Drawing from a transnational and multi-sited auto/ethnographic sampling of queer Sinophone karaoke culture, this paper explores the performance of A-Mei, a Taiwanese popstar commonly referred to as the “Queen of Mandopop.” A-Mei is a prominent advocate of LGBTQ+ rights and her oeuvre serves as the soundtrack to queer nightlife in Taiwan and across the Sinophone world. I argue that in addition to common readings of A-Mei’s queer fandom as a form of identification with her persona, the non-ideal slippages inherent to the practice of karaoke suggest the untenability of such identification. Rather, karaoke’s propensity for inexact replication offers its queer slippages as a unique form of “karaoke decorum” (Lum 1996), or what Karen Tongson refers to as “an obfuscation of originals through copies of copies” (2022, 211). I argue that it is within the non-ideality of karaoke that we might locate its queering potential outside of the representational terms of identity. Specifically, this queering potential can be thought through karaoke-goers’ non-signifying vocal enactments as they imbricate over space and time. I follow Annette Schlichter’s postulation that an investment in signification results in “the repression of the voice” (2011, 39) to suggest that the slippages of karaoke-goers’ imitations of A-Mei result in affective resonances that assert an autonomy in their own right. Queer-identified Sinophone karaoke-goers perform A-Mei’s songs not only as a form of referentiality to A-Mei herself but also as a form of pathos sounded out through “belting” or “roaring” that exceeds the original. I conclude by suggesting that these collective enactments can be understood as a palimpsest that accumulates within yet exceeds the four walls of a KTV (i.e. private karaoke room), resonating beyond the singularity of body, subject, and geography to link the queer Sinophone world.