Legendary Filipino music icon Jose Mari Chan is set to stage a major concert at the Philippine International Convention Center (PICC) on Saturday, July 11, 2026, at 8:00 PM. Titled “Afterglow: Seasons of the Heart,” the concert takes its name from the singer-songwriter’s first single.
“Afterglow: Seasons of the Heart” marks several milestones in Jose Mari Chan’s remarkable career.
It will be his first concert alongside rising stars Kolette Madelo of Pinoy Big Brother Gen 11, Tawag ng Tanghalan champion Lyka Estrella, and Tawag ng Tanghalan 1st Duet Grand Champion and the latest Your Face Sounds Familiar grand winners JM Dela Cerna and Marielle Montellano.
It will also be his first performance at the newly renovated PICC, which underwent major upgrades last year, including new wood wall finishes, ceilings, doors, and seating, as well as state-of-the-art lighting systems and enhanced acoustics.
More importantly, the concert serves as a reminder of Jose Mari Chan’s enduring status as a timeless balladeer, and celebrates his musical legacy beyond the widely recognized “Christmas In Our Hearts” phenomenon.
As producer QR Events Solution Inc. proudly states:
“More than a concert, ‘Afterglow: Seasons of the Heart’ is an invitation to slow down, remember, and feel… a night of elegance, warmth, and world-class musical storytelling led by one of the Philippines’ most beloved musical icons.”
Tickets for “Afterglow: Seasons of the Heart” are now available online via TicketWorld:
Universal Music Group (UMG) Philippines ushers Mobile Legends: Bang Bang (MLBB) Professional League Philippines (MPL PH) into a bold new era, bringing music and esports together for a more immersive fan experience. In partnership with MPL PH, the league now comes with its own soundtrack, rallying behind the call “Palag Na ’To” and embracing the competitive spirit fueled by the Lakas ng Pinas.
From left to right: Enzo Valdez, Managing Director of UMG Philippines, Filipina singer and UMG Philippines artist Janine Berdin, Jane Camille Dela Cruz, Head of Marketing, Esports, Philippines, at MOONTON Games, and Lee Viloria, Head of Business Development and Partnerships, Esports, Philippines, at MOONTON Games.
Leading the charge is Janine Berdin, Island Records Philippines artist, songwriter, and a genuine MLBB player, who will debut the official MPL PH theme song. A self-written anthem rooted in her real passion for the game, the track captures the energy, grit, and identity of the MPL PH community. Known for her powerful vocals, Berdin steps into the esports spotlight with a sound that reflects both her artistry and her experience as a player. What sets this apart is her authenticity, as she is not just performing for gamers but is part of the scene herself. A Hanabi main who has ranked on the leaderboards, she brings real credibility into the collaboration. Her involvement reflects Lakas ng Pinas that defines the MPL PH community.
“Super excited ako to finally share this song with the community. As someone who genuinely plays MLBB, this project is very personal to me—it brings together two worlds I truly love, music and gaming. I poured my heart into this track, and I hope every player and fan can feel that energy and passion. Para sa lahat ng patuloy na lumalaban, whether in rank games or on the e-sports stage, this is for you—PALAG NA ‘TO!” Janine Berdin shares.
As the league’s official music partner, UMG Philippines plays a key role in defining the sound of the Season 17 Playoffs. The partnership introduces a new layer of storytelling, where music amplifies the emotions behind every clash, comeback, and championship moment. This collaboration aims to transform the league into a more immersive entertainment experience that goes beyond the game. Fans can expect more than just matches at the MPL PH Arena and MPL Festival. For the first time, live performances from rising OPM artists will be integrated into the esports experience.
Building on this momentum, Janine also highlights how meaningful it is to bring her voice into a space she genuinely belongs to, creating a track that resonates with both players and fans while celebrating the spirit of competition and community. “Music transforms gaming into something far more immersive—it doesn’t just accompany the action, it amplifies every emotion, heightens intensity, and turns each moment into a lasting experience,” said Enzo Valdez, Managing Director of UMG Philippines. “We’re incredibly excited about this partnership and look forward to building deeper collaborations with UMG artists that will keep pushing culture forward and connecting with fans in bold, new ways.”
This creates a dynamic environment where concerts and competition come together under the banner of “Palag Na ’To.” By blending high-stakes gameplay with music and live performances, MPL PH evolves into a full cultural platform for Filipino fans. It is no longer just about watching matches, but about feeling every moment. The experience extends beyond the arena into a shared space for community, creativity, and expression. Each moment reflects the passion and energy of the league’s growing fanbase.
Jane Camille Dela Cruz, Head of Marketing, Esports, Philippines, at MOONTON Games, said: “As MPL Philippines enters its 17th season, showcasing Filipino excellence in esports, and MLBB celebrates its 10th year, shaping the Filipino gaming culture, this collaboration celebrates the journey of MPL Philippines and the community that has grown with it. We thank Janine Berdin, Island Records Philippines, and Universal Music Group Philippines for bringing fans together into the spotlight by connecting gaming, music, and youth culture. With its own new soundtrack, MPL Philippines becomes more than an esports league. It now becomes a cultural experience brought to life by the entire MPL PH community across players, fans, and supporters.”
This collaboration reflects a bigger movement centered on the intersection of gaming, music, and youth culture in the Philippines. Both UMG Philippines and MPL PH are committed to deepening fan engagement by connecting with audiences through shared passions. MLBB has long been more than just a game for Filipinos. It is part of everyday life, from casual play to global competition. By giving the community its own sound, MPL PH strengthens its identity as more than just a league. It becomes a shared cultural experience that fans can hear, feel, and truly be part of, powered by Lakas ng Pinas.
Manila, Philippines — GMG Productions in partnership with UnionBank staged the gala night of the internationally acclaimed rock opera Jesus Christ Superstar last May 5, 2026 at The Theater at Solaire. Media, influencers, theatergoers and music fans turned out for a night to remember celebrating one of Andrew Lloyd Webber’s most enduring works.
This production is yet another milestone of UnionBank’s long-standing partnership with GMG Productions that has brought over 10 major theatrical experiences to audiences in the Philippines. The partnership’s past highlights have included Hamilton, Miss Saigon, Dear Evan Hansen and The Friends Experience. With these initiatives, UnionBank remains committed to supporting the growth of live entertainment in the country and bringing world-class cultural performances to more people.
Jesus Christ Superstar, told from the point of view of Judas Iscariot, explores the final weeks of Christ’s life. It deals with such serious topics as loyalty and betrayal, doubt and faith, the price of fame, and human frailty. Rock, opera, soul. The Manila staging combines all three, with a strong live band that includes electric guitars, driving drums and strong vocal performances.
Leading the cast are: Gab Pangilinan as Mary Magdalene Luke Street as Jesus Javon King as Judas Ethan Hardy Benson as Pilate Grant Hodges as Caiaphas Kodiak Thompson as Annas
The star-studded gala brought together leading personalities from the arts, culture and entertainment sectors, highlighting the cultural importance of the production in the Philippines. National Artist for Literature There was Ricky Lee, the master storyteller who has defined generations of Filipino storytelling. National Artist (dance) Adding historic gravitas was Alice Reyes, the trailblazing figure in Philippine ballet and theater who had played a significant role in earlier local stagings of the rock opera. Fresh from her victory, the newly crowned Miss Universe Philippines 2026 Bea Millan-Windorski caught the spotlight on the red carpet in her first major public appearance as title holder.
Audiences can look forward to such iconic songs as “Superstar,” “I Don’t Know How to Love Him,” and the emotional “Gethsemane.” The musical, by Andrew Lloyd Webber with lyrics by Tim Rice, has won critical acclaim and major awards (Tony, Grammy and Olivier) in successful runs in London, North America and Australia.
UnionBank cardholders enjoyed the privilege of early access to an exclusive presale from November 3-6, 2025 and a 10% discount on tickets when public sales opened on November 8, 2025. Such benefits highlight the bank’s commitment to providing its customers with more than just financial services with enhancing lifestyle and cultural experiences.
The Manila run of Jesus Christ Superstar is scheduled to run until May 31, 2026. UnionBank and GMG Productions have already announced their next collaboration: Charlie and the Chocolate Factory: The New Musical, coming in July 2026.
This partnership signifies a common commitment to enhancing the Philippine cultural scene by bringing world-class performances to local stages, thereby cultivating a deeper appreciation for live theater and music among Filipinos.
With anticipation building for their biggest headline show to date, Cup of Joe is entering a defining new era with the release of their brand new EP, Sandali. The six-track project arrives just weeks before the highly anticipated SANDALI: Cup of Joe Fest happening on May 23, 2026 at the Philippine Sports Stadium — a milestone concert expected to gather thousands of fans in celebration of the band’s meteoric rise.
The North-grown hitmakers continue to reach new heights following the massive success of their album Silakbo, while also earning international recognition with a nomination at the Music Awards Japan 2026 for “Multo” under the Best Song Asia category. But before they take over the stadium stage later this month, Cup of Joe offers fans a glimpse into their current creative chapter through Sandali — a body of work shaped by shared experiences, personal growth, and the quiet lessons learned along the way. According to the band during a recent press conference, the EP reflects the maturity they’ve gained both as artists and as individuals navigating life together.
Designed with the energy of a live crowd in mind, Sandali feels tailor-made for the massive singalongs and emotional moments that fans can expect at Cup of Joe Fest. The EP opens with the powerful titular track “Sandali,” an anthem of resilience and loyalty, before moving into the nostalgic coming-of-age themes of “Pamahiin.” It then slows down with the emotional weight of “Kung Payagan” and “Lalayo,” eventually culminating in “Isang Daan,” a stirring anthem about overcoming fear and choosing a path forward. Together, the tracks create a cohesive narrative that mirrors the band’s journey — one that fans will soon witness unfold live onstage.
While Silakbo explored the raw and unpredictable stages of grief, Sandali emerges as a brighter, more hopeful continuation of that story. The band retains the soulful vulnerability and melodic storytelling that defined their earlier work, while embracing playful synths, bigger hooks, and a more urgent rhythmic energy fit for a stadium crowd. As Cup of Joe prepares for one of the biggest concerts of their career, Sandali stands as both a celebration of how far they’ve come and an invitation for listeners to grow alongside them.
The virtuosic Brazilian-Japanese guitarist will also perform tracks from his solo album, ASATO.
Mateus Asato is bringing his world tour to the Philippines in 2026. Considered one of the most prominent guitar players of the modern era, the renowned musician will be holding a special show at Aster Events Place in Mandala Park, Mandaluyong City, on July 31, 2026.
Produced and presented by GNN, Mateus Asato Live in Manila will feature performances of songs from his highly anticipated debut solo album, ASATO, as well as fan favorites. His self-titled record, which was released in February this year, doubles as a sonic travelogue that combines jazz, pop, and R&B influences with a prolific level of artistry and technique.
Prior to solidifying his global reputation as a virtuosic Brazilian-Japanese guitarist, Mateus Asato has collaborated with some of the biggest pop superstars, from Bruno Mars to Selena Gomez. As a fully fledged solo artist, he was often praised for his soulful guitar playing, earning accolades from several music media, including Guitar World Magazine’s list of the “TOP 10 Guitarists of the Decade,” Total Guitar’s “TOP Guitarists Right Now (2020),” and Guitar World Magazine’s “Hottest Guitar Players In The World (2022).
John Mayer recently called him “one of the best guitar players around,” alluding to his signature flawless technique that shatters conventions of the current guitar mold.
Tickets to Mateus Asato Live in Manila are now available via Ticketmelon, with the following tiers.
VIP (PHP 1,850)
Inclusive of 1:1 photo op, live autograph, A5 poster, and early access
Late-night thoughts just found their new soundtrack—Oh Stella! is officially signing with KDR Music House, marking the start of a new era for the Metro Manila-based band known for turning raw emotions into unforgettable music.
The ballad-alternative rock band, composed of Antonio Vivo and Gelo Santos on guitars, JM Santos on vocals, Bien Garcia on bass, and Johanan Fernandez on drums, continues to build a sound that resonates deeply with today’s generation—honest, emotional, and unapologetically real.
More than just a band, Oh Stella! creates music that feels like a companion. Through stories woven into their songs, they explore emotions that are often hard to express—serving as a friend to those who feel alone, a safe space for those who need comfort, and a reminder that even in uncertain moments, things will eventually fall into place.
Kicking off this new chapter, Oh Stella! is set to release their first single under KDR Music House, titled “I Guess.”
The track dives into the quiet heartbreak of missed chances—the kind that doesn’t come from loud goodbyes, but from the words left unsaid. It tells the story of letting someone slip away, and the slow realization that some feelings never really leave.
“I Guess” lives in that familiar in-between—when you convince yourself you’ve already moved on, but your heart keeps circling back. When memories feel distant, yet never fully gone. When the hardest truth to face is that no matter how much time has passed, you’re still not over them.
With a sound that speaks directly to late-night thoughts and unspoken emotions, Oh Stella! is set to connect with listeners on a deeply personal level as they begin their journey with KDR Music House.
And if you’ve ever found yourself replaying a moment you wish you could change—“I Guess” might just be the song you didn’t know you needed.
U.S.-based singer-songwriter Maya releases “ROMANTICIZE,” a new collaborative digital single with rising Japanese singer-songwriter Rol3ert, out 13 May 2026. The official music video premieres the same day at 8pm JST on Maya’s official YouTube channel.
A fully English-language mid-tempo ballad built around the concept of romanticizing the past, “ROMANTICIZE” was co-written and co-produced entirely on the day of Maya and Rol3ert’s very first session together. The track is produced by Tokyo-based beatmaker and producer A.G.O, anchored by floating synths and minimal beats that give space for Maya and Rol3ert’s interlocking vocals to take centre stage.
Written from the perspective of two people on either side of a relationship that has already ended, “ROMANTICIZE” draws on intimate, everyday details — a guitar, polaroids, a hair tie, a bunk bed — to ground a deeply emotional story in something tangible and real. The song captures the quiet human tendency to polish painful memories until they become beautiful, and to long for moments that once hurt.
The vocal interplay between Maya and Rol3ert is central to the song’s emotional architecture. Maya’s fragile, transparent tone opens the story; Rol3ert’s voice carries a quiet heat that shifts the perspective. In the chorus, the male voice reaches out — “do you feel the same?” — and receives only an ambiguous response. The back-and-forth mirrors the push and pull of memory itself: unresolved, bittersweet, and impossible to let go.
The music video, directed by Taichi Nakazawa and set in an airport, extends this nostalgic, in-between feeling — a location that inherently evokes departure, distance, and the bittersweet weight of goodbye.
MAYA ON THE SONG:“This song is built around the concept of romanticizing the past, with a strong sense of narrative throughout. As a songwriter, I care most about how much of myself I can weave into a piece. I intentionally incorporated everyday objects from my own life — like a guitar, a hair tie, polaroids, and a bunk bed — while crafting a fictional story about two people whose relationship has fallen apart, leaving space for listeners to imagine parts of their story. The past is fragile — it fades over time. Even memories filled with complicated emotions begin to look beautiful as they lose their sharpness. You may even find yourself longing for moments that once hurt.”
ROL3ERT ON THE SONG:“We completed both the lyrics and the track on the spot during our very first session with Maya. So we really valued those in-the-moment flashes of intuition and impulse, and carried that mindset through to the very end of the process. Through our conversation, we quickly recognised shared feelings between Maya and me, and the theme fell into place right away. Because of that, I think the song clearly captures the necessity — and the power — of people from the same generation coming together to create and express something collaboratively.”
Rol3ert has been building rapid and organic momentum across Southeast Asia. His breakout single “(how could i be) honest?” charted on viral charts in Japan, Taiwan, and Hong Kong, earned heavy rotation on Singapore’s 987FM, and peaked at No.5 on Singapore’s Shazam charts — resonating especially with younger listeners for its emotionally direct songwriting in English, a quality that cuts across language barriers in the region.
His subsequent single “savior” was selected for Spotify’s New Music Friday in 22 countries, and his sold-out headline show at Shibuya WWW X in Tokyo underlined his growing status as a live artist. He performed at MUZ’POP JAM 2026 in Seoul in March, his first overseas performance, and is set to perform at SUMMER SONIC 2026 in Tokyo on the Spotify Stage. He has also been named one of Japan’s 25 representatives in Rolling Stone’s global “Future of Music” project, and was selected for Spotify Japan’s RADAR: Early Noise 2026.
With listeners spanning Singapore, Indonesia, the Philippines, Thailand, Taiwan, South Korea, the United States, Brazil, and beyond, Rol3ert continues to establish himself as a Japanese artist with genuine global reach.
About Maya Maya is a high school singer-songwriter currently based in the United States. She first gained wide attention through acoustic cover videos on TikTok — her rendition of Vaundy’s “napori” exceeded 7.15 million streams, while her cover of Grover Washington Jr.’s “Just the Two of Us” surpassed 5.12 million streams — reflecting a fanbase with strong resonance across Asian music communities globally. In 2024, her voice caught the attention of renowned Japanese composer and producer Yoko Kanno, leading to her feature on “Blue feat. Maya” for Honda’s global campaign. She was also featured on m-flo’s revival single “HyperNova” and performed for a crowd of approximately 20,000 at SUMMER SONIC 2024. Her debut single “Red Lights,” released in August 2025, reached No.4 on J-WAVE’s SAISON CARD TOKIO HOT 100. She has since continued to expand her profile, performing on the soundtrack of director Mamoru Hosoda’s film alongside Ayumu Matsuda of RIKON.
Following viral covers surpassing 4 million views, he broke through with “(how could i be) honest?” and “savior”, both regional viral hits with over 500,000 Spotify streams in the first month. His latest single “savior” achieved #1 on the Billboard Japan Heatseekers Songs chart.
At just 20 years old, Rol3ert is emerging as one of Japan’s most exciting new talents, drawing attention for his bold vision and growing presence on the global music stage.
Globally renowned pop group Westlife announces the Asia leg of its much-awaited tour ‘WESTLIFE 25: The Anniversary World Tour’ with a concert in MANILA on January 20, 2027 at the SM Mall of Asia Arena. Presented by Wilbros Live. Tickets will go on-sale on May 15 Friday, 12PM via SMTickets.com and SM Tickets outlets nationwide.
Running from September 2026, the tour promises a euphoric, hit-filled set spanning their extraordinary career, featuring timeless ballads and global chart-toppers. It kicks off with a 13-date residency in Dublin this September before heading across the UK and Europe, marking their first headline continental run in two decades.
Westlife today release their monumental era-defining album 25 – The Ultimate Collection, a celebration of their record-breaking 25-year journey at the very top of global pop. The album is available across multiple formats including 1CD, 2CD deluxe, 1LP, Amazon Exclusive 1LP picture disc and cassette. Listen HERE.
The release follows “Chariot”, written by Ed Sheeran, Johnny McDaid and Will Reynolds, and co-written and produced by Steve Mac and features on the new album alongside recent release “Your Love Amazes Me”. The collection brings together 21 of the band’s most beloved songs including “You Raise Me Up,” “Uptown Girl,” and “Flying Without Wings” alongside brand-new material recorded by all four members: Shane, Nicky, Kian and Mark.
Westlife said: “This year marks 25 years since we started this incredible journey together and it still feels like only the beginning. The support from our fans has been unbelievable, and to celebrate with this world tour, new music, and a brand-new album feels truly special. We can’t wait to see you all on the road and share this next chapter together.”
About Westlife
Over the last 25 years, Westlife have become one of the most successful pop groups of all time. Their music has been streamed over 3 billion times globally; they’ve achieved 36 No.1 albums worldwide, 14 UK No.1 singles (ranking only behind Elvis Presley and The Beatles), sold over 55 million records, surpassed 1 billion YouTube views, and sold more than 6 million concert tickets around the world. The Wild Dreams Tour sold over 1.2 million tickets alone. The band have performed over 200 shows since their reunion in 2019 across 30 countries. Westlife remain the UK & Ireland’s top-selling album group of the 21st century.
Singer-actor Inigo Pascual returns to recording with his new single, “Ikaw at Ikaw,” his comeback project with ABS-CBN’s premier record label Star Music.
“It feels like I’m coming back to my home. I can easily say that Star Music, they were the people that really saw the potential in me from the very beginning and they allowed me to create music, to even discover that I can be a composer. Sa kanila talaga nanggaling ang confidence ko when it comes to music,” shared Inigo.
He composed “Ikaw at Ikaw,” which is about finding oneself coming home to a loved one who has never lost their affection. The song was also inspired by his homecoming to the Philippines after moving back and forth between the country and the United States for his international career. It was arranged and produced by Gabriel Tagadtad.
“I wanted to go back to my roots, I wanted to go back to how I started as a musician,” he said.
ABS-CBN Music creatives, content, and operations head Jonathan Manalo shared their excitement about Inigo’s homecoming.
Jonathan said, “Inigo will always be family. Hindi naman talaga siya rin umalis sa amin. His songs, his music stayed with us. S’yemre pag narinig n’yo ang ‘Dahil Sayo,’ it will always be the signature of Inigo released under Star Music, and right now it’s like a full circle moment, and alam ko he will keep releasing songs under his home label.”
“Ikaw at Ikaw” is included in Inigo’s forthcoming album, which is expected to drop later this year and will feature several tracks penned by the singer-songwriter himself. Fans can also look forward to the release of the song’s music video, filmed in Batangas, happening soon.
Inigo has also popularized the songs “Balang Araw,” “Catching Feelings,” “Mr. Nice Guy,” and more, and sang the official Philippine version of Coco’s soundtrack “Remember Me.” He has previously released an international album “Options,” under Tarsier Records, before starring in the Hollywood series “Monarch.”
Check out Inigo’s “Ikaw at Ikaw,” now available on music streaming platforms. For more details, follow Star Music on Facebook, X (Twitter), Instagram, TikTok, and YouTube.
Thousands of fans gathered at SM Mall of Asia Arena last May 8 as the Playback Punk, Rock, and Emo Music Festival brought together some of the biggest names in 2000s alternative music. Featuring live performances from Dashboard Confessional, Faber Drive, and The Red Jumpsuit Apparatus, the concert delivered a night of nostalgia-filled anthems, emotional sing-alongs, and high-energy performances at one of the Philippines’ leading concert venues.
Dashboard Confessional and 2000s bands take the SM Mall of Asia Arena by storm.
Fans relived the peak of the emo and pop punk era through crowd-favorite tracks such as “Face Down,” “Vindicated,” and “Candy Store,” transforming the SM Mall of Asia Arena into a massive celebration of 2000s music culture. The event drew longtime listeners, alternative rock fans, and concertgoers dressed in emo-inspired fashion, band shirts, and throwback streetwear that reflected the era’s lasting influence on music and youth culture.
A generation reunited through music More than a live concert, the Playback Music Festival became a shared experience for fans who grew up listening to emo, punk rock, and alternative music during the early 2000s. The festival highlighted the strong connection between music, identity, and community, bringing together audiences from different generations through timeless hits and live performances.
Dressed in black, every fan brought expression to the Arena with era-coded outfits.
As one of the country’s premier indoor concert venues, the SM Mall of Asia Arena continues to host international artists, global touring acts, and large-scale entertainment events in the Philippines. Known for its world-class acoustics, immersive concert setup, and accessible location, the venue remains a top destination for music fans and live entertainment experiences.
Thousands of fans reach their hand out to meet their treasured 2000s idols.
Reliving the emo era live From the opening performance to the final encore, the night recreated the energy of the 2000s emo and alternative rock scene. Strobing lights, roaring guitars, and crowd-wide sing-alongs amplified the emotional atmosphere inside the arena, while the venue’s top-tier surround sound system and flexible arena layout elevated the overall concert experience.
Faber Drive performs ‘Candy Store’ at the Playback Music Festival.
One of the night’s standout moments came from The Red Jumpsuit Apparatus vocalist Ronnie Winter, who reflected on the emotional roots of emo music and its enduring connection with fans. “The second half [of the word ‘emo’] means emotional,” shared the 43-year-old frontman, whose band remains one of the genre’s most recognizable acts.
The Red Jumpsuit Apparatus rocks the stage after two years since their last return to the country.
A home for live entertainment communities The Playback Music Festival has continued to celebrate the music that defined a generation, bringing international emo, punk rock, and alternative artists closer to Filipino fans. For over 14 years, the SM Mall of Asia Arena has remained a home for world-class concerts and maxed-out entertainment experiences, welcoming artists, fan communities, and iconic performances across generations
A crowd under the throbbing lights sings with all their heart.
BABYMONSTER is drawing attention with the announcement of second world tour, set to expand on the group’s growing global influence with an even larger scale than before.
YG Entertainment unveiled the poster for ‘2026-27 BABYMONSTER WORLD TOUR
[춤 (CHOOM)] IN ASIA & OCEANIA’ via its official SNS channels on the 11th. The newly released poster contains detailed tour schedules spanning Asia and Oceania, following previously announced stops in Seoul and Japan.
According to the announcement, BABYMONSTER will visit eight cities across Asia — Manila, Macao, Jakarta, Bangkok, Kuala Lumpur, Taipei, Singapore, and Hong Kong — as well as three cities in Oceania: Auckland, Melbourne, and Sydney. Including the previously announced Seoul dates and six Japanese cities — Kobe, Fukuoka, Yokohama, Chiba, Nagoya, and Osaka — the tour currently totals 27 shows across 18 cities.
In particular, the Osaka concert is garnering attention as it is set to take place at Kyocera Dome Osaka, one of Japan’s five major dome venues. The performance marks BABYMONSTER’s first dome concert approximately two years and five months after debut, once again highlighting the group’s rapid growth and strong global presence. The Oceania leg, which will mark the group’s first-ever visit to the region, is also expected to draw enthusiastic responses from local fans who have long awaited their arrival.
In Manila, BABYMONSTER is set to perform on September 5 at the SM Mall of Asia Arena.
Weverse Membership holders can register at https://weverse.io/babymonster/notice/35645 for the presale starting today, May 12, 10AM until Friday, May 15 at 9:59AM local to have their membership verified. Weverse Presale is set on June 1, 12PM – 11:59PM.
Mastercard cardholders have special access to presale tickets on June 2 from 12PM -11:59PM local. Check out priceless.com/music for details.
Live Nation members can secure tickets during the Live Nation PH Members presale on June 3, 12pm – 11:59pm. Visit https://www.livenation.ph/ for free membership sign-up and presale access. General on sale will begin on June 4 at 12pm via SM Tickets.
Last year, BABYMONSTER successfully completed its first world tour, <HELLO MONSTERS>, attracting approximately 300,000 attendees across 32 shows in 20 cities. As the upcoming tour expands significantly in scale, the group is expected to further solidify its status as a “next-generation global girl group.”
YG Entertainment stated, “As this is a large-scale tour spanning five continents, both the artists and staff are putting tremendous effort into delivering a high-quality production,” adding, “We ask for your continued interest in the upcoming announcements for Europe, North America, and South America.”
Meanwhile, BABYMONSTER released their third mini album [춤 (CHOOM)]. The album topped iTunes Album Charts in 19 regions and reached No. 1 on the Worldwide Album Chart, proving the group’s growing global popularity.
GMG Productions formally announced the highly awaited debut of Jesus Christ Superstar in Manila at a fun-filled press event that set the tone for a production that is both reverent and refreshingly new. The occasion, attended by media, creatives, and cast, heralded a bold new chapter in the renowned rock opera’s more than 50-year global heritage.
Joshua Bess, Javon King, and the Jesus Chris Superstar International Tour Company, photo by Vitt Salvador
The afternoon kicked off with GMG Productions CEO Carlos Candal saying he is proud to bring Jesus Christ Superstar to Filipino viewers, and that this production is more than what they expect. The creative team said they were aware of the sensitivity surrounding the subject and explained why the musical endures: its universal themes of humanity, doubt, faith, love, and choice. This is not a sentimental revival, but a modern, vibrant rendition meant to engage both longstanding fans and first-time theatergoers.
Gab Pangilinan and Joshua Bess, photo by Vitt Salvador
The diversity of the cast enriches the staging, bringing in different cultural viewpoints, physical expressions, and emotional depth. Each performer is different, each bringing their personality to the stage, making for a cast that is organic, raw, and undeniably alive.
This production hinges on a purposeful decision to humanize people who believe they already know. The actor playing Jesus does not come at the part as an untouchable figure but as a man struggling with fear, love, and destiny, making his journey very accessible. Mary Magdalene is a character of emotional honesty and sensitivity, while Judas is a confused man who is driven by belief, not simply betrayal. These multiple readings enable audiences to grapple with moral ambivalence, not moral judgment.
Jesus Christ Superstar International Tour Company, photo by Vitt Salvador
As a real rock opera, every moment of the performance is driven by live music. You see guitars on stage, a full live band behind the cast, and the sound is immediate and vivid, and alive the whole time. There’s the presence of Andrew Lloyd Webber’s classic music, yet nevertheless, it feels clearly current, aided by crystal-clear sound design that guarantees every line, guitar riff, and drum beat strikes with impact.
Dance and movement are a major storytelling tool, with the ensemble as a collective conscience, sometimes a crowd, sometimes witnesses, sometimes believers. Even in quiet, physicality and posture convey power dynamics and emotional strain, generating compelling visual tableaus that do not overpower the performances.
The Theatre at Solaire is the perfect place for this production. The atmosphere is tiny yet elegant, creating a rare connection between performers and audience so that every emotional beat resonates more strongly. Unlike larger arenas, Solaire’s welcoming environment pulls viewers into the heart of the story, blending grandeur and intimacy and deepening the impact of the Passion narrative.
Across the board, the cast is a vocal powerhouse. Jesus’ interpretation of “Gethsemane (I Only Want to Say)” is an awe-inspiring moment of naked vulnerability that demands the complete focus of the audience. Judas provides fire and pain in “Damned For All Time” and “Superstar.” Mary Magdalene’s sensitive rendering of “I Don’t Know How To Love Him” quiets the house and cries. Every performer gives their all, every note is packed with emotion and purpose, from the towering Caiaphas to the flamboyant King Herod to the indefatigable ensemble.
Joshua Bess and the Jesus Chris Superstar International Tour Company, photo by Vitt Salvador
More than five decades after its debut, Jesus Christ Superstar continues to speak powerfully across generations. For some in the cast, the show is deeply personal, woven into childhood memories of spinning vinyl records, family traditions, or first introductions to musical theater. For others, this production marked their first true encounter with the material. Yet regardless of history, many described the experience as “coming home,” even while discovering new layers to the story each night. They describe this version of Jesus Christ Superstar in a single word, answers ranged from truthful to raw, overwhelming, and powerful. Together, they form a fitting portrait of a production that honors its legacy while speaking directly to the present moment.
Gab Pangilinan, photo by Vitt Salvador
Perhaps most meaningful was the cast’s collective gratitude toward Filipino audiences. From the warmth of the reception at preview nights to the generosity felt beyond the stage, performers repeatedly expressed how Manila has embraced the production wholeheartedly. “The energy here is something special, you can feel the audience listening, breathing, and reacting with us. It makes every performance feel alive.” The international ensemble, drawn from multiple continents, echoed the same feeling of unity. Despite coming together in just days, one actor described the process as “joyful chaos that somehow turned into magic,” noting that the sense of trust and connection onstage mirrors the humanity the show seeks to portray.
Jesus Christ Superstar International Tour Company, photo by Vitt Salvador
The staging of Jesus Christ Superstar honors its legacy while speaking directly to today’s world. It is not only a theatrical triumph, but an emotional and spiritual experience, one that leaves audiences moved, energized, and deeply engaged and as the cast shared. “We’re playing human beings, people who loved deeply, doubted fiercely, and believed they were doing the right thing.” That perspective, repeated throughout the discussion, lies at the heart of this staging.
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.”
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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!
On April 25, the lobby of the Theater at Solaire was bustling with a diverse array of people in cottagecore fashion – classic overalls, plaid shirts and floral prairie-style dresses, mostly in earthy colors – much like the staple outfits seen in Pelican Town, the central hub in the game Stardew Valley. Known as one of the most popular cozy games in recent history, it has sold 50 million copies worldwide.
Presented by Film Concerts PH, the back-to-back sold-out shows for Stardew Valley: Festival of Seasons highlighted the best of the cozy, lighthearted soundtrack composed by the game’s developer Eric Barone a.k.a. ConcernedApe. The pieces were rearranged by Maestro Thanapol Setabrahmana into orchestral suites and medleys, and with the help of the Filharmonika Orchestra, they gave the audience an enthralling concert that you would could actually feel the comfort and tranquility of wandering around Pelican Town.
Since the beginning of the world tour in 2024, the show has been a huge success, with sold-out shows across different borders. When the Philippine shows were finally announced last year, Filipino fans were quick to sell out all tickets almost immediately. This enthusiasm was also palpable during the event as fans were there to celebrate it as a community. They made great effort to dress up and prepare freebies which are lore-accurate to the game. From the lobby, you could spot a lot of Easter eggs like familiar pixel art and character cosplays including Sebastian, Abigail, Mayor Lewis and JojaMart employees.
At its core, Stardew Valley is an open-ended farm life simulation video game that centers on the labor of harvesting, raising animals, fishing and mining, all of which sounds tedious at first. However, the gameplay gives this lifestyle a certain lulling calmness by allowing players to freely customize the design of their characters, the layout of their farms, their activities and their relationships with the ever-interesting NPCs (non-playable characters) – no time limits and no harsh repercussions. All they have to worry about is enjoying the farm life and making the most of their harvests as the seasons pass.
Since its release in 2016, the game has become a sanctuary for people when reality gets overwhelming. It was as if the alternative 16-bit country life made them feel in control, and kept them entertained at the same time. It was a no-brainer then that it further blew up during the outbreak of the COVID-19 pandemic, making it one of the most played video games during that era. They poured long hours into the game which became their outlet, an alternate reality that kept them grounded.
Watching Stardew Valley: Festival of Seasons live was a riveting way to experience the game through its charmingly calming soundtrack, and in a format that only the live audience could get to hear. As confirmed by the Thanapol Setabrahmana who is also the chief arranger for Symphony of Seasons, the versions they played in the concerts in the Philippines were slightly different from the recorded versions online. The arrangements gave a more polished touch to the original compositions. The instruments were more pronounced and the harmony was more layered, making the music more tangible, so to speak.
While there were no video snippets flashing on the screen, the ambient lighting and occasional stage effects helped in emulating the game’s serene atmosphere. It felt natural to get into the flow of the music, and to just immerse yourself completely into the wonders of Stardew Valley. The crowd was captivated by the live orchestral music, as proven by the collective gasps, sniffles and giggles heard from them.
The concert began with “Grandpa’s Theme”, faithful to the game’s opening cutscene wherein the player, who is living a mundane corporate life, opened their grandfather’s old letter that contained a deed that bequeaths them with a farmhouse. Conductor Thanapol Setabrahmana provided short, insightful narrations in between each piece, guiding the audience about the progression of the story through the four seasons: spring, summer, fall and winter. As the 11-piece chamber of the Filharmonika Orchestra played the orchestral suites for each season, it was easy to imagine the blooming flowers of spring, the bright grooviness of summer, the muted coolness of fall and the icy somberness of winter.
We also heard the ever familiar tunes during the “Town Medley”, “Mines Medley”, “Saloon Medley” and “Villagers Medley” (particularly themes for Haley, Abigail and Penny). They also fan favorites like “Dance of the Moonlight Jellies” and “A Golden Star Is Born”.
Seeing Stardew Valley: Festival of Seasons was a complete delight for fans who have poured in lots of time and effort in building their 16-bit community in the game. Hearing the game’s soundtrack played by a live orchestra is an experience that cannot be replicated easily, and the Filharmonika Orchestra handled it splendidly.
Near the end of the concert, Maestro Thanapol Setabrahmana hinted on a bigger show soon. Are we (hopefully) seeing Symphony of Seasons soon? Stay tuned for updates!
Their songs became anthems for a generation—capturing restless emotion, youthful defiance, and the evolving sound of post-hardcore. American rock band Saosin made a powerful return to the Philippine concert stage, headlining a monumental stop of their 20th anniversary tour on May 7, 2026, at the SM North EDSA Skydome for SAOSIN Asia Tour 2026 Live in Manila.
The Manila leg followed a high-energy kickoff in Cebu City, where the band first reconnected with Filipino fans—setting the tone for what would become a two-city celebration of their enduring legacy in the country. By the time they reached Manila, anticipation had reached a fever pitch, fueled by memories of their sold-out double-header in 2023 and a fanbase that had only grown more passionate over time.
This return carried a deeper meaning. More than just another tour stop, it marked two decades since the release of their self-titled 2006 album—a record widely credited for reshaping the post-hardcore and alternative rock landscape. In Manila, that legacy came alive in full force.
The night unfolded like a masterclass in precision and emotion. Staying true to the tour’s promise, Saosin performed their self-titled album in its entirety, delivering tracks like “Come Close,” “The Silver String,” “I Never Wanted To,” “Collapse,” and “Bury Your Head” with the same urgency that defined their early years. The band also treated Filipino fans to a special moment with the live debut of their new track, “Starting Over Again,” signaling that their story is far from over.
Inside the Skydome, the energy was relentless. “Voices” and “You’re Not Alone” transformed the venue into a massive sing-along, with the crowd nearly overpowering the sound system. But the emotional peak arrived with “Seven Years”—the song that launched Saosin into the global scene. As soaring vocals met a sea of voices screaming every lyric, it became clear why the band continues to stand as a pillar of the genre.
Presented by PULP Live World, the Manila show was more than just a performance—it was a reaffirmation of a long-standing bond between Saosin and their Filipino fans. From Cebu to Manila, the band’s return wasn’t just a celebration of the past two decades, but a powerful reminder that their music remains as urgent, visceral, and deeply felt as ever.
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