Category: Interviews

In an exclusive interview with Philippine Concerts, the fast-rising K-pop group reflects on growth, artistry, and the trust that holds them together as they enter a new era with “METRONOME” and prepare to bring their first concert tour to Manila.

There is a particular moment in a young K-pop group’s trajectory when the story begins to shift.

The debut has happened. The introductions have been made. The first songs, stages, and milestones are already part of the record. What follows is a more complicated and revealing question: Now that the dream has become real, who are you becoming?

For izna, that question is taking shape in real time.

Since emerging from Mnet’s I-LAND 2: N/a in July 2024 and making their official debut in November 2024, MAI, BANG JEE MIN, KOKO, RYU SA RANG, CHOI JUNG EUN and JEONG SAE BI have steadily built a profile that extends beyond the usual expectations placed on a rookie act. Their catalog has expanded from their 2024 debut EP ‘N/a’ through releases including ‘SIGN’, ‘BEEP’, ‘Not Just Pretty’, and ‘SET THE TEMPO’, while their latest promotional cycle has carried them toward their first major concert tour.

Now, izna are preparing to take another significant step outward.

The group’s ‘2026-2027 izna Concert Tour: WHO DAT GIRL?’ opens with two Seoul shows at Olympic Hall on September 19 and 20 before continuing with multiple stops, including Taipei, Manila, Hong Kong, Singapore, Kuala Lumpur, Fukuoka, Tokyo, Nagoya and Osaka. The Manila stop is scheduled for October 17 at the EGM Hall of the EVM Convention Center in Quezon City.

For a group still in the early stages of its career, the tour is more than a collection of dates. It is a chance to test the scale of what izna can be.

“I hope this tour will be remembered as ‘the first step in introducing izna to a wider world,’” MAI tells Philippine Concerts. “Since this is our first concert tour, I want it to be the beginning of many more opportunities for us to share our music and performances in more places.”

That idea, of expansion without losing the identity being built at home, runs through nearly every part of izna’s current chapter.

From debutants to a team with their own rhythm

The group’s recent “METRONOME” era arrived after what MAI describes as a long period of preparation, one that carried particular weight for the members.

“The ‘METRONOME’ promotion held great significance for us, as it was our comeback after a long period of preparation,” she says. “We worked especially hard on it because we considered it so important.”

The most meaningful changes, however, may not be immediately visible in a music video or a perfectly synchronized performance.

“While preparing, we had many conversations and became even closer,” MAI says. “I think it was a period when we were able to grow together as well.”

Compared with the group that first stepped onto the K-pop stage, izna now understands one another with greater ease, she says, a development that has strengthened their chemistry and made them feel more relaxed as performers.

That growing familiarity matters in a genre where cohesion can be as crucial as individual talent.

BANG JEE MIN puts it simply: A group can execute the same choreography, but if its members are not expressing the same idea, it will not feel like one team.

“We communicate a lot, rely on each other, and keep working to stay in sync,” she says. “I think that’s how izna’s teamwork naturally comes through on stage.”

For izna, then, precision is not merely technical. It is relational.

The group’s polished performances are built on rehearsal, repetition, and synchronization, but CHOI JUNG EUN says perfection only means something when audiences can also feel the effort behind it.

“Our fans really love our perfectly synchronized performances,” she says. “I feel like they appreciate not only what they see on stage but also the effort and process that went into creating it.”

The goal, she adds, is not simply to arrive at a flawless result.

“What matters most is giving our all to every performance and putting our hearts into everything we do on stage.”

That distinction may explain where izna currently sits in the increasingly crowded landscape of K-pop’s newer generation. The group has the technical discipline expected of the genre, but the members speak about performance less as a demonstration of ability than as a shared experience.

When RYU SA RANG considers how her understanding of artistry has changed, she returns to the stage.

“When we perform our music, we try to convey the message of, ‘We’re having such a great time on stage, so we hope you enjoy it with us too,’” she says.

It is a shift away from simply presenting a finished product.

“We’re gradually realizing that rather than simply putting on a performance, it’s important to share the emotions and energy we’re feeling with the audience.”

What does “izna” feel like?

Every young group eventually has to answer a question that no branding strategy can fully solve: What makes us unmistakably us?

For JEONG SAE BI, the answer is not necessarily found in one song or one visual concept.

It happens in rehearsal.

“I think I feel that way when we’re practicing together, laughing, and just being ourselves,” she says. “We all have very different charms, but when they all come together, I think they create a special synergy, almost like a rainbow.”

That image is revealing. izna’s identity, at least as the members describe it, is not built around sameness. It is built around the combination of different personalities and strengths.

“When I see that side of us on stage together,” JEONG SAE BI says, “I think, ‘This is what feels like izna.’”

That growing sense of identity is also creating room for the members to explore their own creative instincts.

KOKO recently experienced that firsthand while preparing for ‘WHO DAT GIRL?’, contributing choreography and ideas to part of the concert’s performance.

“It was only a small part, but I really enjoyed being able to create something on my own,” she says. “It was a great experience that helped me discover a new side of myself as well.”

It is the kind of development. A concert is not simply a longer version of a music-show stage. It asks artists to sustain an atmosphere, build momentum and reveal different dimensions of themselves over the course of an entire evening.

For MAI, that possibility is one of the tour’s most exciting aspects.

“What felt the most different to me was being able to show more songs and performances through one concert,” she says. “I’m really happy that it gives us a chance to show more of izna’s different sides.”

The transition arrives at a moment when izna’s activities are continuing to widen. In addition to the first concert tour of ‘WHO DAT GIRL?’, the group has announced Japanese activities, including its Japan debut with the mini album ‘HANDLE WITH CARE’.

The momentum is unmistakable. But izna’s members appear more interested in what comes next than in treating their early achievements as a finish line.

A first meeting with Manila

For naya in Manila, October 17 will mark the long-awaited first opportunity to see izna perform in Manila.

And, according to JEONG SAE BI, the anticipation is mutual.

“Manila has been one of the places all of our members have really wanted to visit,” she tells Philippine Concerts. “As soon as we heard it was included in the tour schedule, we were so happy and excited.”

“Thinking about finally going there and meeting naya in Manila makes me even more thrilled,” she adds. “I can’t wait to see you!”

Following the tour’s opening in Seoul and its Taipei stop, the Manila show will also give global audiences an unforgettable experience of izna’s first major concert tour.

KOKO already knows one thing she wants to hear once the group finally takes the stage.

“I really want to hear naya sing our songs out loud,” she says. “I think I’d be really happy to hear your voices from the stage.”

JEONG SAE BI, meanwhile, hints that Manila may get a performance especially suited to the occasion.

“There’s one performance that I think fits Manila’s bright and refreshing atmosphere really well,” she says, keeping the song title under wraps. “I think it’ll be even more fun and special when we get to share it with naya in Manila.”

The group’s hopes for the night are tellingly modest and ambitious at the same time.

CHOI JUNG EUN focuses on what happens after the lights come up and the concert is over.

“If our fans leave the concert thinking, ‘I want to see it again,’ I think we’d be really satisfied,” she says.

For an artist beginning a first concert tour, there may be no clearer measure of success.

The stage, the fans and the next chapter

K-pop moves quickly, particularly for artists introduced to the public through survival shows. The pressure to establish a distinct identity, maintain momentum, and grow beyond the narrative of debut can be relentless.

izna is now entering the part of its story where those expectations become more complicated.

The members are no longer speaking only about the dream of debuting. They are beginning to articulate what they want their performances to communicate, what kind of artists they hope to become, and why they continue to move forward.

For BANG JEE MIN, the answer begins with naya.

“Everything we’ve been able to do so far has been thanks to naya, and so much of what we do is for them as well,” she says. “That’s why I think naya is always our biggest motivation to keep moving forward.”

Years from now, RYU SA RANG hopes the group will be remembered not only for the scale of its achievements but for its relationship with the work itself.

“I hope we’ll be remembered as artists who love and value the stage more than anyone, and who are truly good at what we do,” she says.

More importantly, she wants that sincerity to be visible.

“I hope people can see that we put our whole hearts into every stage and are able to share that sincerity with our fans.”

It is a philosophy that runs through izna’s current moment. Their chemistry has become more instinctive. Their individual creative interests are beginning to surface. Their stages are becoming larger, their itinerary more global and their audience more expansive.

Yet the members repeatedly return to the same ideas: communication, trust, enjoyment and the desire to share something real with the people in front of them.

JEONG SAE BI imagines that the members preparing for debut would probably be surprised by just how close they have become.

“We’re so close now that we can tell what the others are thinking just by looking at each other,” she says. Her message to the younger versions of themselves would be simple: “Don’t worry! You’re going to become so close!”

Perhaps that is what makes this particular chapter feel important.

izna is still a young group, but WHO DAT GIRL? represents a transition from proving that they can stand onstage to discovering what they can build from it. Their first major tour is an opportunity to bring the songs, discipline, and chemistry developed in rehearsal rooms to audiences across borders.

And when the group arrives in Manila next month, naya in Manila will become part of that story.

For izna, the hope is that this is only the beginning.

The metronome is already moving. The next measure is waiting.

Organized by Three Angles Production and co-organized by O.N worldwide, the ‘2026-2027 izna Concert Tour: WHO DAT GIRL? in MANILA’ takes place on October 17, 2026, at 6 p.m. at the EGM Hall, EVM Convention Center in Quezon City. Tickets and official event information are available via https://tapyourtickets.bigtix.io/en/events/2026-izna-concert-tour-who-dat-girl-in-manila/IZNAPH26.

In an exclusive interview with Philippine Concerts, British R&B trio FLO talk about navigating expectations, choosing authenticity over industry calculation, dreaming bigger than ever, and why their ambitions extend far beyond simply being part of the girl-group revival.

For FLO, ambition is not something to disguise.

Renée Downer, Jorja Douglas and Stella Quaresma have spent the past several years establishing themselves as one of contemporary R&B’s most exciting young groups, drawing from the harmonies, attitude and polish of classic girl groups while steadily shaping a musical identity that belongs distinctly to them.

But where some artists might hesitate to verbalize the scale of their ambitions, FLO do not.

“We wanna be the biggest girl group in the world, and we will do everything to get there,” Renée told Philippine Concerts in an exclusive interview.

It is a declaration that speaks not only to where FLO hope to go, but also to how they understand their place in music right now.

“I definitely think we are cutting through in our own lane because we are kinda the only one doing R&B pop as a girl group,” Renée said.

That lane has become increasingly visible as FLO’s audience has expanded beyond the United Kingdom and into an international fanbase that has embraced their vocal chemistry, polished performances and willingness to carry the traditions of R&B girl groups into a new generation.

For Renée, that connection with listeners is already one of the group’s most meaningful achievements.

“I definitely think we’ve done a very good job in cultivating a massive fanbase, and we are very appreciative of that,” she said.

Yet growing visibility comes with growing expectations.

For any young act positioned as one of the potential leaders of a new era of pop and R&B, every release inevitably arrives with discussion: about commercial success, artistic progression, vocal performances, styling, collaborations and what an artist is expected to become next.

FLO are aware of that scrutiny. What has changed is how they respond to it.

“We are always open to people’s opinions, and we do not shy away from constructive criticism,” Stella said. “We always try to grow.”

It is an openness she admits was not always as natural at the beginning of their journey.

“That’s something maybe at the start [we were] less open to, but we’ve grown, and we’re open to growing,” she continued. “Just being in a group, we help each other out to elevate.”

That collective structure has long been one of the defining strengths of girl groups. There is pressure, but there is also reinforcement. Success is shared. So are mistakes, responsibilities and lessons.

Jorja approaches expectations with a similarly practical mindset.

“With the pressure, there is only so much we can do,” she said. “But we always try our best. We always try to grow and develop. As long as we stay focused on that.”

Renée, meanwhile, makes an important distinction between external pressure and the expectations FLO set for themselves.

“It is important that whatever pressure we feel comes from our own ambitions and our own means to elevate and do better, rather than external pressures from the world,” she said.

It is perhaps one of the clearest insights into FLO’s mentality as artists.

Their desire to become bigger does not necessarily mean chasing every expectation placed upon them. Instead, the group appears determined to remain motivated by their own standards — a particularly valuable philosophy in an industry where momentum can quickly turn into pressure to repeat whatever worked last.

That balance between instinct and audience awareness also shapes the group’s creative process.

For Stella, the starting point remains simple: FLO themselves have to believe in the music first.

“In some ways, we think when we love a song then somebody else will love it,” she explained. “Us loving a song is definitely the first and most important thing.”

But artistic confidence does not mean creative rigidity.

As their career expands, FLO have become increasingly willing to experiment, allowing themselves to explore genres and sounds without treating every departure as a referendum on their identity.

“Now, we try to fit in, we try to put out different genres and sounds, we are happy to test the waters,” Stella said. “We definitely did that with some songs in the album, but it’s just fun. It’s fun to try different things, and conversations around songs is always great.”

That curiosity may prove especially important for FLO’s longevity.

R&B remains their foundation, but the history of enduring girl groups has often been defined by evolution. The challenge is preserving a recognizable identity while creating enough room to surprise listeners.

FLO seem increasingly comfortable with that uncertainty.

Jorja even approaches releasing music with a sense of freedom rather than fear.

“We can always release songs,” she said. “We put one song out, and if it does not do very well, we just put a different song out.”

Then she added, with a little confidence: “But that hasn’t happened.”

Beyond the Feature

FLO’s growing profile has also allowed them to work with artists who once existed primarily as inspirations.

Among those collaborations, one name immediately stands apart.

“Collaboration with Missy Elliott really sticks, because it’s just such a big thing to achieve at such a young age,” Renée said. “Missy is iconic.”

For a group deeply informed by R&B’s lineage, collaborating with an artist as influential as Elliott represents more than a notable name attached to a track. It places FLO in conversation with the generation of artists who helped define the sound and visual language they are now reinterpreting.

Still, their experiences have also changed what they want from future collaborations.

For Stella, simply securing a high-profile feature is becoming less important than building an actual creative relationship.

“I think the big thing about a feature now is that we have a relationship with them and it feels authentic,” she said.

“A lot of the features we did, we haven’t been around them when the song is being made. That is something we want to do moving forward.”

It is an increasingly meaningful distinction in an era when collaborations can often feel engineered for playlists, algorithms, audience crossover or chart positioning.

Jorja is particularly conscious of that.

“It’s easy to get caught up in feeling like using somebody for that success, using other people as stepping stones,” she said. “We never want to feel that way.”

Instead, she wants collaborations to be rooted in mutual artistic respect.

“We want to feel that they actually respect us as artists, and we also respect them as artists because we are both going to promote the song,” she explained.

“We gotta love it, and there’s gonna be like an energy, and I think people are really able to see past artificial collaboration, so it is important to us that it is authentic.”

It says something about FLO’s evolving confidence that the conversation is no longer simply about who they would be fortunate enough to work with.

Increasingly, the question is whether the collaboration makes artistic sense for FLO too.

Their dream list remains appropriately ambitious: Ariana Grande, Justin Bieber, Doechii, Zara Larsson, Doja Cat, SZA and Victoria Monét are among the names they mentioned.

But Jorja also revealed another goal that feels particularly fitting for a group championing the possibilities of the format.

“Next year, a bucket list for us is to collab with another girl group,” she said.

Choosing only one, however, appears to be the problem.

“There are so many, so it’s hard to pick,” Jorja joked. “We just have to collab with them all.”

Thinking in Arenas

FLO’s ambitions become even clearer when the conversation shifts from recording studios to stages.

Asked about the venues and festivals they hope to conquer, their answers ranged from some of the world’s most recognizable concert destinations to two major arenas in the Philippines.

They mentioned Madison Square Garden in New York, London’s O2 Arena, headlining Coachella and Glastonbury, and performing across the main stages and tents of major festivals.

And then there was the prospect of performing before tens of thousands of Filipino fans.

FLO referenced both the roughly 15,000-capacity SM Mall of Asia Arena and the massive Philippine Arena, one of the world’s largest indoor arenas.

For artists still writing the early chapters of their career, those dreams may sound enormous.

But they are also revealing.

FLO do not appear to envision themselves as a niche nostalgia act built solely around the renewed appetite for Y2K R&B aesthetics. They are thinking at pop-star scale.

The goal is not merely to participate in the current girl-group landscape.

It is to eventually lead it.

Meeting the Philippines

That ambition made their first visit to the Philippines particularly meaningful.

Despite already building a strong international following, arriving in a new territory still carries uncertainty. FLO admitted they were nervous because they did not know exactly what to expect from Filipino audiences.

Their appearance on the Wish Bus, however, helped calm those nerves.

The experience served as an early introduction to a market where vocal groups and R&B have historically found passionate audiences — and where international artists are frequently met with an intensity of fandom that can surprise first-time visitors.

For FLO, whose music is built heavily around vocal performance, harmonies and chemistry, the Philippines also represents a natural audience.

Their arrival comes at an interesting point in their evolution.

They are no longer simply a promising new group asking listeners to pay attention. They have built enough of a catalog, fanbase, and artistic identity for the conversation to begin shifting toward something larger: how far can FLO actually go?

The Next Chapter of FLO

There has long been a tendency to discuss new girl groups through comparison.

Who are they reminiscent of? Which earlier group do they resemble? Can they recreate the dominance of the acts who came before them?

FLO understand the history behind their music, but their comments suggest they are increasingly interested in answering a different question.

What does success look like specifically for them?

The answer appears to involve a combination of musical exploration, greater creative confidence, authentic collaborations, increasingly ambitious live performances and a refusal to allow outside expectations to dictate their trajectory.

Most importantly, FLO seem comfortable acknowledging that growth does not require having every part of the journey mapped out.

They can experiment.

They can release another song.

They can change direction.

They can listen to criticism without surrendering their instincts.

And they can dream about arenas long before they have stepped onto those stages.

That combination of flexibility and ambition may ultimately be one of their greatest advantages.

Because the biggest girl group in the world is not a title that can be claimed through intention alone. It is built through songs that travel beyond borders, performances that convert casual listeners into believers and an identity strong enough to evolve without disappearing.

FLO are still in the process of building all of it.

But if Renée Downer, Jorja Douglas and Stella Quaresma have their way, the destinations they mentioned — Madison Square Garden, Coachella, Glastonbury, The O2 and perhaps one day even the Philippine Arena — are not simply fantasies.

They are targets.

And for FLO, thinking big appears to be part of the plan.

When Stardew Valley: Festival of Seasons was announced in the Philippines a year ago, fans were quick to snatch all the available tickets for the shows. For once it must be noted that a video game-centric orchestral concert sold out as quickly as a mainstream pop music sensation, much to the surprise of many, including the game’s own fans. In our local concert scene, that is refreshing news for once. Longtime Filipino fans of video games are finally getting their chance to witness more officially licensed orchestral shows of their beloved titles, which is in great part, thanks to Film Concerts PH.

A day before the actual show, Philippine Concerts got an exclusive interview with Maestro Thanapol Setabrahmana, the conductor for the show and the chief arranger of the music for Stardew Valley: Festival of Season and Symphony of Seasons. FYI: the concert in April 25 was a striking success. Read our concert review here: The Music of Pelican Town Comes Alive in Stardew Valley: Festival of Seasons in Manila

We got to ask him about how he got into conducting, his love for anime and games, his philosophy in music and a lot more. FYI again: he has also conducted for concert tours of some of the most renowned anime and game titles. Read on to get to know more about him.

Getting to know Thanapol Setabrahmana

Hailing from Thailand, he is mainly a conductor, but he also holds a lot of other occupations as the following: the Assistant Music Director of the Thailand Philharmonic Orchestra, the Music Director of the Mahidol Wind Orchestra, and the Chair of Conducting and Ensembles Department at the College of Music, Mahidol University. Previously, he had also worked with the Filharmonika Orchestra for How to Train Your Dragon 2 in Concert last December.

Beyond all that, he is quickly making a name for himself as the conductor for some of the most prominent anime and video game concerts worldwide including Violet Evergarden: Live in Concert USA Tour this year, North American leg of Evangelion Wind Symphony in 2025, Genshin Concert Tour in 2024 – all of which had gained many positive reviews from fans online. In 2023, he also pioneered the Symphonic Anime concerts which toured in Asia and the USA, and included pieces from “Death Note”, “Demon Slayer”, “Naruto Shippuuden” and “My Hero Academia”.

We got to interview Thanapol Setabrahmana before the official rehearsal with the Filharmonika Orchestra, a day prior to the shows. Talking to him up-close felt like talking to a highly conversant friend who is eager to share his thoughts. He always spoke in a calm, well-mannered tone, even when commanding the orchestra during their rehearsal. 

What drew you to pursue classical music and to become a conductor? Is there a particular experience that inspired you?

Thanapol’s interest in music started out very early. In middle school, he was part of the school band, and he became one of the student conductors. Not only was he playing instruments, he also dabbled with arranging. He said, “I enjoyed arranging a lot, so every night after practicing, I would go home and arrange music.”

Eventually, their teacher and band director noticed his efforts and asked him to arrange music while the band played. Thanapol credits this early experience in shaping his craft as it allowed him to figure out what works and what doesn’t in an orchestra set-up.

How Final Fantasy became part of his origin story as a conductor

Yes, to state the obvious: he is a fan of anime, movies and games, especially the ones that he had worked on as the conductor. 

“It’s a funny story when I was in middle school, it just happened to be one day that I was listening to the Final Fantasy soundtrack and I was shadow-conducting,” he said while his hands were making conducting gestures. One of the senior students saw him and invited him to be the conductor which he agreed to.  “I learned a lot of repertoire in school bands, we played all kinds of stuff – classical music, movie soundtracks, and later on, when I had the chance, I programmed some game soundtracks as well.” 

“I was always passionate about music of all kinds, game and anime. In the past decade when I started doing programmes of anime and game, it became a big hit in the country and I was supported by the college administrators to do more of those.”

Through those concerts, Thanapol got into contact with the composers and licensers which led to the official orchestral tours that we have now.

What are some of his favorite pieces?

“One of my firsts were Final Fantasy VIII and IX so I enjoy most VIII, IX… and X soundtracks.”

On the rewarding and challenging parts of being a conductor

“I think working with the orchestra is an art form, it’s a craft, it’s leadership. Leadership comes with all the package – the pressure, the responsibility and the skills. The challenging part is to really know the music, and to be able to command the orchestra.”

“In this kind of concert where there are lots of fans, and they are really passionate, we always feel the air in the performance, wherein everyone’s happy.” He added that despite the hard work that comes with producing a show – the countless sleepless nights, the many revisions, the writer’s block – being able to see the audience’s response is very rewarding. 

How did you prepare for this show?

The show held in the Philippines was for Stardew Valley: Festival of Seasons which began in 2024 and featured an 11-piece chamber orchestra. This was followed by a bigger global concert tour titled Stardew Valley: Symphony of Seasons which is currently running this year. Thanapol is the conductor for the Asia stops of the tour, and he is also the chief arranger of the pieces.   

“After conducting all these shows, it felt like a homecoming to the first version, and I just need to review a lot of them,” he said. Working with the Filharmonika Orchestra was easy for him because he had already met some of the members during How to Drain Your Dragon 2 in Concert in December 2025.

What is the difference between conducting for a classical concert and a game-concert like Stardew Valley? 

“Whenever I conduct a soundtrack of any kind, usually I try to deliver them in the way that is quite authentic, truthful to the original rendition. In classical music, sometimes, you can play around a little bit, you can have some sort of room for interpretation. It’s a different aesthetic for this one. You have to keep in mind that the music really relates to the listener’s experience, how to recreate or conjure, summon that atmosphere – the nostalgia, the memory, the spirit of the music.”

He explained that in translating the original pieces into orchestral arrangements, he tries his best to find the elements that define the piece and he works on making it more cohesive.

“I always try to find the spirit, the essence, when we try to recreate it for the live ensemble. What is the essence of this piece? Is it the melody? Is it the color? Is it the drum pattern?”

How do you keep yourself inspired to take on a new project? Can you take us through your creative process?

“I’m a person that is easily inspired. There are projects that I did based on commissions, like some other people present stuff for me to recreate. Some of those I knew very well and some are very foreign to me. 

“There are other stuff I created myself. I have my production called Symphonic Anime, a show that comprises music from different anime. I always have fun doing this production. I treat it like an exhibition. It’s not just a compilation of big hits, but sometimes, the theme. ‘I want to present based on mecha anime, anime centered around female protagonists. – how you present them, how you curate them, and sometimes you present the pieces that are not only famous, but pieces that are rarely heard – whether you believe it is good, to introduce them to a bigger audience.”

A lot of people tend to think that orchestral concerts are not as interesting as pop concerts. What would you tell them to convince them to give orchestral concerts a chance?

He believes that orchestral concerts are equally exciting. 

“Many people that had never seen an orchestra before just have no idea what orchestras are like. Nowadays, it is still everywhere in the media we consume, in the soundtrack. Modern technology has helped many creators use synthesized sounds, but still many productions use live orchestra, musicians and ensembles. The orchestra is still very much alive, it’s just behind the scenes.”

What advice can you give to the younger generation who wish to pursue a career in classical music?

“I think they just need to practice a lot,” he said with a soft laugh.

Thanapol also added that they need to hone their knowledge on other artistic endeavors such as literature, fine arts, history, culture. “Since the old times, classical composers were making music, not only about notes or sounds. They are heavy readers of literature and consumers of arts, and those are the things that inspired them. For anyone who wants to pursue classical music, they really need to understand the context of our art.”

What other dream projects would you like to take on in the future?

“Fortunately, I already got to handle official franchises, many of them were my dream projects before. I still want to do more Symphonic Anime and introduce them to more countries, with more themes, I still want to do silent movies. In some cultures, it has become a lost art already. It would be great to re-introduce it to a wider audience.”

–

All the best for Maestro Thanapol Setabrahmana! Hoping to see more of him in the upcoming concert line-ups. Speaking as an ardent fan, it’s great to finally see that the Philippines included in the tour stops for official video game and anime symphonic concerts. We’ve longed for this inclusion a long time ago. Looking forward to more!

Special thanks to Film Concerts PH!

For Alex Dugan, the frontman of the Texas-based alternative band Culture Wars, the Philippines has played a significant role in the band’s journey. “If it wasn’t for what happened in the Philippine Arena, I don’t know if we will be having this conversation today,” Dugan reflected during an exclusive interview with Philippine Concerts, where he discussed the band’s artistic evolution, creative process, and future aspirations, which may include a return to the concert stage in the Philippines.

He also shared his experiences touring alongside LANY and Maroon 5, stating, “We’re very lucky to be with them and playing shows like that,” However, for Dugan, the opportunity to open for LANY at the Philippine Arena, the largest indoor venue in the world, is unparalleled. “If I could relieve it like a virtual reality…,” he expressed. He remains optimistic about a comeback to the Philippine concert scene, whether alongside other musicians or headlining their own event, and potentially introducing a new Culture Wars album—set for release in 2025 and poised to resonate with a generation eager for genuine and provocative rock music and bring a refreshing change, brimming with aspiration and sincere intentions.

Merging elements from the past, present, and future with bold confidence and showcasing their proficiency with real instruments, Culture Wars radiates authenticity, ambition, and a fearless spirit meant to connect with a wide range of listeners. Dugan expressed that his motivation is rooted in the “kind of quest to become immortal” as he constantly strives to craft something and connect with a force larger than himself. For him, there is a profound urge to produce meaningful music that can endure beyond the fleeting nature of the physical body.

Along with launching new music, Culture Wars will be opening for LANY during their forthcoming gig at Kaohsiung Music Center in Taiwan on June 1st.

Watch Philippine Concerts’ full interview with Alex Dugan:

Philippine Concerts in Conversation with The Bloomfields ahead of the band’s 20th-anniversary show, Biyaheng Mahiwaga.

Renowned Filipino band, The Bloomfields, has undergone a transformational journey in the last twenty years, characterized by ingenuity, tenacity, and friendship—in their words, a BIYAHENG MAHIWAGA. The band reflects on their growth and expresses appreciation for their fans. They acknowledge a recent change in the lineup with the departure of Dino Pascual and welcome Nathan Abella, who seamlessly blends into the ensemble.

The band underscores the significance of purpose and commitment, finding happiness in composing music and engaging with their fans. They underscore the importance of balance in music and relationships, stressing the importance of consideration, perseverance, and shared principles as crucial components for achievement.

The Bloomfields is preparing to unveil a new album next year, featuring fresh interpretations of original songs and beloved covers, and highlighting a new psychedelic direction and the band’s aspiration to break free from conventions and artistic constraints. The band also intends to collaborate with other artists, aspiring to produce something innovative and unforeseen.

The Bloomfields aspire to be remembered as analog soul enthusiasts who enhanced the Filipino music landscape with modesty and dedication, greatly influenced by 60s Britpop and rock ‘n’ roll.

READ ALSO: The Bloomfields to stage special 20th anniversary show this month

Philippine Concerts: It’s been two decades since The Bloomfields started. How will you describe the past decades?

The Bloomfields: The past two decades have been a vibrant and thrilling journey for The Bloomfields—an adventure filled with creativity, grit, and brotherhood. It’s been a fellowship full of color, fun, and unexpected surprises, where each moment brought character development, self-discovery, and personal growth. With story arcs that could only be written through lived experiences, it’s truly been a BIYAHENG MAHIWAGA—a magical journey that has shaped who we are today.

PC: Is there anything you wish you had done differently when you first started?

TB: If we could go back in time, we’d definitely wish we had practiced more and worked even harder. We’d invest more time in honing our craft and growing together as a band. Most importantly, we wish we had appreciated the people who supported us, through both the highs and lows, even more. Their belief in us was invaluable, and in hindsight, wish we’d have expressed that gratitude more fully from the very beginning.

PC: A lot of changes have happened in the band during these decades. One of which is Dino Pascual’s departure from the band in 2021. How did that affect the band and how did you move forward following that?

TB: Yes, we refer to this period as The Bloomfields Season 3—marking the third lineup change in our 20 years in the music scene. Dino was with us for 11 incredible years, from 2010 to 2021, and he’ll always be a brother to us. His decision to leave the band took us by surprise, especially since we were still working on new music in our freshly built studio in Timberland, San Mateo. Despite the uncertainty, we were able to record one last song with him, ‘Diwata,’ which will be part of our upcoming album set to release next year.

In February 2022, we moved forward with Nathan Abella. We’ve known him through his father, Rey Abella of The Jerks, a veteran musician we jam with every year during the 70s Bistro’s Beatles Night. Nathan fits seamlessly into the band. He shares our passion for mid-century music, is a versatile musician who can also do lead vocals, and above all, is a true team player who meshes easily with our dynamic.

PC: What is the most significant learning you learned through your longstanding career?

TB: The most significant lesson we’ve learned throughout our longstanding career is the sense of purpose and service. We’ve never been driven by chasing hits or the spotlight; instead, we find joy in simply doing what we love—creating our own music and making people happy through our live performances. It’s a privilege to be able to share our passion with others, and that gratitude fuels us. Knowing this purpose keeps us inspired, allowing us to play with the same passion and energy, even when performing the same songs we’ve played for years. It’s about the connection with our audience and the joy we bring them.

PC: Many artists look up to you and see you as role models in the industry. What valuable lessons would you like other artists to take away from your career?

TB: Harmony is key—not just in music, but in relationships. Just like how different notes and chords come together to create a song, each member of a band brings unique strengths and personalities. The real challenge is finding that harmony in how you work together. Respect, patience, and staying grounded are what tighten that bond. In the end, relationships and shared values are just as important as the music you create. If you nurture those, the music will naturally follow.

PC: In celebration of your 20th anniversary, you will be releasing a new single and doing a special show. How will this be different from your previous music and shows?

TB: We’re excited to bring fresh takes on our original tracks—from our first self-titled album The Bloomfields, Hit the Ground Running, and A Drop into the Blue—along with a mix of our favorite covers over the years. Fans will also get a sneak peek at some new sounds from our upcoming album, which will be dropping next year.

We’ve made some trippy LED visuals that perfectly complement our sound, creating a full-on psychedelic experience. We’ll also be performing Diwata, the last song we recorded with Dino, which will be part of the new album. It’s a chance for Dino to bid a proper farewell and introduce himself as Dino Pascual, closing this chapter with us in a meaningful way.

PC: What kind of music or album will we see The Bloomfields release in the future?

TB: Yes, we’re currently working on an album set to release next year, and it marks a new chapter for us—we’re in our psychedelic phase. While some fans might expect us to stay within the box of a vocal group in suits or as the ‘Beatles of the Philippines,’ we feel the need to break free from those labels. This album is all about pushing creative boundaries and exploring our sound without limitations or comparisons. We’re not focused on making hits; we’re simply making the music we want to create and share with the world.

PC: Given the chance, which artist do you want to collaborate with and what kind of collaboration will it be?

TB: There are so many artists we’d love to collaborate with, but the ones who first come to mind are those we’ve hung out with over the years—like Clem Castro of Orange & Lemons, Paul Putian of Coffee Break Island, Eco Del Rio of Bird., Red Dela Peña of POT, and Chris Padilla of Hilera, just to name a few. Each of them brings something unique to the table, and it would be exciting to fuse our styles together for something fresh and unexpected.

PC: No one can deny your major contribution to the Philippine music industry and the music industry in general, with two decades under your belt, an impressive discography, multiple accolades, and more. Your influence is truly incalculable. What kind of legacy do you want to leave behind?

TB: We hope to be remembered as a band that served and entertained with humility and service. We hope to be recognized as the ‘analog soul kids’ who were heavily influenced by the 60s Britpop and rock ‘n’ roll sound and style, enriching the Pinoy music scene with more color and character. After two decades of playing and creating music for our Pinoy audience, we take pride in the impact we’ve made and aspire to inspire future generations of Filipino artists.

With Byaheng Mahiwaga, a special 20th-anniversary event at Fin and Claw, Timog, Quezon City on October 25, 2024, The Bloomfields are getting ready for a nostalgic trip down memory lane. You can purchase tickets at bloomfields.helixpay.ph.

Seeing Calum Scott go from being a reality show contestant to becoming a headline artist has been a journey that has been quite heartwarming to see. This success is set to continue with Lighthouse, thanks to a barnstorming vocal performance that combines pop and rock. Lighthouse is sure to continue to be successful. In addition to being a magnificent hymn to love in all of its forms, it is also touching and uplifting.

“Lighthouse is a story about light in the darkness, the hope on the horizon, even if it’s in the distance and almost out of view, it reminds you of what’s important and what makes you feel safe,” says Scott. “Lighthouse is a story about light in the darkness.”

The announcement of Calum Scott’s return to Manila has sparked excitement among his Filipino fans, who have eagerly awaited the opportunity to experience his electrifying stage presence once again. His previous performances in the Philippines have been met with overwhelming support and adoration, and his upcoming appearance at the Mathematics Tour alongside global superstar Ed Sheeran is expected to be no exception.

What and who is your inspiration for ‘Lighthouse’?

I agree, my mom is my lighthouse. I feel like when I was writing that song was the time when I am missing friends and family. I am a very sensitive boy, you know this from following my journey, and I think because I am missing them so much, it naturally came out in my writing, and I just wanted to write something that felt like it was a symbol of home, and for me, when I get the facetime from my mom or a text from my sister or my nephew, facetime-d me. I felt like these were all my little lighthouses, shining in the distance and reminding me of home. So, it’s kind of coming out of 2023, back in 2024, new year, new music, I wanted to have a strong, confident, and hopeful, and just something to set up a year right. Something that felt strong and empowering. If you feel about a person right away after hearing the song, then that speaks volumes about your relationship with them, and I feel that’s the thing with music. Like for my song “You Are the Reason,” I just read a message from a lady saying she would play this song a lot when she lost her father. She felt connected to him when she listened to it, and when she had her wedding, she’d dance to it in memory of her dad. So, it’s like people take different meanings from the song, and I think that’s the magic right there.

What is the message you want your fans to take away from your new single [Lighthouse]?

I want this song to be a song that you can sing from the roof top about that person or people or the hometown or whatever it is that you anchor your safety to. I think the same with “You Are the Reason,” just how much you love that person. I wanted the line, and the verse is like, “Walk a thousand miles in the pouring rain, and a million years couldn’t change the way I feel about you,” and if someone tells you that, you’ll feel arghhhh, and it’s a real dedication of love, and I think “Lighthouse” is a symbol of reminding you where land is. I feel that’s the same with my song, it reminds you of home, your family, and your friends, and I want my fans, when they listen to that song, to have something pop into their minds that they can’t wait to see or be back home or where their little “lighthouse” is in there, on the horizon.

Now that the internet recognizes you as singer songwriter, What’s next for Calum?

Actor, Model [Kidding] I want to continue with this journey. I think in the last year, between 2023 and now, I really believe that I am a singer-songwriter. I know it may sound stupid because I got 2 albums, and I toured the world already and I have a ridiculous numbers on my projects I think in my mind I never truly believed it and now I do, I look at the music that I make, I think tomorrow, “You Are the Reason,” going to hit a billion stream on spotify and it would be my 3rd song that would hit a billion streams and I feel like I’ve must be doing something right and I feel like, numbers don’t lie and last year I really start to believe that I am making the best music I’ve made and I feel really confident, so singer song writer is something like I would say I was just riding the wave before but now I genuinely believe I am a singer song writer and that’s all I want to do, I want to keep growing, keep connecting with fans, around the world year after year after year. It’s hard to go from stadiums to small stages now because I want to be able to perform for people on that level too. Singing for a stadium of people is the benchmark now.

You have collaborated with the best of the best in the music industry, you’ve crossed between genres, are there any other artists you would like to collaborate with?

I am open to collaborating with anyone. I feel like, sometimes when you collaborate with somebody, you never really know what magic you’ll going to stumble on, and I did collaborations in the past that have never come out, may never come out, and then I made collaborations with people like Darren Espanto, who I’ve not really met before and made music before, who I love, and I’m so glad we did that collaboration, so I think there’s magic to be made, and I think you know I’m more than happy to get together with people, collaborate, and make something new, so I’m always on the lookout for that, and it would be great to do that with Filipino artists. Filipino singers are incredible and insane, and I’d be more than happy to do another collaboration.

Now that you are a singer song writer, what is your favorite line in your lyrics so far?

Good question, it’s a really good question. Ok, “You Are the Reason,” I would argue, is my biggest song now. My version of “Dancing on My Own” was obviously kind of introduced me to the world, but I think “You Are the Reason” is a song I helped write, it’s something that I am so passionate about, and since we’ve been traveling with Ed, when I sing the last line, which should be “You are the reason…”, I change it to “You are MY reason.” Every time I sing that line, the stadium or the venue would go like, Ahhhhh, because the people are expecting me to say “you are the reason,” but the reason why I say you are “my” reason is because I know I wouldn’t be here without my fans, I wouldn’t be here without people like you, who listen, who enjoy, who are there for the journey. So, when I say you are my reason, I genuinely mean it. I worked hard to be where I’m at, but it’s the fans that continue to let me live my dreams. So even though it’s not the actual lyric of the song, it’s the lyrics that I’ve changed because I genuinely mean it, and I thank my fans for everything.

In addition to his musical talents, Calum Scott’s genuine and down-to-earth personality has endeared him to fans worldwide. His authenticity and openness about his personal journey have resonated with audiences, making him a relatable and inspirational figure for many. For Filipino music enthusiasts, the prospect of witnessing Calum Scott’s return to Manila for the Mathematics Tour represents a rare and exciting opportunity to experience the magic of his live performances once again. His ability to connect with audiences on an emotional level through his music is a testament to his artistry and the profound impact he has had on listeners.

Congratulations on your billion stream Calum! Lighthouse is streaming on all major digital outlets including YouTube Music, Spotify, and Apple Music.

Special thanks to UMG Philippines

With their newest song, “Roses,” the second single from their upcoming album, SOS continues to forge new paths and broaden their repertoire.

The five-track EP, It Was A Moment, is scheduled for release on September 29, 2023, with songs centering on growing up and dealing with these feelings, including the moments and concerns that accompany it.

It Was A Moment will also mark the band’s first release under local label Careless Music. Continuing last year’s significant alteration to its ten-year existence, the band, composed of Roberto Seña on lead vocals and rhythm guitar, Andrew Panopio on lead guitar, Anjo Silvoza on bass, and King Puentespina on drums, welcomed Ram Alonzo on keys. Since the group’s college years, Alonzo has served as a session musician for SOS and has always been regarded as an unofficial member.

SEE ALSO: SOS embraces intimacy with “Roses”, welcomes Ram Alonzo to the band lineup

Ahead of the release of their forthcoming album next month, Seña, Panopio, Silvoza, Puentespina, and Alonzo provided Philippine Concerts insights into their career, including recent changes, upcoming schedules, and band plans.

Philippine Concerts: The past year has seen considerable changes and transitions for SOS. How have things been going for you since you began working with Careless Music?

Anjo: I think it’s been a smooth transition – it also came at the perfect time with us maturing as a band and making smarter decisions about where we want to take our music. Careless made it easy for us to plan what we want to accomplish, and a lot of our goals as a label are the same.

King: I also have to add that since working with Careless, we’ve had a good team to back us up with our projects. We’ve been doing everything on our own for a while, so it’s a refreshing feeling knowing that we can just focus on making the music.

PC: That transition is going to be marked with the release of your upcoming album, It Was A Moment. How will your most forthcoming EP capture that transition, and how significant We this record to you?

Anjo: It’s very significant! I think most bands reach a certain point when they’ve been in the industry for a lengthier amount of time. With our EP, it’s a jumpstart to a new stage. Kinda feels like we’re just starting out again to be honest!

King: We also did a lot of pre-production before making the project. We set our intentions, shared the stories we wanted to tell, and gave the project a deeper layer to it. It’s very honest.

PC: How would you sum up the past years, particularly in terms of your artistic growth? Is there anything you wish you had done differently when you first started?

Anjo: I wish we were more active in socials back then. HAHA.

Andrew: We’ve always been excited about the music we put out. I think that’s because we make sure to keep changing things up. There are way too many demos among us that I wish we had put out when it was at the peak of our interest. There are probably two more SOS albums out there. That’s OK. The best record is always the next one.

Seña: I wish we put out music more consistently. Personally, I’m slow. I like to take my time. I love marinating in the music I make to the point that it turns me off. I’m slowly letting go of that bad habit of getting stuck. Oops

PC: Which song from your new album are you most looking forward to performing for your Filipino fans and why?

Anjo: Honestly can’t tell – it’s gonna be a surprise when it comes out!

King: There’s this one song I want to mention, but it’s unreleased, so I also can’t spill the tea on that.

Seña: It has happened more than once that a popular song from us wasn’t what we thought would be enjoyed by listeners. So we would have to see once we start road-testing all these new songs.

PC: If you had the chance, among the artists you haven’t collaborated with, who would you want to work with and what kind of project would you collaborate on?

Andrew: Rico Blanco! He’s so good at capturing hooks and forming anthems. I’d make a rock opera with him. That would be cool.

King: I really want to get Tim Marquez as a producer for a project. He’s always killing it and he’s at the top of his game right now.

Seña: I wanna work with Ena, Zild & Toneejay. These guys are crazy talented and I’m curious what any of that would even sound like haha.

PC: With everything you’ve accomplished and all the years you’ve spent in the industry, what’s next for SOS?

Anjo: Well – for me, we’re just getting started. It’s exciting to see all our plans come to fruition.

King: More music, more stories!

Seña: We’ve always seen ourselves as working musicians. The train doesn’t stop. Hopefully, you’ll see us around Asia more often.

PC: What valuable lessons would you like other artists to take away from your career?

Anjo: Keep at it! Just keep at it. The roads will never be smooth – just go through it and work hard!

King: Practice, practice, and practice. Learn how to fail gracefully and have a good daily routine.

Andrew: Finding your own sound is so valuable and honestly beyond any outside validation. Good work has a way of catching on. So keep at it!

Seña: Treat it like a job. Fame doesn’t mean anything. Having even just one person loving your music is enough to keep you going. Do not be disenfranchised by what you see online when it comes to making music. Express yourself. It isn’t a race.

After many years since their last solo concert in the country, Epik High will once again take the Philippine concert stage for the greatest show on Earth at the New Frontier Theater on November 30.

READ: Epik High Brings “Epik High Is Here” Concert Tour to Manila in November

But, before they deliver another electrifying show, Tablo, DJ Tukutz, and Mithra Jin provided Philippine Concerts the opportunity to get to know the phenomenal trio who blessed the world with songs that resonate with every emotion, put truths into words, and give life moments the soundtrack we always deserved as they talk about their longstanding career, future plans, and advice to the next generation of artists.

It’s been almost two decades since you, DJ Tukutz, and Mithra Jin debuted as Epik High. How would you describe the last decades?

Tablo: It’s been an absolute roller coaster ride. The ups were exhilarating and the downs were frightening. I don’t think there is any group that has lasted this long after being through so many catastrophes. We are actually happy that we can show our fans not only how to rise, but how to rise again after falling. Not many artists can do that.

Is there anything you wish you had done differently when you first started?

Tukutz: I would’ve not met Tablo and become a boyband member.

Tablo: I would’ve not met Tukutz and become happy.

Mithra: No comment.

What is the most important lesson you’ve learned throughout your long career?

Tablo: Be strong. But before that, have fun.

Many artists look up to you and see you as a role model in the industry. What valuable lessons would you like other artists to take away from your career?

Tablo: Grow with your fans.

As part of this tour, you will be coming back to the Philippines. What type of memories did your last visit to Manila leave you with, and how does it feel to return to the Philippines and perform a solo concert again?

Mithra: We loved it so much we had to come back right away. Get tickets NOW!!!

What words will you use to describe your Filipino fans?

Tablo: Beautiful.

Tukutz: Kind

Mithra: Exciting!

What kind of show should Epik High’s Filipino fans expect this time?

Tablo: It will be the greatest show on Earth. It might also be the last time we perform in Manila for a long time, so don’t miss it.

What kind of music or album can we expect from Epik High in the future

Tablo: We have something almost ready. Let’s just say, it’ll be delicious.

Over the years, you have teamed up with numerous musicians. If you had the chance, among the artists you haven’t collaborated with, who would you want to work with and what kind of project would you collaborate on?

Tablo: We would love to work with Filipino artists! Recommend them to us!!! And us to them please!!!

No one can deny your major contribution to the Korean music industry and the music industry in general, with nearly two decades under your belt, an impressive discography, multiple accolades, and more. Your influence is truly incalculable. What kind of legacy do you want to leave behind?

Tablo: We don’t have grand wishes. Just want someone to remember that Epik High was here.

SEE ALSO: 7 Epik High Songs to Add to Your Playlist

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EPIK HIGH IS HERE TOUR in Manila is presented by Makeitlive Asia and CK Star Entertainment. Tickets to the concert are available via TicketNet outlets and online here: https://bit.ly/MKLEpikHighTickets

Eric Nam is coming back to the Philippines for a night full of fun with Filipino Nam Nation!

The multi-talented Eric Nam will make his way back to the Philippine concert stage on November 10 at the Samsung Hall, kicking off the Asia leg of his There and Back Again tour in the country.

The multi-hyphenate promises a fun-filled concert — with a lot of singing and dancing — that will show a performance he is confident in and happy with for his Filipino Nam Nation. “That type of positive energy I have doing the show, it connects with the people who are watching and they walk away having had a good time,” he told Philippine Concerts in an exclusive interview. He will perform his best hits, including tracks from his latest album, There and Back Again, particularly “I Don’t Know You Anymore”, “Wildfire”, and “Any Other Way”, which he is most excited to bring to the stage for his local fans.

The upcoming Manila stop of There and Back Again marks Eric Nam’s first concert in the country after almost three years since his concert in 2020. The singer-songwriter recounted roaming around the Metro and having good food. He also expressed admiration for Filipinos, lauding their love for the arts. “I feel like the people in the Philippines are so warm and so kind. More than anything, they love music. That’s what I really respect and love about Filipino people — You have a deep understanding and love for the arts,” he remarked.

READ: Eric Nam is Back Again in Manila this November

In addition to reuniting with his Filipino fans, the tour, together with the album, marked a significant milestone in his career. The There and Back Again album served as his first release as an independent artist, following the end of his contract under his former agency. He admitted that going independent offers both pros and cons. “Being an independent artist is at times great and at times very difficult,” he said.

Still despite everything, he is happy and grateful to be an independent artist and be in control of his own career. “I think it’s really great that I am able to put music out, to tour the world, act in things, and take part in really cool projects as an independent musician. For that, I’m really grateful,” he added.

Moreover, the seven-track album signified his journey coming to South Korea to professionally pursue music and returning to the United States to continue what he started overseas and pursue his lifelong dream to be a singer in the US. And the journey there and back again was daunting, said Eric Nam. “Taking that journey, which almost took me ten years in Korea, and coming back to the States and reimagining and reengineering my career here was a daunting and very scary task,” he remarked. But the shift was also something he believes he had and wanted to do. It was a big shift — not only in terms of his career, but life in general.

Eric Nam came to South Korea in 2011 to compete in the second season of Star Audition: Birth of a Great Star. The following year, he officially signed under a label to debut as a solo artist, and the rest, as often said, is history. The singer-songwriter considered that period a “very momentous, important period” in his life. “It still is,” he said.

The year 2022 also marked ten years since he officially started his professional music career in South Korea. It was a decade of figuring things out about himself, what he wants to do, what he wants to create with his time on Earth. According to him, he spent those years figuring and experimenting various things in the entertainment world which he was happy and grateful to have the chance to do.

Despite the ups and downs of the past ten years, the multi-talented star lives without regrets. I try not to have regrets because you tend to dwell on the past and not think about how you can improve for the future, ” he remarked. He admitted that there were instances he wanted to quit or wished he never started, but he considers those moments as significant to his journey.” I take it as a pat on the back like ‘Hey, you got through it. Now, do whatever uou you want to do,” he said.

Aside from music, Eric Nam is known for the many hats he wears and different projects he undertakes, including MINDSET by DIVE Studios, a wellness platform that creates a space where people will feel safe to be seen and heard. “We created MINDSET because we believe that, sometimes, you just need to hear that you are not alone in whatever struggle or hardship you are going through,” he said. MINDSET has featured artists from various countries and genres who share their stories, including members of SEVENTEEN, GOT7, (G)I-DLE, iKON, Miss Universe 2018 Catriona Gray, and more. Given the chance, he also wish to have members of BTS and BLACKPINK on the platform. “They give us incredible performances and music, but at the same time, I’m sure they go through a lot of things that we all go through. To hear those conversations — not necessarily negative stuff — but to hear about the struggles they have, just very normal struggles, and for us to feel seen and to feel heard and to feel connected in that way. I think it will be incredible,” he said.

Eric Nam hopes that the platform become an avenue for mental health awareness. “It’s not always the easiest because we are very sensitive in terms of how we tell stories — important stories. I hope people are being positively affected by it and are enjoying and appreciating the content,” he added.

With everything he is already doing, Eric Nam promises that there is more to look forward to in the future. He will make his acting debut with Transplant that he hopes will open more actinh projects for him.

The singer-songwriter is also back in the studio, working on a new album for next year. A secret new music project is in the works and will be out in January 2023. He also teased new contents for DIVE Studios and MINDSET are coming. In addition, he revealed that he started to write and produce for TV shows and movies.

“It’s a lot of things, but for me, I’ve found that having a lot of things encourages my curiosity and creativity, so they kind of work together and I’m able to pull from different sides. That’s what I’ve enjoyed about my creative process,” he shared.

And Eric Nam hopes that with all the things to come, his Nam Nation will be there for it and like it. Before all the big treats for next year, the multi-talented star will treat his fans to more concerts as he brings There and Back Again tour to Asia, starting with the Philippines.

“All my Filipino Nam Nation, thank you so much for waiting for three years to see me. I’ve been so excited about going back to the Philippines and I can’t wait to see you. We’re gonna have a great time. The show, I promise you, is a lot of fun. It’s unlike anything you’ve seen. It’s gonna be a blast. Come on with comfortable shoes on and be ready to sing. I can’t wait to see you. Thank you so much for the love,” expressed the singer-songwriter.

WATCH THE FULL INTERVIEW HERE:

Eric Nam will be performing live and bringing a live band along for a fun-filled evening at the Samsung Hall on November 10. Tickets to the show are available via SM Tickets outlets and online.

Words by: Danica Lacson

Pinoy rock queens Acel Bisa, Aia de Leon, Barbie Almalbis, Hannah Romawac, Kitchie Nadal, and Lougee Basabas will come together for TANAW, a concert that celebrates Filipino music, rekindles past loves, and welcomes newfound inspiration.

READ: TANAW Concert Puts a Spotlight on the Reigning Queens of Pinoy Rock

Prior to taking the stage at The Theatre at Solaire on November 26 for a one-night-only concert, OPM icons Hannah Romawac, Acel Bisa, Aia De Leon, and Lougee Basabas granted Philippine Concerts an exclusive interview where they talked about the upcoming show, OPM, and so much more.

Philippine Concerts: For a one-night-only performance at The Theatre at Solaire, TANAW brings you together. How do you feel about getting together for this unique concert?

Hannah Romawac: So many feelings but what really shines through is gratefulness.

Acel Bisa: I feel excited, thrilled, and honestly so honored to share the stage again with Aia, Barbie, Hannah, Lougee, and Kitchie.

Aia De Leon: Feels like a beautiful resurrection. On the heels of a jarring pandemic, there was a shift in the way I saw the time, quality, and the things that remain to be the most important things in life. The fellowship with these ladies is one of them. There is no other group of people who will have understood the fullness of my life, in every aspect, except for these ladies.

We grew up in an era together, we paid our dues together. We share a profound joy in making music, writing songs, and performing them in front of a live audience.

We’ve never braved a celebration on this scale together before, and I feel very blessed to be a part of this.

PC: What does TANAW signify to you?

Hannah: The word itself means to either look back or look forward. The word has fluidity. It’s not stagnant which is something I could say the same about the women in this show. 

Acel: To me “Tanaw” signifies a deep hope. It is looking from afar, reflecting and enjoying the nostalgia of the past, yet more than just merely looking into an unknown future, a state of living in the present, still vibrant, full of energy, aspiration, and hope.

Aia: It could’ve been BALIK TANAW. But it isn’t. TANAW is to build further from what we’ve sown.

PC: What can your fans expect from the concert and what kinds of performances can we look forward to on November 26?

Hannah: Will definitely play the music that will make you feel like it was 2004, but also have lovely collaborations with the ladies.

Acel: For sure we will reminisce and enjoy each other’s solo performances – The hits of way back, and also for my slot, I will share a new song I wrote that is very special to me. There will also be some collaborations that we’ve been practicing. The evening will be something we all dreamt of doing and so happy that it will finally become a reality.

Aia: 3 hours, to celebrate YOUR best life. 

PC: You have demonstrated your enduring power with sold-out tours and concerts, chart-topping songs and albums, and a devoted fanbase, starting from your early days as lead vocalists of the late ‘90s/early 2000s bands to forging your identity as individual artists. How would you sum up your musical and professional development throughout the years?

Hannah: It’s hard to sum up something that’s ever-changing. Music to me has been the longest relationship I’ve ever been in. We’ve had a lot of ups and downs. I’ve fallen in and out of love with it but somehow still find my way back. Through the years it has taught me resilience, courage, kindness, and love. For that, I will always be grateful. 

Acel: To be honest, and more than what people remember from nearly two decades ago, from an artistic point-of-view I never really “left” making music. I’d like to think my music has always been incrementally growing. When I transitioned and became a solo artist in 2008, it was a bit challenging for me to start, but through the years I learned to enjoy working with different musicians, arrangers, and producers.

For sure – more than the hit songs, I’ve continued to write new songs, continued to collaborate, and never really stopped recording and producing. What thrills me the most is that, over the years, the musicians I get to work with are getting younger and younger – and the technology to execute the sounds is more available and so much more impressive than ever before.

To sum it up: I’d like to think of my music as “multi-generational”. I don’t think I’ll ever stop, really.

Aia: The ebb and tide revealed to me who I was and who I should work to become. The path has not always been clear, impostor syndrome can eat up a good woman sometimes. But a significant realization for me was that I have my community (at different eras in my life) to thank, of whom without, none of any amount of success I had would’ve happened to me.

PC: How would you characterize the current situation of Filipino music, particularly Filipino rock?

Hannah: In general, Filipinos listen to Western music more than their own. Pre-pandemic, that demand is fed by an influx of international acts coming to the country. That gave Filipinos more access and connection to the artist and their music.

Somehow the pandemic changed that. With Live music taking a break, borders closing, and no international artist access, Filipinos started to look inward and appreciate the uniqueness and ability of OPM artists to experiment with various styles and genres. Looking at the charts now, most of them are new OPM artists. The pandemic ushered in a rebirth of the 90s OPM golden age—2.0.

Filipino Rock is the cornerstone of OPM. One of the, if not the, most dynamic and vibrant categories of the local music scene. It’s incredible how there are a lot of very young talented artists just making their music the way they want to. So unique and creative.

Back in our time, there was a mold you follow whether you were rock, pop, ballads, etc. But these days, since kids have more access to new technology, they experiment with a lot of different sounds/styles and make their own version of rock and it’s amazing!

Acel: Right now it’s at levels we’d never imagined. It’s so wonderful to see home-grown Filipino musicians getting international attention even. I’m not too updated with the “rock” scene itself. I don’t think there is much of a distinction anymore when it comes to a musical genre. I believe the lines are somewhat blurred and people don’t really talk about the underground purity of “rock” or “alternative rock” as they used to before. It seems that today, pretty much everybody is a “rockstar”… and while that could be a funny thing. It is also a serious thing. Sometimes we all need to be reminded to stay true and to stay humble.

Aia: Many doors have been opened, and many ears are tuned in. I celebrate how far the scene has gone and the stretch of greatness it’s headed towards. 

Lougee Basabas: The pandemic has brought about a collaborative spirit and a strong sense of solidarity among artists. The Philippine band scene is slowly setting its wheels in motion, opening its gates to live events once again. The energy that both performers and audience have clamored for in the past years has brought back a great sense of nostalgia, a familiar sense of belonging. It’s exciting to witness the band scene coming to life again.

PC: What steps do you believe need to be taken for OPM to grow even more?

Hannah: I think this doesn’t just apply to OPM or music. Whatever endeavor we all take in life, if we try our best to be kind to one another, we can all move through life with a bit more empathy for others. When we encourage and support, then we can all thrive.

Acel: There’s plenty of room for growth but in order to grow: I think the very first step, I believe, as artists, is to recognize that we are not “in competition” with each other.

Especially in this day and age when there are pressures in so-called metrics like view counts or stream counts – It is so tempting to compare and feel discouraged or depressed when there are comparisons being made. We forget that these are not a reflection of each other’s true artistic value.

As Filipino musicians, we all have a beautiful song worth listening to and there will always be someone on the other end of their headset, wherever in the world they may be, from whatever background they may come from, whose life will be moved when they listen and sing-along to our songs.

Aia: To not stop? I think this is the only pressure one should carry on their shoulders. 

PC: What advice do you have for aspiring Filipino musicians?

Hannah: Be brave. A lot of things might not go the way you plan them out but just push through. Keep being creative and collaborate with people that inspire you. 

Acel: Know your own voice –be inspired but do not imitate. Go deep into your heart to find your biggest ‘why’ in making music. Doing it for fame and money would just kill the life in you. Do it because the art gives you joy and do it with a purpose that would echo in eternity, for that purpose, is the fuel that makes the passion burn. Steward this gift with care, love, and responsibility. Your song has the power that can bring healing and hope.

Aia: Forget the fame, grow the love for music. 

PC: What is your final message to your fans?

Hannah: A big thank you to all of you out there. Your support through the years is something I will forever cherish.

Acel: Thank you for your continuous support of my music. It gives me the joy to know that my music and the songs I work on together with my musician friends continue to bring comfort and hope.

Aia: This is not my final message, but it is a message of gratitude. Many many times you have been a godsend; you who took the time to brave a gig alone and led to braving more gigs alone, you who walked up to me and said, “You made songs that talked me out of suicide”, you who seized me by the shoulders saying, “DON’T STOP”

Your voices agitated the dying hope I have at certain moments in my life, your encouragement stomped out the fires of doubt, and you listened when no one else would. And even now you still wait for things to be written and sung. By me. 

Thank you for the life you breathe in me. May your belief repower my courage.

TANAW with Acel Bisa, Aia de Leon, Barbie Almalbis, Hannah Romawac, Kitchie Nadal, and Lougee Basabas

TANAW will mark the first time that six of the most iconic names in Pinoy rock will perform together on one stage, happening on November 26 at The Theatre at Solaire. Tickets to TANAW are available for purchase via Ticket World.

This event is produced by GNN Entertainment and co-presented by The Theatre at Solaire.