Artist Guide / Jan 2026
Micah Manaitai
Narrative, Creative & Art Direction
A comprehensive guide for collaborators. Everything you need to understand the vision, aesthetics, and approach of the Micah Manaitai artist project.
Contents
Section 01
Intro
The Thesis
Micah Manaitai is a humble craftsman of an artist. His tool is the ukulele, but his songs span all kinds of genres and musical traditions. For him, the making of every song is like directing a movie that just gets better every time you rewatch it. No ego, no cult of personality. Just you, the music, and whatever world it summons for you.
Bio
Bio Copy
Long Version
Micah 'Manaitai' Garrido is a Guam born, Los Angeles based artist whose genre-blending work combines music of the Pacific islands, soul/R&B, and pop. His cover of "Inner Voices" by legendary Guam band Marianas Homegrown launched a career of songwriting, producing and mixing for other artists like Austin P. McKenzie, and VANIA. His music also been heard in film, breaking out in 2024 with his original score for the Emmy-nominated New York Times documentary, Mas y mas y mas flores. 2025 marked the release of Micah's first score for a feature film with the award winning documentary for Nia Tero, Remathau: People of the Ocean. With a string of releases set for 2026, his newest single, "Actin' Tough," marks a turn into 80's rock and alternative.
Medium Version
Micah 'Manaitai' Garrido is a Guam born, Los Angeles based artist whose genre-blending work combines music of the Pacific islands, soul/R&B, and pop. His cover of "Inner Voices" by legendary Guam band Marianas Homegrown launched a career of producing for other artists and composing for film, breaking out in 2024 with his original score for the Emmy-nominated New York Times documentary, Mas y mas y mas flores. 2025 marked the release of Micah's first score for a feature film with the award winning documentary Remathau: People of the Ocean.
Short Version
Micah Manaitai is a Guam born, Los Angeles based artist, producer, and composer whose genre-blending work combines music of the Pacific islands, soul/R&B, and pop.
Section 02
Narrative
The Movie Pitch
Micah Manaitai is a craftsman. Each project starts with him stuck: creative block, self-imposed limitations, the shadow of what he made before. The conflict is him versus infinite creative possibility, paralyzed by his own expectations. He fights the craft, tries extreme approaches, documents the chaos. When he breaks through, he emerges transformed—but that transformation immediately creates the next block.
The real character is the creative process: sometimes adversary, sometimes collaborator, always unpredictable. Audiences tune in because they recognize the cycle—constantly feeling like you're starting from square one to find the next dimension of your creative potential.
Micah's story is honest documentation of someone who treats each song like it's the last thing he'll make, who takes the craft deadly seriously while not taking himself too seriously. The tension: will he break through this time? What version emerges next? The answer is always yes, but never final.
Archetype Blend
70% Creator / 30% Everyman
Creator
Obsessed with making, driven by vision, always working on the next thing. The craftsman who can't stop.
Everyman
Accessible, simple. Not above you—next to you. Everyone can play the ukulele
Target blend: someone you'd want to grab a beer with who also write a song that stops you in your tracks.
Story Style
Cyclical Rebirth with Internal Monsters
01
The Trap
02
The Struggle
03
The Breakthrough
04
The Rebirth
05
Shadow Returns
Primary Plot: Rebirth (Cyclical)
Micah's artistry is constantly dying and being reborn as different versions of himself. Each era/project is a transformation, not a step toward some final destination. The "shadow" is his own expectations, creative blocks, the previous version of himself.
Secondary Plot: Overcoming the Monster
The antagonist isn't the industry or gatekeepers, it's the creative process. Sometimes he fights the music, sometimes he fights himself. New monsters keep appearing.
The Comedy Element
Not a jester, but there is absurdity of the struggle. "Guy takes an instrument people associate with tiny guitars and Makes It Serious" has inherent comedic tension. Lightness from not taking stakes too seriously while taking craft deadly seriously.
What This Means
Glorifying the struggle, not just the wins. Documenting the process, the blocks, the "I tried 47 versions of this bridge." Each release framed as transformation, not a step on a ladder. The real story is artist vs. infinite creative possibility.
Stakes & Enemies
The Forces in Opposition
Self-imposed pressure
Comparison to others
Perfectionism
Disappointment with output
Burnout
Overthinking
Gear Acquisition Syndrome
The product of music itself as content
Underlying Value System
The Beliefs That Drive Everything
We believe in making music specific enough that people can see themselves in it, not music so universal it belongs to no one.
We believe intention matters—work from internal compulsion creates something fundamentally different than work optimized for metrics.
We believe artists should use platforms as tools, not blueprints.
We believe there's a path to making a living that doesn't require abandoning your vision.
We believe everyone can be an artist and everyone should be empowered to be an artist.
We believe demand for art isn't limited to what's marketable—genuine expression finds its audience.
Career Touchpoints
Contemporary Artists Who Model the Values
Artists whose public personas and output reflect aspects of what we're building—not to imitate, but to reference as proof of concept.
Target Audience
Who This Is For
The people who we hope resonate most deeply with what we're making.
Primary Audience
The people of Guam, and Guamanians/Chamorros in the diaspora tend to eagerly adopt those with roots on the island regardless of what they do. I consider this demographic to be core listeners, easy to market to, who will always be somewhat interested in the project. By proxy, many other other islanders relate to the music, particularly in Hawaii, but I do have listeners in New Zealand and Australia. The people of Oceania are who I would like to consider that the music is "for." The goal is to have an audience wider than that feel like the project is something they're finding or being included in on.
Secondary Audience
The music most often finds listenership in "non-music heads," people who maybe don't have extensive libraries or deep, archival types of music taste. Probably not your Pitchfork, Dublab/NTS, 'underground,' 'trend,' or counterculture kind of crowd. I want to appeal to people starting their journey in music, inspiring people to pick up an instrument and write their first song. If this project were a product, the product would be the idea "Hey--I can do that!"
What They Value
Hopefully, they value real people, imperfect art, the idea that they are in on something that not many people are tuned into. It might not be "cool," but it scratches the itch for authenticity in the digital era.
Where They Are
Lots of Chamorros are on Facebook and WhatsApp, but the younger generation does tend to find itself on the classic generational platforms like TikTok and Instagram. Once something catches on in the community, it spreads like wildfire.
Section 03
Visual Identity System
Typography
Crimson Text + IBM Plex Mono
Crimson Text / Display
Micah Manaitai
Crimson Text / Titles
Tumaiguini
Crimson Text / Body
Tumaiguini means "to become like this" or "this is the way", it is a song about finding peace at what feels like the end of the world.
IBM Plex Mono / Credits
produced, written, performed / micah manaitai
recorded at home / los angeles, ca 2024
mixed and mastered / micah manaitai
recorded at home / los angeles, ca 2024
mixed and mastered / micah manaitai
IBM Plex Mono / Metadata
streaming everywhere / link in bio
© 2024 micah manaitai
© 2024 micah manaitai
Usage Rules
Crimson — art/narrative: titles, lyrics, bios, storytelling
Plex Mono — technical: credits, dates, links, metadata
Never mix within same text block.
Plex Mono — technical: credits, dates, links, metadata
Never mix within same text block.
Example / Album Layout
Micah Manaitai
Sovereign - EP
An island infused space country excursion
01. I'm Coming With You
02. Lahaina Noon
03. Uncle!
04. Tumaiguini
05. All Yesterdays
02. Lahaina Noon
03. Uncle!
04. Tumaiguini
05. All Yesterdays
produced, written, performed / micah manaitai
© 2024 micah manaitai / all rights reserved
© 2024 micah manaitai / all rights reserved
Color Palette
Lush Tones + Film Warmth
Primary
#4A90C8
#5B8C6E
#E8A45D
#D96459
Secondary
#8B7355
#B8A394
#6B7C8A
#E8DDD0
Accent
#F4D35E
#EE5A6F
#7AC7C4
#9B6B9E
Neutrals
#2A2A2A
#555555
#F8F6F3
#FFFFFF
Section 03
Art Direction
Visual Output
Photography & Video
Photography
Lush tones meet film grain warmth. Bold graphics, vintage vinyl aesthetics, natural collage compositions. Saturated primaries grounded by muted secondaries, organic textures, warm analog feel even in digital capture.
Video
Documentary-like, but artful and intentional. Raw and confessional, rough and tumble, run and gun, but with a nice camera. Avoid a staged lighting feel.
Approved Collaborators
How to Work With Us
What a photographer, videographer, or creative partner needs to know walking in cold.
Core Collaborators
Your visual identity evolves through the lens of recurring collaborators. Each brings their own signature while respecting the core framework. Different eras reflect different collaborators' growth.
Sid Dueñas
Alf Bordallo
Tangerine Kimmel
Geraldine Datuin 'Sigwarz'
César Martinez Barba
Collaboration Philosophy
Trust their eye. Let them push the art visually while the music helps maintain the conceptual anchor. They bring the aesthetic evolution, you bring the thematic consistency. Different cameras, different light, same essence.
Visual Output
Social Media
The platforms the music and visual media is post on are tools, not blueprints for what we make. We don't make things for the purpose of it being content. The work is being served as content by nature of sharing it on a platform. Social media presence should serve to make the art accessible, to demonstrate that anyone can make art.
On Brand / Account References
Dylan Day
@dylnday
I love that this feels like a performance archive, like it's personal and raw.
Sam Wilkes
@s.wilkes.music
A bit more graphical, more indicative of a regularly performing musician.
Caroline Polachek
@carolineplz
I love that she shares dream journals, art that she comes across, weird stuff. Not so much the high fashion, but it all very clearly conveys her personality while accomplishing everything that an account like this should be.
Marlon Williams
@marlonwilliamssings
Probably the most middle of the road reference, but there are individual, low key performances on here that really capture what I'm going for.
Spdrtwnbby
@spdrtwnbby
I just really like her art direction, but I like that this feels like a personal account.
Lucy Park
@lucyparkmusic
This strikes the balance between feeling personal/casual, and also fostering a realistic connection with listeners.
Off Brand / Account References
Scary Pockets
YouTube
This kind of content doesn't work for me. While they are excellent musicians, it's clear that this music wouldn't follow a listener off a platform and into their life. Feels low stakes in the wrong way.
Sebastian Kamae
@sebastiankamae
Maybe it's because absolutely zero personality comes across in this account, but it communicates to me that he is a "vibe session" or a "cook" kind of producer which is not my goal. No clear art direction, no perspective.
Kolohe Kai
@kolohekaimusic
It's clear that his culture and tradition are forefront, but he feels like too much of a public figure and not a musician. Too 'people please-y.'
Soulyhad
@soulyhad
The music is cool, the content is somewhat eye-catching, but I feel like I get the music on the platform. I don't want to follow him to streaming, and it leans into clickbaity tropes that don't work for me.
Noah Rinker
@noahrinker
I just want to be conscious that everything on the account isn't a post of me with an ukulele. This account also doesn't really have any personality, I don't feel like I get to know him and it all just feels kind of homogenous.
Young Dervish
@young_dervish
I really like the music, and maybe it's not the scope of what he wants to do but it's 99% product builds and 1% original music that a listener would want to follow to streaming.
Art Direction
The Process, Not the Person
The Signature "Micah Manaitai" thing isn't me physically—it's the relationship between him, his tools, and the environment around him. The look is about creative ecosystem, not individual.
Primary Visual Anchor: Ukulele as Extension of Self
The ukulele isn't a prop—it's the tool that translates what he sees and hears into sound. Like a painter with their palette, a photographer with their camera. It should feel essential, not posed.
Secondary Elements: Audio Tools
Headphones, speakers, bits of audio gear all in service to convey that Micah experiences the world differently—hearing in color, texture, emotion. They're not fashion accessories; the audience comes to understand the artist through the tools.
Style Signature: Casual Creative Readiness
Utilitarian/working aesthetic—clean enough to be professional, grounded enough to get dirty. Movie director energy: someone who looks put-together but isn't precious about getting their hands dirty to get the shot.
Composition: Artist + Tools + Environment
Never just a portrait. Always show the relationship between artist and your instruments. Capture the moment of creation or exploration, not the announcement of it. Think of the active state of making, not the static state of "being an artist."
Do
- Show instruments in use, being played
- Capture in-process moments
- Feature audio tools (headphones, speakers)
- Emphasize process + tools
- Keep it grounded and real
Don't
- Pose with instrument like a prop
- Rely on physical signifiers (hats, etc)
- Overly styled or fashion-forward looks
- Studio glamour shots without context
- Anything that reads "influencer"
Anti-Direction
What We're Not
Sometimes it's easier to describe a vision by drawing boundaries. Here's what we are trying to avoid:
Anti-Desirability
Never position the artist as aspirational, attractive, or glamorous. Not documenting a lifestyle to envy—documenting craft to intrigue/inspire. No luxury signifiers, no flex culture, no "look at me" energy. This is the opposite of influencer culture. We're showing them that they can do work, we are not selling the dream.
Anti-Jealousy
People shouldn't want what you're wearing or where you're standing. They should want to put down whatever they're doing and go something as honest as what we're making, because ultimately we're selling the idea that anyone can do this.
Anti-Personality Cult
If someone recreated this visual world, they wouldn't dress up as Micah. They'd set up a scene: ukulele in hand, headphones on, idea being formed mid-photo snap. It's about place + process + tools, not physical signifiers.
Section 04
Consistency Framework
Framework
Constants vs Variables
Visual style can shift era-to-era, camera-to-camera, collaborator-to-collaborator. What stays constant is the core: craftsperson + tools + environment. The aesthetic evolves, the essence doesn't.
Constants / Never Changes
- Instruments always visible (uke, keyboard, tools)
- Craftsperson-at-work framing
- Anti-pose, candid energy
- Process over personality
- Crimson Text + IBM Plex Mono typography
- Color palette foundation
- Humble/honest/inspired tone
Variables / Era-to-Era
- Camera format and film stock aesthetic
- Lighting style and contrast levels
- Color grading intensity
- Specific locations
- Clothing details (always workwear, different pieces)
- Collaborator's visual signature
- Which instruments are featured
- Time of day and natural light quality
High Flexibility Zones
Camera format, color grading style, lighting approach, specific locations, time of day, which collaborator is shooting, clothing details, grain and texture levels.
Medium Flexibility Zones
Compositional approaches (wide vs tight), color palette intensity (saturated vs muted within base palette), which instruments/tools are featured (uke vs keyboard vs recording gear).
Low Flexibility Zones
Tools always visible, craftsperson-at-work framing, anti-pose energy, anti-glamour approach, typography system, process-over-personality philosophy, humble and raw tone.
The Complete System / Summary
Craftsman aesthetic. Anti-personality cult.
Typography: Crimson Text for all artistic content, IBM Plex Mono for all technical credits. Clear hierarchy between emotion (serif) and function (mono).
Color: Saturated primaries mixed with muted secondaries, punctuated by rare accent colors. Always anchored by warm neutrals. Never pure black or white.
Art Direction: Process + tools. Ukulele always visible, in use. Headphones/speakers show sonic world. Utilitarian styling/workwear aesthetics. In-process, not posed.
Consistency: Constants never change (tools visible, anti-pose, craftsperson framing, type system, humble tone). Variables evolve era-to-era through collaborators' eyes (camera format, lighting, color grading, locations). Hard rules: never glamorous, never aspirational, never luxury signifiers.
The aesthetic evolves. The essence doesn't.
Typography: Crimson Text for all artistic content, IBM Plex Mono for all technical credits. Clear hierarchy between emotion (serif) and function (mono).
Color: Saturated primaries mixed with muted secondaries, punctuated by rare accent colors. Always anchored by warm neutrals. Never pure black or white.
Art Direction: Process + tools. Ukulele always visible, in use. Headphones/speakers show sonic world. Utilitarian styling/workwear aesthetics. In-process, not posed.
Consistency: Constants never change (tools visible, anti-pose, craftsperson framing, type system, humble tone). Variables evolve era-to-era through collaborators' eyes (camera format, lighting, color grading, locations). Hard rules: never glamorous, never aspirational, never luxury signifiers.
The aesthetic evolves. The essence doesn't.