In Atlanta, Katseye tries to conquer global pop without a worldly vision

How did Katseye become the world’s biggest girl group?

On paper, the answer is simple.

The sextet (comprised of Atlanta native Daniela Avanzini, Lara Raj, Yoonchae, Megan Skiendiel, Sophia Laforteza and Manon Bannerman), representing various countries (Cuba, Venezuela, America, India, South Korea, Philippines, China, Singapore, Switzerland), is an experiment birthed from the 2023 reality competition show “Dream Academy.” Katseye’s meteoric rise has been fueled by two label giants: South Korea’s Hybe and Universal Music Group’s Geffen Records.

The goal? Creating a formidable, K-pop-inspired girl group diverse enough to appeal to anyone, with the TikTok flair to match. Alas, their chart-topping songs have the identity of no one at all.

One theme underscored their Atlanta concert Thursday night: Katseye, with a legion of young girls (most younger than 16) behind them, is long on talent and short on sonic expansion. They’re still figuring themselves out. And that’s OK — for now.

Ahead of the show, Katseye’s Gen-Z prowess reigned. Streamer Wardrobe filmed near the box office. Accompanied by their game parents, kids sang Katseye songs in line while shooting video of themselves on their phones.

Inside, the momentum quickened. Kids did TikTok dances from their seats. Moms, also dressed in Katseye gear, earned cool points by joining their children in the “Pinky Up” hand motion. Dads held their daughters’ merch as if they were personal assistants. And this was before the show even began.

At 8:20 p.m., Katseye, temporarily a quartet (Bannerman and Laforteza are on hiatus for mental health reasons), hit the stage to screaming girls so loud that you can safely assume they wish they were official members of the group. The act opened with “Hootie Frutti,” a song that’s as chaotic as its namesake. This was followed by “Internet Girl,” an equally wonky, made-for-TikTok track that sounds like anyone can sing it.

The opening set the tone for most of the night: prosaic hyper-pop that feels all too familiar.

But there were, albeit brief, signs of the group’s potential.

Avanzini, the group’s best dancer who attended Sandy Springs’ Riverwood International Charter School, was first to showcase her individuality. Before a dance solo to “Gabriela,” Katseye’s biggest song to date, the 22-year-old invited her mom to the stage in what became a heartwarming moment that further displayed Avanzini’s Latin flair.

“She’s the reason why I’m here tonight,” she said of her mom, her first dance teacher.

Avanzini’s dance moves were both infectious and impressive, adding to the it-girl energy resonating throughout “Gabriela.” Katseye capped the performance with more dancing, but this time with Cuban-inspired moves while wearing flamenco-style skirts.

For “Pinky Up,” the crowd went wild, turning State Farm Arena into an ultimate dance party with thousands of glow sticks hoisted in the air. Yoonchae, who regularly thanked all her South Korean fans, delivered beautiful vocals for her lead on “I’m Pretty.”

Later in the concert, the group returned the ample love from the “eyekons” (as Katseye followers are called) with “Time Lapse,” dedicating it to their fans. For 10 minutes, the group stepped into the crowd and greeted their supporters. But before they began, Katseye shared an important message.

“We don’t want an injury,” Skiendiel said while gently advising the audience not to overcrowd them.

It was a longer-than-normal interaction that reiterated Katseye’s deep connection with their fans. That passion especially inspired one “eyekon,” who proposed to his partner on the spot.

Another shining moment arrived for Raj’s solo. She’s the best singer in the group, as established by her performance of “Unloveu.” A recent track that Raj wrote about a teenage heartbreak, “Unloveu” is the group’s best song. Its melodies are complex and catchy. Its chorus is cleverly constructed, ditching Katseye’s formulaic pop patterns. When performed live, Raj’s soprano is triumphant.

“Unloveu” possesses a sound Katseye should not drift too far from as it powers at warp speed forward.

The rest of the show was a return to Katseye’s lazy pop hooks, as heard in “Bel Air” and “MIA.” At 10 p.m., the group ended the show with “Gnarly,” another disorderly bop that somehow became a hit song.

For an act of young women all under the age of 25 (with two of them hitting pause to focus on their mental health), navigating the immense pressures of pop stardom must be a hefty burden. And not having it all together is understandable, especially when backed by a label machine that’s doubtlessly still trying to get a handle on the sensation they signed.