BAAM’s chorus, which is essentially Bboom Bboom sped up and simplified. For most songs, this would be an instant death knell, but Momoland’s material is more about energy than inventive construction. BAAM definitely succeeds in this regard, and is most fun when you ditch the over-analysis and crank up the volume. This is bubblegum pop at its most concentrated.