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Idol Hands

This project started with an observation about where capitalism and artistry meet, specifically in the music industry. K-pop shows it more clearly than anything, and KATSEYE shows it most of all. The group was built by HYBE and Geffen, and in every way that matters, it belongs to them. The members are treated less like artists and more like assets, there to make money for the labels behind them. It's one of the most public examples of this I can think of.

The six members of KATSEYE posed together on a purple carpet beside a crate of records
KATSEYE. Image belongs to its owners.

But the bigger subject is the enshittification of personality and culture, usually with venture capital behind it. We see it in food, with Wonder, Sweetgreen, Naya, Just Salad, Chopt, Avo and a million salad places that all feel like the same place.

The Sweetgreen logo: lowercase sg on dark green
Sweetgreen
The Naya logo: white block letters on green
Naya
The Just Salad logo on blue
Just Salad
The Chopt logo: white capitals on teal
Chopt
The Avo logo: white lowercase letters on green
Avo
The Wonder logo: cream script on dark green
Wonder
Spot the difference.

We see it in the things we carry and wear. Away and Monos sell the same suitcase. Quince, Everlane and Outdoor Voices sell the same calm, beige basics on the same sunny grass. And fast-fashion Instagram brands chase trends that last a week.

A slate-blue Away carry-on with horizontal ridges and a black handle
Away
Three olive Monos suitcases with horizontal ridges and black handles
Monos
Spot the difference: Away and Monos.
Three people in neutral sweaters lying in tall golden grass
Quince
Two people in denim hugging on a lawn
Everlane
Two people in activewear pulling each other across a field under a blue sky
Outdoor Voices
Spot the difference: Quince, Everlane and Outdoor Voices. Brand images belong to their owners.

And now we see it in music: songs that sound like they could have been AI-generated, slick and frictionless, built to land with kids and to generate revenue.

That's my take. I find it strange how we've commoditized art into something that feels sterile yet still consumable. We've moved away from artistry toward whatever the focus group says will sell.

So this machine skips the pretending. Every song is three words. Every song is the same four chords, just rotated. While you sing, the screen counts TikTok views and shareholder value. And the score at the end isn't how well you sang. It's how much of the performers the label owns.

The form came from the same place. A karaoke machine running on a handful of simple chords felt like the right vessel, and it pulls from everything I love about pop's shinier corners: disco, hyperpop, kawaii culture and the polish of K-pop idols. In Korea and Japan, karaoke is its own nightlife, from noraebang to karaoke boxes, and I wanted this to carry that same nostalgic twang: a silver CRT, scanlines, and lyrics wiping across the screen in a dark room with your friends.

Karaoke lyrics on an old silver TV in front of a purple velvet curtain A ring of four-point stars on black, like a VHS star wipe A pink and black Japanese book cover with vertical type Rhinestone fishnets and jewels catching the light on pink A mirrored disco with a lit, rainbow glass dance floor A tunnel of glittering stars A singer at a mic on a small stage washed in green light A glowing blue and pink neon grid rushing forward Double-exposed film of a disco ball and club lights A ring of blue light bursting outward A hand-lettered club poster with looping orange and pink shapes Rainbow bokeh and crescent lights on film An airbrushed 1980s Japanese TV-city poster with a singer and neon sign
The moodboard: karaoke rooms, disco floors, VHS star wipes and Japanese print. Found images; all rights belong to their owners.

Everything here is made in your browser: the words, the beat, the melody, the tunnel of light. No samples, no recordings, no borrowed voices. Like a real karaoke machine, it plays the track. You do the singing.

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