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  • Bamboo Returns with “Alon” After 11 Years

    Bamboo Returns with “Alon” After 11 Years


    On October 26, 2026, inside the PolyEast Records office in Quezon City, the room filled with the familiar vibe of a media conference, cameras, microphones, and the quiet anticipation that only comes when an artist who has stayed deliberately quiet decides it is time to speak again. Bamboo Mañalac, whose voice powered anthems like “Noypi,” “Hallelujah,” and “Tatsulok,” signed a renewed partnership with the label through its sub-label filtered music. Then he stepped forward with longtime collaborators Ria Osorio on keys and Ardie de Guzman on guitar and delivered a live performance of his first new solo single in eleven years: “Alon.”



    Bamboo’s last solo album, Bless This Mess, arrived in 2015. Before that came No Water, No Moon in 2011. In the years between, he never disappeared, he toured, collaborated, and spent time mentoring young singers on The Voice Kids. But new recorded material waited. The reason, he explained, was straightforward and personal.


    “It’s just 11 years passed because it’s just about my life, right? I had priorities with my family,” he said. “Because with having a family, you only get to live these moments once, right? I didn’t want to miss these moments. I thought they were crucial for me.” The time away, he added, also changed him. “And so that made me, I hope, a better person, right? Giving that pause away from work and whatever, and just finding the time to be back.”


    He described the deliberate act of hitting pause in an industry that rarely rewards it: “In the helter-skelter pace of working in music, you have to deliberately keep hitting that pause button, ask yourself what’s real and reflect on purpose.” Even his manager questioned the timing when the song finally felt ready, “Why, after all these years? Why put out something like this?” Bamboo’s answer was simple: it felt right. “It was the right song at the right time. It felt right for me.” He was not chasing trends or filling a release calendar. “It’s about an emotion, what I feel. For me, it’s about riding your own wave, right? So we’re not following something. It’s about creating something that means something to me.”


    “Alon”, Tagalog for “wave”, was written by composer and keyboardist Ria Osorio, who has said she had Bamboo in mind when the song arrived. She later described his voice “bugging me and I couldn’t sleep” the words came, especially lines that seemed to arrive already in his timbre. “His voice wrote in my head”, she added. The track took years of back-and-forth: revisiting demos, adding sections, testing arrangements, and refining the mix and master until it matched what Bamboo wanted to live with. He refused a traditional full-band rock treatment.


    “I feel the pain of the song, the emotion, pero I don’t accept it as a sad song,” Bamboo has said. “I accept it as a song as if I’m resisting sadness.” The lyrics move between personal ache (growing older while still feeling young at heart, holding on when love has shifted) and something broader. During the recording process, the song began to feel like commentary on “what’s happening in our country” and the larger world: anxiety, frustration, the sense of issues without clear light, and the need to figure things out together. Lines such as “Alon, umaalon, nalulunod na ako. ‘Di makatulog, binabangungotm Ginigising ng lungkot” captured that weight for him. Social commentary has long been part of his work; he sees himself as a witness who refuses pure doom. “I’m sort of that figure here. I won’t accept the status quo, this doom and gloom. It has always been about hope and the idea of change… and I’m never going to let go of that optimism.”


    He hopes listeners feel an emotional tie, that even with different lives and circumstances, they share values and the sense of not being alone. The single is framed as the start of something, not a definitive statement: “This is just the beginning again. A blank slate, and we’ll see again. Di ko rin alam eh, which I love.”


    At the same media conference, Bamboo offered a glimpse of where his evolution might lead. When asked about the trend of turning artists’ catalogs into stage musicals, he revealed that a music-industry friend from New York had already pitched the idea. His first reaction was disbelief, “You’re crazy, that’s not my forte.” But he gave the friend room to develop it and has since said he is open, even to appearing in it himself if the concept feels right. “I told him to go. I decided I’m game… but it depends on the idea. We’re not there yet, but from what he said, it implies that I’ll be there as well. I want to be surprised.”


    That openness fits his current view of artistry. “As an artist, you just want to grow. You go where you can grow. This is about change, reinvention. I never pictured myself doing this for a lifetime being that same character all the way. You have to be like a chameleon, you have to develop, you have to evolve.” He is also navigating the newer tools of the industry with characteristic candor, leaning on younger label colleagues to understand social media and TikTok, and treating AI as a potential tool only if it creates something that surprises rather than something generic.


    Throughout the conversation around “Alon,” Bamboo returns to a grounded joy. “I choose to live with a lot of joy these days. I choose to be with people who I like to be with. It’s the best job in the world because I get to play with friends.” He has enough songs in the vault and no interest in rushing the next one. “Let me do my thing. That’s all I ask.”


    “Alon” is now streaming on major platforms. For listeners who have waited through the years of family first, tours, and quiet reflection, the single arrives as something lived with rather than manufactured for the moment, a wave Bamboo is riding on his own terms, with the same voice that once led a generation, now shaped by the life he refused to miss. Until the next one.

  • THEATRE GROUP ASIA ANNOUNCES EIGHT ACTRESSES JOINING LEA SALONGA IN ANG TAHANAN NI BERNARDA ALBA

    THEATRE GROUP ASIA ANNOUNCES EIGHT ACTRESSES JOINING LEA SALONGA IN ANG TAHANAN NI BERNARDA ALBA

    November 1, 2026 — Theatre Group Asia (TGA) announces the eight actresses joining Tony Award winner Lea Salonga in Ang Tahanan ni Bernarda Alba, its upcoming staging of Chay Yew’s adaptation of Federico García Lorca’s classic drama, translated by Guelan Varela-Luarca. The production opens in February 2027 at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati.

    Salonga takes on the title role of Bernarda Alba, a formidable matriarch whose iron rule over her household sets the stage for a tense struggle between tradition and the desire for freedom. Joining her is an ensemble of accomplished stage and screen performers, and a new generation of artists making their mark in Philippine theater, film, and television.

    Veteran performer Sheila Francisco plays María Josefa, Bernarda’s elderly mother, whose words reveal truths the rest of the household struggles to articulate. A celebrated stage and screen actress, Francisco received a Gawad Buhay Award for Best Featured Actress for her portrayal of Justice Hernandez in Bar Boys: A New Musical and played Tiya Dely in Ang Huling El Bimbo. Her screen credits include Leonor Will Never Die, while her international theater work includes becoming the first Filipina to perform at London’s National Theatre in South Pacific, later joining its UK tour as Bloody Mary.

    For Francisco, María Josefa is particularly compelling because, as she puts it, “She’s the only one who can actually verbalize exactly what the other women are feeling.” Francisco also sees the play’s resonance in its portrayal of Filipino family dynamics, particularly the influence of matriarchs. Recalling her first encounter with the story, she says, “Akala ko, dito talaga story na ’yan sa mga Pilipino, because it’s so relatable to us with how strong the matriarch is here in the Philippines.”

    Bernarda’s five daughters each embody a different response to the expectations imposed on them.

    Maita Ponce, a renowned musical theater performer, plays Angustias, the eldest daughter. Her extensive credits include Orosman at Zafira, Jesus Christ Superstar, and Avenue Q in California. She received the 2025 Manila Society of Theater Reviewers Award for Best Performance of a Lead Actor in a Musical for Si Faust! After Goethe and spent six years performing in Cirque du Soleil’s X: The Land of Fantasy in Hangzhou.

    Ponce is drawn to the complexities beneath Angustias’s conventional characterization, questioning whether she is simply the plain, bitter eldest sister. “Maybe she’s a lot more complex than that,” she quips. She also points to a troubling contradiction in a society where women may lead households while continuing to uphold patriarchal expectations. “What makes it scary is even if we’re a matriarchal society, the standards women impose on one another are fundamentally patriarchal,” she explains.

    Toni Go-Yadao plays Magdalena, the second daughter. A senior member of Tanghalang Pilipino’s Actors Company, Go-Yadao also serves as co-festival director of Virgin Labfest XXI. Her performance work has earned recognition for Balete and Kisapmata, and she received a 2024 Asian Cultural Council fellowship for theater directing and devising.

    Go-Yadao sees Magdalena as a woman who supports her sisters while navigating her own place within the household. The role offers an opportunity to explore how women find and assert their voices within restrictive environments. “Magdalena offers an interesting perspective on the family because she is both part of the sisters’ world and someone who must find her own place within it. I look forward to exploring her relationships with the other women and how she navigates the expectations placed upon her.”

    Maronne Cruz, an IT girl and stage performer, takes on Amelia, whose reserved nature contrasts with the stronger personalities she often portrays. Her theater credits include Hair, Waitress, The Band’s Visit, Ang Huling El Bimbo, and Ako si Josephine. She has also lent her voice to the Filipino-language versions of KPop Demon Hunters, Work Later, Drink Now, and Blind.

    For Cruz, Amelia offers an opportunity to explore the inner world of a quieter character while taking on the challenge of performing a Filipino classic. “Amelia is more reserved than the strong characters I usually portray, so I’m excited to explore her inner world and bring that side of her to the stage,” she shares. The role also marks her first performance in a Filipino classic, allowing her to engage with the work’s layered Filipino text.

    Mikaela Regis plays Martirio, approaching the character with an emphasis on empathy rather than judgment. Regis has appeared in A Chorus Line, Shrek The Musical, Delia D, Mula sa Buwan, and Bar Boys. She holds degrees in Creative Writing and English Literature from Ateneo de Manila University and received a Gawad Buhay nomination for Best Original Script for Unica Hijas.

    Rather than portraying Martirio simply as a difficult figure, Regis hopes to illuminate the circumstances and emotions that shape her. “I want to understand Martirio without judging her and portray her as a human being who is struggling, rather than simply as a villain,” she says.

    Gabby Padilla portrays Adela, the youngest daughter, whose yearning for freedom brings her into direct conflict with her mother’s authority. Known for her performances in films including Gitling, Billie and Emma, and Kono Basho, Padilla won Best Actress at the 2024 Cinemalaya Philippine Independent Film Festival for Kono Basho. Her theater credits include I Love You, You’re Perfect, Now Change and Tiny Beautiful Things.

    Padilla first encountered Bernarda Alba while watching senior theater students rehearse and has long been drawn to the work’s atmosphere, silences, and writing. She sees Adela as both bold and wise beyond her years for recognizing that she need not accept the life prescribed for her.

    “I think she is also wise beyond her years to know that she can resist and to know that there is a life beyond what her sisters have already accepted for themselves,” Padilla shares.

    The household’s two maids offer perspectives shaped by their proximity to the family and their intimate understanding of its conflicts.

    Frances Makil-Ignacio plays Poncia, Bernarda’s longtime servant and confidante, whose familiarity with the household gives her a distinctive understanding of its tensions. One of the Philippines’ most celebrated theater actresses, Makil-Ignacio has built an extensive career across stage and screen. She is known for playing Mama Josie in GMA’s Mundo Mo’y Akin and has worked across productions for ABS-CBN and TV5. She has also performed in a previous staging of Bernarda Alba, bringing valuable familiarity with the play to her portrayal of Poncia.

    Describing Poncia as “one of the most human” characters in the play, Makil-Ignacio looks forward to exploring the many layers of her relationships with Bernarda, the daughters, and the other members of the household.

    Jam Binay portrays Blanca, the household’s second servant. Her theater credits include Spring Awakening, Next to Normal, and Bar Boys: A New Musical. A graduate of Ateneo de Manila University, where she earned degrees in Theatre Arts and Communication, Binay sees the play’s examination of patriarchy as particularly relevant.

    “Expectations can persist even in a household where men are absent,” she observes. “Through Blanca, I look forward to exploring the character’s place within the family and the dynamics that shape the sisters’ relationships.”

    Through the women of the Alba household, Ang Tahanan ni Bernarda Alba examines the tensions between authority and independence, tradition and change, and the expectations families and society impose on women. Rooted in Lorca’s original work, the Filipino adaptation brings these enduring questions into a cultural context where strong matriarchs’ influence coexists with persistent patriarchal structures.

    The production continues TGA’s commitment to presenting distinctive interpretations of major works to Philippine audiences, following productions including Request sa Radyo, Into the Woods, A Chorus Line, and The Notebook: The Musical.

    Ang Tahanan ni Bernarda Alba will be staged in February 2027 at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. As of this release, only 15% of tickets remain. Tickets are available exclusively through. TicketWorld.

    Presented by Ayala Land and Theatre Group Asia, Ang Tahanan ni Bernarda Alba is the second offering of TGA’s 2026–2027 Season of Power, with additional support from BPI and Philippine Airlines.

    For more information, visit www.theatregroupasia.com, follow TGA on Instagram at @theatregroupasia, or visit TGA’s Facebook page.

  • Ogie Alcasid musical Kailangan Kita to premiere in May 2027 at Newport World Resorts

    Ogie Alcasid musical Kailangan Kita to premiere in May 2027 at Newport World Resorts

    Newport World Resorts announces Kailangan Kita: An Ogie Alcasid Musical, a new original Filipino musical featuring the songs of acclaimed singer-songwriter Ogie Alcasid, opening in May 2027 at the Newport Performing Arts Theater.

    Staged with PETA Plus, the production is directed by Ian Segarra and Johnnie Moran. The concept is by OPM icons Ogie Alcasid and Regine Velasquez-Alcasid, with the book written by playwright Eljay Castro Deldoc.

    The upcoming musical was unveiled during the closing show of Bongga Ka, ’Day!: The Annie Batungbakal Musical on October 31, 2026, at the Newport Performing Arts Theater. The announcement featured a special teaser performance of a medley of Ogie Alcasid’s hits, “Kailangan Kita,” “Hanggang Ngayon,” and “Dito sa Puso Ko,” performed by Ethan David, Sheena Belarmino, Poppert Bernadas, Tep Logmao, Mark Gil, Rapah Manalo, Stephen Viñas, Yna Arbiol, Beng Turiano, Jannah Baniasia, and Iya Villanueva, offering audiences a first preview of the musical ahead of its 2027 premiere.

    Kailangan Kita follows Roger Kundirana, a once-popular singer-songwriter who has given up on music and wants his only daughter, Himig, to do the same. To him, a life in music means no money, no future, and a family left picking up the pieces. Then he meets Arlene, Himig’s music teacher, and something long buried in Roger begins to sing again. She becomes his new muse, awakening the possibility of creating and dreaming again.

    All the while, they live with the uneasy possibility of The Big One, the massive earthquake the city has long been warned could come at any time. As Roger begins rebuilding a life he thought he had left behind, another arrival threatens to shake the fragile ground beneath him and Himig, forcing them to confront what they have been trying to protect and what they may ultimately have to let go.

    Kailangan Kita: An Ogie Alcasid Musical is a production of Newport World Resorts, in association with ATeam PH, VIVA Communications, and The Philippine STAR. Further announcements on casting, ticketing, and additional production details will follow.

    Learn more about the artists and the production through Newport World Resorts (@newportworldresorts), ATeam PH (@ateam_ph) VIVA Communications Inc. (@vivaartistsagency), and The Philippine STAR (@philippinestar) on Facebook, Instagram, and TikTok. Sign up for the waitlist now via https://premier.ticketworld.com.ph/shows/show.aspx?sh=PHWAITL7 to be the first in line for tickets.

  • Lorenzo Jan Explores Love, Music and Shared Dreams in New Single “Ngayong Gabi”

    Lorenzo Jan Explores Love, Music and Shared Dreams in New Single “Ngayong Gabi”

    Manila, Philippines – Following his previous release, rising alt-pop artist Lorenzo Jan returns with “Ngayong Gabi,” a dreamy and atmospheric new single that captures the magic of finding someone who shares the same passion for music and the courage to chase a dream together. 

    Blending synth-pop, dream pop, and indie influences, “Ngayong Gabi” features hazy textures, atmospheric synths, and wistful melodies that create an intimate and immersive listening experience. Its sound combines emotional rawness with a dreamy indie-pop atmosphere, offering listeners a fresh take on modern Original Pilipino Music (OPM). 

    Inspired by Lorenzo Jan’s personal journey through Billboard, Wish 107.5, and his experience of signing with a record label, the song tells the story of two creative souls discovering a connection through their shared love for music and performing. Despite the uncertainties that come with pursuing their ambitions, they find comfort and inspiration in having someone beside them. 

    The line “Sa pag-indak ika’y kasama, pati na rin ang mga bituin ngayong gabi” reflects the song’s central message: the beauty of dancing through life with someone who believes in the same dream. 

    With “Ngayong Gabi,” Lorenzo Jan continues to explore his musical identity, delivering a heartfelt track for dreamers, music lovers, and anyone who believes that the journey becomes more meaningful when shared with someone special. 

    “Ngayong Gabi” is now part of Lorenzo Jan’s growing musical journey under KDR Music House, bringing his distinctive sound and personal storytelling to the evolving OPM scene. 

  • BINI, HANA, and 4EVE unite for four shows across Japan, Thailand, and the Philippines!

    BINI, HANA, and 4EVE unite for four shows across Japan, Thailand, and the Philippines!

    ABS-CBN, BMSG, AND XOXO ENTERTAINMENT JOIN FORCES TO TAKE ASIAN POP TO WIDER AUDIENCES!

    The Philippines’ ABS-CBN, Japan’s BMSG, and Thailand’s XOXO Entertainment have joined forces for the inaugural “ASIA POP GIRL FEST 2027,” bringing together three entertainment companies and three leading girl groups to champion Asian pop music beyond their home markets.

    Featuring the Philippines’ BINI, Japan’s HANA, and Thailand’s 4EVE, the collaboration connects the P-pop, J-pop, and T-pop scenes through four shows across three countries. The festival gives each group a platform to introduce its music to the others’ fans, supporting the partners’ shared ambition to bring Asian talent to wider audiences around the world.

    The partnership brings together the companies’ experience in artist development, music production, and entertainment, with BINI, HANA, and 4EVE showcasing the talent emerging from their respective markets. 

    “ASIA POP GIRL FEST 2027” opens with two shows on January 22 and 23 at LaLa arena TOKYO-BAY in Chiba, Japan. It then heads to BITEC LIVE in Bangkok, Thailand, on February 13, before concluding at the SM Mall of Asia Arena in Manila, Philippines, on February 19.

    For ABS-CBN, the collaboration provides another international platform for Filipino music through BINI. The Philippine content company produces entertainment across television, film, digital platforms, and music, and develops homegrown artists for local and international audiences. Dubbed the nation’s girl group, the eight-member BINI debuted in Coachella this year and is now on its second world tour called “Signals.” 

    Tokyo-based BMSG brings its experience in artist management, music production, and creative development. Its roster includes BE:FIRST and HANA, the seven-member girl group that debuted in April 2025 and already scored four No. 1 hits on the Billboard Japan Hot 100, including the single “ROSE.” 

    Thailand’s XOXO Entertainment focuses on T-pop and artist development. Launched in 2020, the label introduced the seven-member 4EVE that same year and has supported the group’s growth at home and its expansion into international markets via festivals and their English album “Glow.” 

    Through “ASIA POP GIRL FEST 2027,” the three companies are creating opportunities for fans to discover artists from neighboring countries—building connections across Asian music communities and helping their artists reach further.

  • YGIG: A P-Pop girl group nearing their 4th-year anniversary. Baddies.

    YGIG: A P-Pop girl group nearing their 4th-year anniversary. Baddies.

    YGIG has introduced themselves as P-Pop’s resident baddies overflowing with city it-girl energy. This four-member girl group composed of VIEN, HAZELYN, JEWEL, and MAEG, redefines what it means to be cool and confident. With music that reflects their carefree mindset, they pull audiences in with their magnetic charisma and unapologetic aura.


    Before they came to their carefree identity, they endured a four-year journey that built their passion and resilience as they actively choose to continue to pursue their dreams. That passion effectively translates to how the group carries themselves on stage, with a grit that demands the audience to recognize their rightful place in the industry. The rising artists of fearless Filipino Pop.


    With their name, YGIG, standing for “You Go, I Go,” the group has been ready to go through whatever life throws at them since they debuted on November 25, 2022. They continue to prove that they live up to their name as they restlessly pour their passion into every aspect of their journey. YGIG, forever going places that reach all corners of the world.

    Good To Go Your New Power Anthem

    YGIG WANTS YOU TO TAKE THE NEXT STEP WITH GOOD TO GO


    Back in November 2025, YGIG threw the whole world a party with their much awaited return. After a lengthy hiatus, the girl group made their comeback with a double single, “Chicka-Chick-A,” and “lyk that.” Being their first official music release as a four-piece, the era served as the perfect opportunity to rebrand, labelling it the launch of “The New YGIG.” A concept that refers to the group’s more authentic selves—a declaration that defines the word “baddie” as anyone simply brave enough to be themself.


    Almost a year later, YGIG gets realer than ever with Good To Go. With almost four years into their career, YGIG’s journey has been anything but easy. Debuting as a seven-member group back in 2022, the quartet is no stranger to life’s difficulties and challenges. But every setback only urges them to continue taking a step forward—and Good To Go is all about taking that next step.


    Good To Go is an upbeat dance track in true baddie YGIG fashion; written by the members themselves, laid over the hard-hitting beats are lyrics that reflect their passion and determination to continue running towards their dreams. It is the culmination of four years’ worth of hunger to reach the spotlight. Deeply personal to the group, if Chicka-Chick-a was an introduction of their new identity; then Good To Go is a look back on the journey they’ve taken together. A promise that the next step they will take is also in sync.


    Fighters in their own right, YGIG wants their audience to feel as fueled and motivated as they are. Good To Go is all about channeling that urge to keep moving forward. Dubbed as a “power anthem,” this track aims to show a more intense side of YGIG, imparting to the listeners their infectious electric energy. It wants you to keep going. The soundtrack of a routine that will have you running beyond your goal. Because as much as this song is a personal release of passion for the group, it is also a relatable motivational track that gives you strength to face life’s uncertainties. When push comes to shove, this anthem breaks through any ounce of hesitation.


    Wherever you go, I go. So as YGIG takes one step forward, they are bringing us along in moving onward
    with them.

    n the music video for Good To Go, YGIG takes on the role of modern action women as a representation for their fighting spirit. Moving forward isn’t as easy as it sounds, but the group has always found a way to fight their way through any obstacles that appear in their path. An interesting twist to visualize a personal struggle, the members opted to do their own stunts to compliment a powerful choreography to show the audience a side of YGIG no one has ever seen before. Baddies have baggage, but they’re carefree enough to dance with it anyway.


    YGIG is ready to move forward.
    Are you good to go?

  • Park Jinyoung Brings His First Solo Concert Tour [CODE#] to Manila This December

    Park Jinyoung Brings His First Solo Concert Tour [CODE#] to Manila This December

    The GOT7 member and acclaimed actor enters a new chapter of his musical journey with a concert that puts his individual artistry, evolving sound, and years of experience in the spotlight.

    For PARK JINYOUNG, the stage has always been more than a place to perform. It is where his musical identity first took shape, where he learned to tell stories through sound and movement, and where he continues to explore the artist he wants to become. This December, he brings that evolution to Manila with his first solo concert tour, [CODE#], marking a significant milestone in a career that has moved between music, television, and film.

    The 2026-27 PARK JINYOUNG 1ST CONCERT TOUR [CODE#] IN MANILA takes place on December 5, 2026, at 7:00 PM at FYM Hall, EVM Convention Center. Presented by Three Angles Production, the concert offers Filipino fans an opportunity to experience Jinyoung beyond his established roles as a GOT7 member and leading actor, with a performance shaped by his individual musical sensibilities and creative direction.

    Since debuting with GOT7 in 2014, Jinyoung has steadily developed his songwriting and production skills, contributing to the group’s musical catalogue while finding his own voice as a solo artist. His individual musical journey gained momentum with the 2021 release of “DIVE,” followed by his first solo mini album, Chapter 0: WITH, in 2023. Featuring tracks such as “Cotton Candy,” “Animal,” and “Our Miracle,” the record offered a more personal perspective on his artistry, balancing understated arrangements with a distinctive emotional quality.

    That creative exploration continued with his second mini album, Said & Done, released in 2026, further establishing his musical identity beyond the group. With [CODE#], these individual releases find a new setting: the concert stage, where his catalogue and performance experience can come together in a more expansive live presentation.

    Yet music is only one part of Jinyoung’s artistic trajectory. Over the years, he has built an equally notable acting career, taking on roles that showcase his range across different genres and characters. From the psychological mystery of He Is Psychometric and the political intensity of The Devil Judge to the emotional storytelling of Yumi’s Cells and Our Unwritten Seoul, his screen work has demonstrated a willingness to move between contrasting performances. His film credits, including A Christmas Carol and Hi-Five, further reflect his growing presence in Korean entertainment. He is also set to return to television in the upcoming drama 100 Days of Deception, premiering in October 2026.

    For Manila audiences, [CODE#] brings these different facets of Jinyoung’s career into one live experience. The concert also comes with several fan benefits, including group photos for VVIP ticket holders, soundcheck access for VVIP and VIP holders, and Hi-Bye sessions for all VVIP holders, with additional slots for selected VIP, CAT 1, and CAT 2 ticket holders through a raffle. Signed posters will also be raffled among selected VVIP, VIP, and CAT 1 ticket holders. Official photocards are included across all ticket categories, with two cards for VVIP and VIP holders and one random card for CAT 1 and CAT 2 holders.

    Tickets are priced from PHP 5,000 to PHP 12,500, with sales opening on November 1, 2026, at 12:00 PM through tapyourtickets.com.

    More than a showcase of familiar performances, [CODE#] represents an opportunity to see Jinyoung define his place as a solo performer, drawing from more than a decade of experience while continuing to explore what lies ahead. For Filipino fans who have followed his journey through GOT7, his solo releases, and his work on screen, the Manila concert promises a closer encounter with the artist behind all three.

  • SB19 and Kento Nakajima Take ‘GENTO’ Beyond Borders in Long-Awaited Collaboration

    SB19 and Kento Nakajima Take ‘GENTO’ Beyond Borders in Long-Awaited Collaboration

    From a viral TikTok moment to a shared stage at SUMMER SONIC, the P-Pop powerhouse and Japanese singer-actor turn an unexpected creative connection into a cross-cultural musical statement.

    What began as a playful social media collaboration has grown into a meeting of two distinct musical worlds. SB19 and Japanese singer-actor Kento Nakajima have officially joined forces for “GENTO feat. Kento Nakajima,” released October 30, adding a new dimension to one of SB19’s defining songs.

    The collaboration traces its beginnings to the “GENTO with Kento Nakajima” TikTok project, filmed during SB19’s visit to Japan last year. What initially sparked conversations online eventually developed into an official recording, culminating in a live debut at SUMMER SONIC 2026 in Tokyo on August 15. Their joint performance transformed the festival stage into a celebration of Filipino and Japanese music, building anticipation for the studio version now available worldwide.

    As SB19’s signature track and their most-streamed solo song in Japan, “GENTO” carries a message rooted in ambition, perseverance, and the determination to prove one’s worth. Nakajima brings his own interpretation to the record, contributing special lyrics that introduce another perspective while preserving the song’s original spirit.

    For SB19, the collaboration goes beyond the novelty of bringing together artists from different countries. “This collaboration has also reminded us of the power of music,” the group shares, emphasizing that the message and musicality of “GENTO” remain as relevant as when it was first released. They also credit Nakajima’s natural ability to connect with people and embody the song’s energy as reasons he was the right collaborator.

    Nakajima, meanwhile, recognizes the anticipation surrounding the project since their SUMMER SONIC performance. With its official release, he hopes the collaboration can reach beyond the audiences who witnessed its live debut and find listeners around the world.

    For SB19, the release arrives amid an increasingly international chapter, following sold-out shows across Asia and North America and the successful conclusion of their Wakas at Simula: The Trilogy Concert Finale in April. Their SUMMER SONIC 2026 appearances in both Osaka and Tokyo further strengthened their presence on the Japanese music scene.

    Nakajima has likewise continued to expand his musical identity as a solo artist, following his December 2024 debut album N/bias. Alongside his solo arena concerts and nationwide tour, he has brought his performances to audiences in Taipei and Hong Kong. His recent releases include “Oni-gokko,” the opening theme for the second season of the anime The Elusive Samurai, and “Fiction Love,” the theme song for the film Love ≠ Comedy, in which he also stars.

    With “GENTO feat. Kento Nakajima,” the two artists turn an unexpected meeting into a collaboration that reflects the growing exchange between the Philippine and Japanese music scenes. More than a crossover between two established names, it is a reminder of how a shared stage, a creative connection, and a song with a universal message can travel far beyond their point of origin.

    “GENTO feat. Kento Nakajima” is out now on all digital music platforms worldwide via Sony Music Entertainment.

  • Rol3ert Brings Debut Album ‘meet me in my head’ to Manila for First-Ever Philippine Performance

    Rol3ert Brings Debut Album ‘meet me in my head’ to Manila for First-Ever Philippine Performance

    Fresh from the release of his debut album, the Japanese singer-songwriter makes his Philippine debut on October 31 at TriNoma Mall, marking a new milestone in his growing connection with Southeast Asian audiences.

    For Japanese singer-songwriter Rol3ert, turning 20 has brought more than a new perspective on life. It has also given him a collection of songs that capture the emotions, experiences, and values that have shaped him so far. Now, with his debut full-length album meet me in my head, he is bringing that personal body of work beyond Japan and, for the first time, to Filipino audiences.

    Rol3ert arrives in Manila this October 30 for a series of promotional activities ahead of his first-ever Philippine performance on Saturday, October 31, at the After Dark Halloween Party at the fourth-floor Garden of TriNoma Mall in Quezon City. Set to begin at 7:00 PM, the show is free and open to the public, giving local fans an opportunity to experience the rising Japanese artist live for the first time.

    Adding a distinctly Filipino touch to the occasion, attendees are encouraged to embrace the Halloween spirit by coming dressed as their favourite creatures from Filipino folklore. The setting offers an unconventional introduction to Rol3ert’s music, bringing his first Philippine appearance into a celebration that draws from the country’s own cultural imagination.

    The Manila stop follows his first-ever performance in Indonesia on October 28, extending a Southeast Asian visit that marks an important step in his growing international presence. While his music has already found listeners across the region, these appearances bring that audience response into a more immediate, personal setting.

    At the centre of this new chapter is meet me in my head, released on October 21. The 14-track album is an intimate introduction to the artist’s musical identity, moving between Japanese and English lyrics while exploring the thoughts and feelings he has carried into adulthood. Rather than presenting a single defining sound, the record brings together different emotional textures, from introspective songwriting to more expansive pop arrangements.

    The album gathers previously released tracks and fan favourites, including “meaning,” “savior,” “Boy,” “Kodoku,” and “HOPE,” alongside new material led by the focus track “i won’t see you anymore.” It also features “With you,” a collaboration with Malaysian singer-songwriter and producer Johnson that marks Rol3ert’s first recorded collaboration with an artist from Southeast Asia.

    Written during SONG BRIDGE 2025, a songwriting camp held in Kyoto under the MUSIC WAY PROJECT, “With you” represents a creative exchange that extends beyond geographical boundaries. The track’s accompanying music video, filmed in Singapore in May 2026 with a local production team, further reflects the cross-cultural direction of Rol3ert’s recent work.

    The album’s production brings together an eclectic roster of collaborators, including Taka Perry, MONJOE, ESME MORI, Michael Kaneko, Yuto Uchino of The fin., and JUNE. Mastered by Mike Bozzi of Bernie Grundman Mastering, whose credits include Childish Gambino’s “This Is America,” the record also marks Rol3ert’s first physical CD release alongside its digital formats.

    For an artist whose musical identity has been shaped by different cultural influences, the album feels like a defining introduction. Born in the United States in 2005 and raised in Japan, Rol3ert began his solo career in January 2025, developing a sound that brings together English-language lyricism and melodies informed by J-pop. His songwriting and understated approach have since helped him establish a growing audience beyond his home market.

    That momentum has been reflected in a series of milestones throughout 2026. He was selected for Spotify Japan’s RADAR: Early Noise 2026, named among Japan’s 25 representatives in Rolling Stone’s global “Future of Music” project, and included in SPACE SHOWER’s NEW FORCE selection. In June, he received the Radio Rising Artist of the Year award at MUSIC AWARDS JAPAN 2026. He has also appeared at major music festivals, including FUJI ROCK FESTIVAL ’25 and SUMMER SONIC 2026, while expanding his overseas performance experience across South Korea, Singapore, and Taiwan.

    His growing international listenership offers another indication of the reach of his music. Taipei has overtaken Tokyo as his top city by Spotify listeners, while Indonesia, Thailand, the Philippines, Malaysia, and Singapore have emerged as key markets in Southeast Asia.

    Following his Manila appearance, Rol3ert will return to Japan for two headline performances under his Live Tour 2026 “meet me in my head”, with shows scheduled at BIGCAT in Osaka on November 6 and Spotify O-EAST in Tokyo on November 12. Both concerts will feature a full band arrangement, promising a different live interpretation of the songs that have introduced him to audiences over the past year.

    For Filipino listeners discovering Rol3ert through meet me in my head, his Manila debut presents an opportunity to experience the artist at a particularly significant point in his career: just as his first full-length record takes shape and his ambitions begin reaching further beyond Japan.

    On October 31, that next chapter finds its way to Manila.

    Rol3ert’s first-ever Philippine performance takes place on October 31, 7:00 PM, at the fourth-floor Garden of TriNoma Mall, Quezon City, as part of the After Dark Halloween Party. Admission is free.

  • SB19 Brings ‘Wakas at Simula’ Into the Analog Era With First-Ever Vinyl Release

    SB19 Brings ‘Wakas at Simula’ Into the Analog Era With First-Ever Vinyl Release

    The limited-edition Smokey Midnight Blue pressing arrives November 15, featuring unreleased photographs, exclusive collectibles, and a fan-signing opportunity.

    For an album that captures both an ending and a beginning, a vinyl edition offers SB19’s Wakas at Simula another way to endure. The group’s second studio album is making its debut on vinyl, giving its music a new physical form designed not only for listening, but also for collecting, revisiting, and keeping.

    Pre-orders open today, October 29, at 12:00 PM Philippine time through Backspacer Records’ online store. Pressed on limited-edition Smokey Midnight Blue vinyl, each copy will be individually numbered and accompanied by exclusive collectibles. The release is scheduled for November 15, 2026, following its announcement on October 25 during Day 2 of ONE ZONE FEST.

    For SB19, the release marks more than an expansion of its physical discography. Following the sold-out release of the Wakas at Simula Global Version CD, the vinyl edition gives the album another life in a format that invites a more deliberate listening experience—one that places the music alongside the artwork, photography, and tangible details that surround it.

    “Honestly, we’re really happy to finally have Wakas at Simula in a tangible form because we know how much A’TIN, and even we ourselves, love having something we can see and touch,” SB19 leader PABLO shares. “Having this vinyl edition as something we can physically hold and listen to means so much to us, especially now that more and more people are getting into analog formats. This release will forever hold a special place in our hearts, and it’s something we’ll continue to carry with us as we move forward.”

    The choice of Wakas at Simula for the group’s vinyl debut feels fitting. The album reflects a significant chapter in SB19’s artistic development, bringing together Filipino-language releases, international collaborations, and reimagined versions of earlier material. Its title, which evokes both an ending and a beginning, also speaks to the possibilities of revisiting familiar work from a different perspective.

    The vinyl edition extends that invitation beyond longtime supporters. JUSTIN hopes the release will introduce the group to listeners who may be encountering its music for the first time, whether in the Philippines or overseas.

    “Through this edition, we also hope that new fans, whether local or international, can discover SB19 and have Wakas at Simula as their entry point into our music, while experiencing the album in a more personal and meaningful way,” he says.

    That sense of personal connection carries into the record’s packaging. Designed with collectors and dedicated listeners in mind, the 12-inch single LP comes in a premium tri-fold sleeve containing a 24-page, full-color lyric photobook featuring never-before-seen photographs, an exclusive 11-by-11-inch art print, and a special-edition sticker pack. Each copy also includes one random member photocard, selected from five new photographs created exclusively for the vinyl release.

    Beyond the contents themselves, the package reflects the group’s involvement in shaping how the album is presented. For STELL, the attention given to the physical details is part of making the release feel distinctly SB19, extending the creative process beyond the recording studio and into the experience of owning the record.

    “We want every detail to feel intentional, and hopefully, this release reminds everyone that at least one SB19 member had a suggestion along the way,” he says.

    Even as the group embraces an analog format, the release acknowledges how listeners move between physical collections and digital music. An integrated near-field communication (NFC) tag provides convenient online access to the album, connecting the experience of holding the record with the ease of digital listening.

    “Integrating an NFC tag into the vinyl is one way we’re doing that, allowing fans to enjoy the physical album while also having convenient access to its digital counterpart,” JOSH explains.

    It is a detail that reflects a broader approach to the release: preserving the appeal of a physical record while making it relevant to contemporary listening habits. The vinyl becomes both a collectible and another point of entry into the music, allowing the album to exist across formats without losing its identity.

    For KEN, the release also forms part of SB19’s continuing effort to explore what its artistry can become, particularly as Filipino music reaches audiences beyond its home market.

    “We want to stay true to who we are as SB19 while continuing to challenge ourselves and explore new ways to express our artistry,” he says. “This vinyl edition is one step in that direction, and we hope there will be more opportunities for us to bring our music to life in different physical formats, creating meaningful experiences that A’TIN can treasure for years to come.”

    The release will culminate in the SB19 Wakas at Simula on Vinyl Launch and Fan Signing Event on November 15 at SPACE at One Ayala. Fans who purchase the vinyl through the Backspacer Records online store using the designated promo code will have a chance to secure an invitation. Slots for the fan-signing session are limited, with the complete mechanics available through the official announcement.

    With its individually numbered pressing, exclusive imagery, and carefully assembled packaging, Wakas at Simula on Vinyl offers a new way to experience an album that already holds a distinct place in SB19’s discography. It brings together the music, the people behind its creation, and the fans who continue to give it meaning—this time in a format made to be held as much as heard.

    Pre-order Wakas at Simula on Vinyl: https://sb19.lnk.to/buy-WaSVinyl

    Tracklist

    1. Visa
    2. Memories
    3. Toyfriend (with Be)
    4. Everblack
    5. Emoji (with Jolin Tsai)
    6. Wakas
    7. What?
    8. Mapa
    9. Mana
    10. Bazinga
    11. Ikako
    12. SLMT
  • Ben&Ben’s Paolo and Miguel Benjamin link up with Asian artists for a “New Day Rising”

    Ben&Ben’s Paolo and Miguel Benjamin link up with Asian artists for a “New Day Rising”

    Toyota Motor Asia brings together seven rising artists from across Asia to turn car sounds, heritage and innovation into one original anthem. “New Day Rising” is out now.

    Toyota Motor Asia today launches Move Your World Beat, a regional music programme that brings together seven rising artists from six countries to create original music that fuses cultural heritage with modern innovation. At the heart of the collaboration is “New Day Rising”, an original song that blends traditional instruments from across Asia with the everyday sounds of Toyota vehicles, reimagining the region’s diverse musical heritage through a more contemporary, future-facing sound. The song, part of the collective’s inaugural album, Move Your World Beat Volume 1, will premiere exclusively on YouTube on 23 October 2026, 8pm Singapore Time (SGT), alongside a behind-the-scenes film revealing the creative exchange, experimentation and shared discoveries that shaped the collaboration, and how seven distinct creative perspectives became one collective work.

    Seven artists, six countries, one collective sound

    Move Your World Beat is an extension of Toyota Motor Asia’s Move Your World platform, rooted in the belief that movement is about more than getting from one place to another. It is about empowering people from different backgrounds to come together to create progress and achieve more than we ever could alone.  

    The inaugural collective brings this belief to life, showing what becomes possible when different voices, cultures and creative perspectives move forward together. Each brings a distinct cultural and creative perspective, while pushing beyond convention in how they make, shape and share music. Natasha Noorani blends South Asian musical traditions with electronic pop, while Belle Sisoski brings Southeast Asia’s traditional instruments into contemporary music production. Singapore’s Shye writes, produces and engineers her music all on her own, carving out a distinctive sound on her own terms. Valentina Ploy draws on her Thai and Italian heritage to bring raw, authentic self-expression to her music, while 2pillz constantly experiments across genres, challenging conventional approaches to music production. Twins Miguel and Paolo Benjamin grew their acoustic duo into Ben&Ben, a nine-member band that has become one of the Philippines’ most beloved musical acts.

    Together, they represent Pakistan, Vietnam, Malaysia, the Philippines, Singapore and Thailand, and styles ranging from folk-pop and R&B to electronic, dream-pop and experimental production. Different as they are, they are united by a desire to create across cultures, expand the possibilities of Asian music and shape what comes next.

    Where cultural heritage meets modern innovation

    At the heart of Move Your World Beat is a collaborative process that reimagines the familiar sounds of everyday journeys as musical building blocks.

    The artists sampled the click of a turn signal, the shift of a gear, the hum of a power window and the thud of a closing door, transforming familiar Toyota vehicle sounds into rhythm and melody. These became the building blocks for their individual tracks, alongside traditional instruments rooted in their respective cultures, from the Alghoza, a Pakistani double flute, to the Đàn tơ rưng, a Vietnamese bamboo xylophone.

    Those individual ideas were then brought together in “New Day Rising”, a collective anthem that fuses six musical styles, cultural influences and creative perspectives into one shared sound. The finished track moves between powerful lead vocals and more intimate moments, layered with rich harmonies, cinematic arrangements, shoegaze textures and experimental production.

    The result is a track that brings heritage into conversation with contemporary production, opening up future possibilities for Asian music

    Creating progress for Asian music

    For Toyota, moving people forward has always meant more than getting from one place to another. That same belief extends to culture and creativity. Asia’s next generation of artists is already pushing music in new directions. The opportunity is to create more spaces for them to meet, collaborate and grow together across the region.

    Through Move Your World Beat, Toyota brings its belief in collective progress into music, creating a platform for rising artists to connect across cultures, showcase their work on a regional stage and grow alongside the communities that support them.

    “Our ambition is to contribute to the growth of Asian musicians while uplifting the communities behind them. By bringing artists from different cultures together, we hope to push the boundaries of what Asian music can become, while inspiring people across Asia to connect and discover what more we can achieve together,” said Jaja Ishibashi, General Manager, Toyota Motor Asia.

    A lyric from “New Day Rising” captures the spirit of the collaboration: “We come together to create change.” It is a simple expression of the belief at the heart of Move Your World Beat: when different sounds, cultures and perspectives come together, we can create something new and move forward together.

    Meet the artists of the Move Your World Beat Collective: 

    ABOUT NATASHA NOORANI  

    Natasha Noorani is one of Pakistan’s defining contemporary artists, blending South Asian musical traditions with electronic pop, R&B and dance music. A trained ethnomusicologist with an MMus from SOAS , her critically acclaimed debut album RONAQ (2023), co-produced with Talal Qureshi and Abdullah Siddiqui, introduced her signature “Lolly-Pop” sound through songs like “Choro,” “Baby Baby” and the Hasan Raheem collaboration “Faltu Pyar.” Her 2024 EP Club Sandwich pushed further into UK Garage, Amapiano and House, and she appears on the soundtrack for Riz Ahmed’s series Bait with “SAYA.” A Spotify EQUAL Pakistan Ambassador who has headlined Boiler Room’s first Pakistan edition and toured the US, UK, Germany and Nepal, she is also co-founder and Festival Director of Lahore Music Meet. 

    ABOUT 2pillz 

    2pillz is a Vietnamese Music Producer and DJ whose work moves freely across genre lines, guided by taste and feeling rather than category. His debut album PILLZCASSO has surpassed 3 million streams across major digital platforms, while his production credits include “Nếu Lúc Đó” for tlinh, “Chơi Như Tui Mỹ” and “Em Iu” for Andree Right Hand, “MỘNG YU” for AMEE and MCK, and “Đi Tìm Tình Yêu” for MONO… He has also produced albums for tlinh and Juky San, and is a resident Music Producer on Rap Việt, and DJ performances for music show – 8WONDER, GENFEST, FORESTIVAL. 

    ABOUT BELLE SISOSKI  

    Belle Sisoski is a Malaysian live-act DJ, producer, composer, singer-songwriter and multi-instrumentalist known for a one-woman show that folds the textures of Southeast Asian ethnic instruments into cinematic and electronic music. Her artistry is built around preserving those traditional instruments while exploring how far they can travel in modern, genre-blurring production. With more than 3 million organic followers built entirely on her own, her music reaches a wide international audience. She composed the 2019 Malaysia Day anthem “We Are Malaysia,” placed first runner-up as the first Malaysian finalist in the Commonwealth Song Contest, and has been named a Tatler Gen.T Leader of Tomorrow, BURO Impact Awards Artist of the Year, and one of Rolling Stone UK’s Best Independent Artists of 2025. Recognized as Malaysia’s Top30 Women Of Excellence 2025, she has performed at F1 Grand Prix Singapore, Ultra Taiwan, Sundown Festival and Rainforest World Music Festival, Opening Act for Borderland Music Festival and staged her solo ethno-cinematic orchestra EDM concert : ETHNOSPHERE with the Malaysian Philharmonic Orchestra. 

    ABOUT MIGUEL BENJAMIN AND PAOLO BENJAMIN (FROM BEN&BEN) 

    Miguel Benjamin Guico is a Filipino singer-songwriter, vocalist, guitarist and recording artist. He began his professional career in 2016 alongside his twin brother, Paolo Benjamin Guico, as the acoustic duo The Benjamins, which expanded into the nine-piece band Ben&Ben in 2017. Since then he has remained one of the group’s principal vocalists, acoustic guitarists and songwriters, contributing to its recordings, live performances and original compositions. Ben&Ben has become one of the Philippines’ most successful contemporary folk-pop acts, releasing studio albums including Limasawa Street, Pebble House, Vol. 1: Kuwaderno and The Traveller Across Dimensions, touring extensively at home and internationally, and earning numerous industry awards.  

    Paolo Benjamin Guico is a Filipino singer-songwriter, vocalist, guitarist and recording artist. He began his professional career in 2016 alongside his twin brother, Miguel Benjamin Guico, as the acoustic duo The Benjamins, which grew into the nine-piece band Ben&Ben in 2017. Since then he has remained one of the group’s lead vocalists, acoustic guitarists and songwriters, shaping its recordings, live shows and original material. Ben&Ben has released multiple commercially successful studio albums, performed throughout the Philippines and internationally, and become one of the country’s most-streamed musical acts. 

    ABOUT SHYE  

    Shye is an independent Singaporean artist crafting a hazy blend of dream-pop and soft alt-rock drawn heavily from shoegaze. A fully self-taught writer, producer and engineer, she handles songwriting, production, recording, mixing and mastering herself, building an intimate DIY universe with complete creative control over her music and visuals. What began as a bedroom passion project has become a steadily growing career, taking her from demos to stages across Asia and the United States. She has opened for Clairo, Men I Trust, Daniel Caesar and Wisp, appeared as a special guest with The Jesus and Mary Chain at Esplanade Concert Hall, and joined Softcult on their 2026 Southeast Asia tour. Her 14-track album The Doves Came Home arrived in May 2026 with rotation on more than 20 North American college and independent radio stations. She is a Forbes Asia 30 Under 30, Dazed 100 and BandLab NME Best New Act from Asia honouree. 

    ABOUT VALENTINA PLOY  

    Valentina Ploy is a Thai-Italian singer-songwriter who grew up in southern Italy before making her home in Bangkok, and that double inheritance runs through everything she writes. Her songs are where she works through her own feelings and experiences — accessible, melodic pop with traces of electronica and folk, often pairing candid lyrics with bright arrangements. After early exposure on X Factor Italia and The Voice Thailand, she built a following across Southeast Asia with releases including “See You in Life,” “Love You Better” and the Satellite EP. In 2024 she opened for Coldplay’s Music of the Spheres World Tour in Bangkok and performed at NEON OASIS FEST in Taipei, followed by Pestapora Festival in Jakarta in 2025. Formerly signed to Warner Music Asia and now fully independent, she is fluent in Thai, Italian, English, French and Spanish, with a new single out in late of 2026 and an album to follow in 2027. 

  • BAMBOO RETURNS TO RECORDING WITH “ALON,” A HAUNTING NEW SINGLE ABOUT PAIN, RESILIENCE, AND NEW BEGINNINGS!

    BAMBOO RETURNS TO RECORDING WITH “ALON,” A HAUNTING NEW SINGLE ABOUT PAIN, RESILIENCE, AND NEW BEGINNINGS!

    After 11 years away from releasing new music, Bamboo returns with “Alon,” a haunting new single that marks a fresh chapter in the career of one of Philippine music’s most enduring voices. More than a return to the recording studio, the release reflects a period of personal growth, reflection, and renewed creative purpose—one shaped by years of allowing life to unfold beyond music.

    “Alon” also marks Bamboo’s return to PolyEast Records through its sub-label, filtered music, renewing a partnership that began in 2004. Following the band’s success, Bamboo pursued a solo career, releasing No Water, No Moon (2011) and Bless This Mess (2015) under PolyEast Records, formerly EMI Philippines. Both albums showcased his evolving musical sensibilities and versatility as a recording artist and songwriter.

    More than two decades after their partnership began, Bamboo reunites with the label for a new chapter in his musical journey. The renewed partnership was formalized through a contract signing on October 26 at the PolyEast Records/filtered music office in Quezon City, paving the way for fresh creative possibilities with the release of “Alon.”

    “It’s about time, I thought, to release something new,” Bamboo shares. “The reason why there’s a little bit of space is because there’s a life to cover. There are certain things in life that you have to prioritize. In the helter-skelter pace of working in music, you have to deliberately keep hitting that pause button, ask yourself what’s real and reflect on purpose.”

    For Bamboo, the years away from releasing music were not necessarily about stepping away from his craft. Life simply had to take its place. During that time, he continued to stay close to music through collaborations with fellow artists, live performances, touring across different parts of the Philippines and bringing his music to audiences around the world.

    Written by composer and keyboardist Ria Osorio, “Alon” finds Bamboo exploring a different direction while confronting the complexities of human emotion. Though its sound carries a haunting quality, he does not see the song as an expression of sadness alone. Instead, he hears a resistance to pain—a choice to face difficult emotions without allowing them to overshadow the joy of living.

    “When Ria first gave me the song, she had said that she had me in mind when she had written it,” Bamboo shares. “I feel the pain of the song, the emotion, pero I don’t accept it as a sad song. I accept it as a song as if I’m resisting sadness.”

    That perspective reflects where he is in life today: choosing joy, surrounding himself with people who matter, and finding fulfillment in the simple act of making music. “I choose to live with a lot of joy these days. I choose to be with people who I like to be with,” he says. “It’s the best job in the world because I get to play with friends.”

    The making of “Alon” reflects Bamboo’s instinctive approach to music, placing atmosphere and emotion at the forefront. After the initial recording, however, he felt that the song’s treatment and overall sound weren’t quite right. He decided to revisit its demo roots, exploring a different sonic direction and introducing a new section to the arrangement. The result is a stripped-down electronic sound layered with textured guitar elements, bringing together Bamboo, Osorio, and guitarist Ardie de Guzman in shaping the song’s final form.

    “Alon was years in the making. I didn’t want to simply release a song for the sake of putting something out there. Songs are something you have to live with. I had to find meaning, and at this point in my career I just didn’t want to settle until I found the sound I wanted.”

    The song’s emotional depth extends into Alon’s live performance video inspired by the feeling of an art installation. Built around people, movement, and visual interpretation, the concept invites viewers to discover their own meaning in the performance.

    Rather than offering a literal interpretation of the lyrics, the visual treatment reflects the shared experiences that shape a life. Bamboo hopes the song will also resonate with younger listeners, reminding them that difficult emotions are a natural part of living and can become opportunities for self-understanding and growth.

    With “Alon,” Bamboo embraces the freedom to experiment and discover where his music will lead, without committing to a predetermined direction. “This is just the beginning again,” he says. “A blank slate, and we’ll see again. Di ko rin alam eh (I don’t know either), which I love.”

    For Bamboo, music remains deeply connected to his life, family, and the people he has worked with throughout his career. His return is not simply about releasing new material, but about rediscovering the possibilities of making music on his own terms.

    “Alon” is now available on all major digital streaming platforms released by filtered music. Listen to Bamboo’s latest single and experience his long-awaited return to recording at this link. Follow Bamboo on his official social media channels for the latest updates.

  • LUKE MEJARES PUSHES MUSICAL BOUNDARIES WITH NEW SINGLE “TAMA NA”

    LUKE MEJARES PUSHES MUSICAL BOUNDARIES WITH NEW SINGLE “TAMA NA”

    One of the most respected R&B voices in the country, Luke Mejares returns to recording with “Tama Na,” a new single under PolyEast Records that showcases a more honest, confrontational side of artistry.

    Written by Arnie Mendaros, the track captures the emotional toll of a relationship strained by constant arguments and the desperation to save a love worth fighting for. Moving through frustration, fear and determination, “Tama Na” follows a narrator pleading with his significant other to put an end to pointless fights before they destroy what they have built together.

    For Mendaros, the song reflects a familiar reality in many relationships.

    “So many relationships end this way. That’s why he’s begging her to stop, before it’s too late and everything is lost.” Says writer Arnie Mendaros.

    Beyond its relatable narrative, “Tama Na” marks a shift in Luke’s musical direction, allowing him to push beyond conventional love songs and heartbreak narratives to a wider range of emotions through his music.

    “Unlike my past tracks, “Tama Na” is much more confrontational and raw. The vocals and lyrics require a much more vulnerable, exhausted delivery than anything l’ve done before.” Luke shares.

    Musically, the song draws inspiration from 1980s and 1990s Motown, blending  soul and R&B and pop with distinctly OPM sensibility. Influenced by artists such as Michael Jackson, Prince and The Stylistics, the track combines classic musical influences with a contemporary approach to Filipino pop and soul.

    “Sonically, I wanted to mirror the emotional tension of the lyrics. I was heavily influenced by pop, R&B & Motown drawing inspiration from artists like Michael Jackson, Prince, and The Stylistics,” Luke explains.

    At the heart of “Tama Na” is Luke’s signature soulful vocals, which has helped establish him as one of the country’s standout R&B singers to a more deliberate recording and production process. From the raw, vulnerable vocal delivery to the interplay of his musical influences, each element is carefully shaped to capture the emotional weight of the lyrics. The result is a track that highlights Luke’s vocal versatility while bringing authenticity to its storytelling.

    As Luke Mejares continues to explore his new creative territory, “Tama Na” offers a glimpse into an evolving sound and a more honest approach to songwriting.  Check “Tama Na” lyric visualizer on YouTube and follow his social media platforms to stay updated on new releases and what’s next in his musical journey.

  • Robinsons Movieworld Brings Iconic 90’s Horror Favorites to the Big Screen with Horrorkada Film Fest!

    Robinsons Movieworld Brings Iconic 90’s Horror Favorites to the Big Screen with Horrorkada Film Fest!

    Catch iconic and award-winning Horror Films on the big screen from October 28-November 3 at select Robinsons Movieworld branches.

    This Halloween season, Robinsons Movieworld invites horror fans on a nostalgic trip back to experience the best of ’90s horror with Horrorkada Film Fest, happening from October 28 to November 3 at select Robinsons Malls nationwide.

    With tickets priced at ₱200 to ₱250, depending on the branch, moviegoers can revisit three acclaimed and unforgettable films that helped define the era’s horror and thriller landscape. The lineup includes The Sixth Sense, The Silence of the Lambs, and The People Under the Stairs. Together, these films offer a lineup of paranormal encounters, psychological suspense, and unsettling twists perfect for the Halloween season.

    Whether you’re a longtime horror enthusiast or simply looking for a fun way to celebrate Halloween, the film festival is an opportunity to rediscover these iconic titles and share the thrills with your friends, family, and fellow thrill-seekers.

    Screenings will be available at select Robinsons Movieworld cinemas in Robinsons Antipolo, Robinsons Galleria Ortigas, Robinsons Jaro, Robinsons Dumaguete, Robinsons Manila, Robinsons Naga, Robinsons General Trias, Robinsons Galleria South, Robinsons Galleria Cebu, Robinsons Iligan, Robinsons Tacloban, and Robinsons Tuguegarao.

    Make your Halloween celebration even more memorable this season! Gather your horrorkada, pick your movie, and see who can brave the scares, making room for a little fright and a lot of fun at select Robinsons Malls.

    Get your tickets at www.robinsonsmovieworld.com. For more updates and announcements, Robinsons Movieworld on Facebook and Instagram.

  • Spotify RADAR Creators returns with a new wave of Filipino podcast voices!

    Spotify RADAR Creators returns with a new wave of Filipino podcast voices!

    Five podcast shows join the program’s second year, building on a debut cohort that reached 1.49 million first-time users.

    Spotify announces the return of RADAR Creators Philippines, welcoming Almost Honest with Kylie Verzosa, KadaKwento Podcast, Panaghoy, TRGGRD!, and Unsa’y Cheka sa Parlor to its cohort. From candid conversations and barkada banter to Cebuano perspectives and chilling Pinoy tales, this year’s lineup reflects the different ways Filipino creators are telling stories and bringing audiences together. Built for video, the fastest-growing format on Spotify, the cohort brings fans closer to the personalities behind the mic.

    Launched in the Philippines in 2025, RADAR Creators supports emerging podcasters through on-platform promotion, out-of-home and social marketing, and press opportunities. With video podcasts and interactive polls on Spotify, fans can go deeper with their favorite creators. Now in its second year, RADAR Creators reflect Spotify’s continued commitment to Filipino voices, helping creators develop their craft, reach new people, and grow the communities around their shows.

    “The first year of RADAR Creators Philippines showed how far Filipino podcasts can travel when creators have the right support, from new audiences at home to Filipino communities around the world. Through RADAR, we’re committed to helping Filipino creators develop their craft and grow the communities around their shows. With video podcasts growing fastest among homegrown shows, we’re excited to back a new wave of voices bringing Filipino stories to life on video,” said Carl Zuzarte, Head of Studios at Spotify Southeast Asia.

    The inaugural 2025 RADAR Creators Philippines cohort reached 1.49 million new users. Most people who tuned in were discovering the shows for the first time. And more Filipinos aren’t just listening to podcasts; they’re watching them, catching every laugh, reaction, and side-eye as if they were right there in the room. Hours spent on locally created video podcasts more than doubled year over year, a sign that Filipinos are seeking out voices that feel close to home.

    Meet this year’s Spotify RADAR Creators

    Podcasts have become a modern manifestation of a tambayan, a familiar place where stories flow, ideas are exchanged, and communities take shape. Each RADAR Creator has built their own space to connect and be part of a community through shared interests, experiences, and perspectives.

    Actress and entrepreneur Kylie Verzosa creates a space for ambitious women who want it all. Almost Honest serves up unfiltered girl talk and candid conversations on modern womanhood— from love and relationships to careers, business, ambition, and everything in between. Warm, relatable, and a little cheeky, it’s where diverse voices share real-life lessons, big dreams, and the occasional overshare.
    From cafe hops to camping trips, the best conversations happen among friends. Artists Berghy Nulud, Tiny Montana, Kris Delano, & Maricar Lo capture that spirit on KadaKwento Podcast, turning everyday hangouts into stories worth sharing.
    Storyteller Camille Peng brings chilling letters to life on Panaghoy, uncovering unexplained encounters and eerie tales rooted in the Philippines’ fiction to historical moments, where fact and folklore blur into stories that linger in the dark.
    Celebrities and friends Vince Maristela, Cheska Fausto, Sean Lucas, Thea Astley, & Jeff Moses hold nothing back on TRGGRD!, riling up their Gen Zs with hot takes on pop culture and internet discourse.
    Hosts Lyle Go and Shane Ayong recreate the feel of a Cebuano salon, where endless cheka covers everything under the sun—from everyday life and gossip to conversations that matter to the LGBTQIA+ community.

    For Lyle Go and Shane Ayong, Unsa’y Cheka sa Parlor is their way of creating representation for Cebuano voices in podcasting beyond language. Shane added, “Unsa’y Cheka sa Parlor is about letting people enter our world. That’s also why we’re proud that non-Cebuanos listen to our podcast. They may not understand every word, but they understand the feeling.”

    Tiny Montana, Kris Delano, Maricar Lo, and Berghy Nulud of KadaKwento Podcast quip how their show brings back nostalgia with friends, like hanging out outside or on a basketball court. Their laid-back conversations are their way of welcoming people into their own barkada. Tiny added, “Ang mga nakaka-relate sa amin ay yung mga nakaka-miss sa friends nila, especially yung mga listeners namin abroad.”

    Whatever your tambayan sounds like, there are spaces waiting to welcome you. Discover the new voices of RADAR Creators Philippines, only on Spotify.