Mikky & The Doom is not just an artist, it’s a reclamation spell in glitter, guitars, and guts. Fronted by Marijke Boers (Mikky), a Jacksonville, Florida raised artist now based in Austin, Texas, the project is a collision of pop punk, indie rock, and raw theatricality. 

 

The Doom part of the equation is an incredible web of creatives in the studio, on stage, behind the camera, etc making it more of a music & art cult than a traditional band. “I am my Doom,”  says Mikky, perpetually engrossed in self-discovery. “To truly free yourself you must doom what holds you back.” Her sound blends sneering glam and sharp lyricism with cartoonish edge and gut-punch hooks, a sonic exorcism for anyone who's ever felt too loud, too tender, or too much. Think Joan Jett raised on South Park, voiced by a misunderstood villain from a Saturday morning cartoon.

 

Mikky’s personal mantra, “follow the fun,” has led her down beautifully strange roads. Before committing to music full-time, she was a rising star in musical stand-up, finishing as a semifinalist at the 2020 San Diego Comedy Festival and gaining 55k followers and millions of views on TikTok. She even got an opportunity to audition for SNL. When the pandemic derailed live performance, she threw herself into animation, climbing from production coordinator to producer to director to head of the voice over department of 31 Emmy-winning studio, Baboon Animation, while lending her voice to characters in projects that now live on Amazon Prime, BBC, Peacock, and Disney+.

 

But every villain has an origin story… before “Mikky” there was Marijke.

 

Marijke grew up in a preppy household in Florida. Her early years were steeped in structure, expectation, and a quiet expectation of perfection. Then in 2008 the recession hit, and everything unraveled. Her family lost their home. They liquidated what they could and sold most of their belongings. The day-to-day was filled with uncertainty, vicious arguments, and a constant state of stress. Her sister attempted suicide. Her parents divorced. The life she knew splintered, and in the wreckage, Mikky appointed herself the emotional glue. She convinced herself that if she became the “golden child,” she could lighten the load. She swallowed her own needs to keep the peace, internalized everyone else’s vision for her life, kept quiet about a traumatic sexual assault, grit her teeth and smiled even when things felt unlivable. 

 

Music and tennis became her escape hatches and her only path to a college degree. She hustled her way to a Division I tennis scholarship and academic scholarship at George Mason University and earned a degree in Music. As a high schooler, she bartered years of time and labor as an assistant to a former professional tennis player in exchange for coaching she couldn’t afford. That coach was generous, but also harsh and unyielding, and got a kick out of humbling people. He instilled in her a “beat-dog” mentality of relentless gratitude and confidence-killing perfectionism.

 

Marijke is putting down the beat dog with Mikky & The Doom. Her music is messy, loud, and ruthlessly authentic. It's poetry with a punch, storytelling with eyeliner and bite. She writes about lust, burnout, self-love, rage, heartbreak, and rebirth. Songs like "Melt" explore what happens when you shatter the myth of the “good girl” in favor of your own wholeness: You can only truly spread light when you start protecting your own fire.

 

As Mikky grows into herself, her writing has become as feral as her stage presence. Take “Small Men,” rage-ridden and snarling, it’s one of her signature live moments. “I will be your judgement day, got time to kill so start to pray,” she hisses, a she-demon breathing fire. “Did you think that I’m a sucker? I know better, motherfucker.” The track is a curse on those who mistake kindness for weakness, born from the realization that much of her life’s chaos came from ignoring red flags and abandoning boundaries, especially with men. It’s the sound of the thoroughbred people-pleaser finally breaking, of someone raised to believe softness and self-sacrifice could keep the boot off her neck finally spitting, "Gloves are off, boys. Fuck around and find out."

 

Mikky’s viral musical celebrity impressions caught the eye of Emmy-winning composer, songwriter/producer, multi-instrumentalist, Jacob Bunton, who built the perfect sonic cocoon, tense, shifting, and constantly pushing forward. “We wrote 10 songs in 2 weekends,” she recalls. “Working with Jacob is like songwriting bootcamp, fast-paced and instinctual, treating every section like it’s the chorus, always pushing for something better.” Together they created her debut album Dame Doom, each track a chapter in her villain origin story, burying the “beat dog” starving for approval and replacing her with a self-possessed, unapologetic force.

 

On stage, she’s unscripted and feral. Her shows are sweaty, sparkly declarations of chaos and catharsis, celebrations of queerness, weirdness, and the right to take up space. She’s opened for artists like Kelsey Carter and Ella Red, played SXSW and Hot Luck Fest, and continues to build a world where it's safe, and cool, as hell to be your full, messy self.

 

Every song is an act of self-rescue. Every show is a rebellion. And Mikky & the Doom is living, screaming proof that weird girls who can find the fun in a burning world grow up to make the loudest, truest noise in the room.