I recently discovered a term that defines people like me who usually judge pop music or believe that modern pop music has become repetitive, uncreative, or too similar: pop music doomer. Yet, I may have changed my mind.
I have had my share of a love-hate relationship with pop music for years. My conservative upbringing generally frowns on popular music, though it has penetrated our lives still.
The earliest pop group I remember was The Moffatts, whose songs my classmates in grade 1 and I would sing during breaks. International groups were more famous, but I did hear some local pop stars.
Generally, in terms of Original Pilipino Music (OPM), I was more inclined to the 90s rock bands up to the early 2000s. Their songs will still be on my playlists today. However, I will point out that people tend to look down on you when you listen to local artists, which tends to sway fans towards foreign acts.
The entry of dubbed Chinese drama series into the local stations brought in their own flavor of pop music, which lingered on the airwaves for some time. But when JPOP and KPOP went into Filipinos’ consciousness, I was not keen enough to follow, which I think developed into disdain.
Later on, when local acts followed the success of KPOP stars, I was expected not to be receptive to their music.
Initial Skepticism
I’m trying my best to keep up and start this P-Pop pilgrimage I am taking on. I am also looking to widen my appreciation of OPM and immerse myself in the culture I treasure. I can confirm that as long as the arts are appreciated and allowed to flourish, the music scene will never be doomed.
In 2017, it was announced that a sister group of AKB48 would be launched in the Philippines. It was highly publicized, and the selection process was shown on noontime TV. While I can go gaga to everything Japanese, I was not that receptive to having a local group that would behave like their overseas counterpart. MNL48 would become a pioneer in the P-Pop scene.
By this time, KPOP groups had become so famous nationwide that it became a usual trend among social media pages to call out fanaticism towards this music genre. By virtue of influence, I may have been too susceptible to share this sentiment before.
It also did not help that following trends is often considered lame and sometimes even emasculating. The genre tends to highlight visual elements, incredibly beautifying their artists, which could make an observer think that you prioritize this over the music.
While MNL48 tried to make its mark, other local groups tried to form their modern pop music take, forming artist groups akin to KPOP. The first group that comes to mind is SB19, a five-member boy group that was scouted by ShowBT, who then sent them for training in South Korea.
My former university was one of the places where SB19 performed after it debuted. However, I was not that welcoming to their brand of music, their integration of dancing into their performances, and their close similarities to KPOP groups; it made me cringe so hard.
Later on, I was able to appreciate MNL48 and enjoyed listening to their songs, especially their Filipino translations of Japanese hits. Unfortunately, it was never the same with other groups, which I continued to dismiss as cheap copycats, trying hard but failing to make their marks or cringy artist wannabes. (Yes, I was too harsh.) But things would eventually change.
The Turning Point
For years, I was dismissive of P-Pop and of OPM as a whole. Some songs may stick to me at times, but I did not have enough faith in this industry, as I was too legalistic and still emphasized that the best OPM songs were those released in the ’90s and early 2000s.
One OPM song that stuck with me was Nica del Rosario’s ‘Rosas,’ for obvious reasons. I was taken aback by how the words were weaved so expertly that I took the time and looked for her other songs. The poetry was flawless, and the cadence of the lyrics was on point. However, this was in the middle of my clinical clerkscould not able to take on an OPM journey.
Earlier this year, BINI‘s ‘Pantropiko‘ became viral because of the dance challenges on TikTok, even though the song has been around for nearly half a year. I have seen BINI on TV before and have even watched their performance of ‘Da Coconut Nut‘ on TV but never really minded them, dismissing them as just another girl group.
However, February came, and I started reviewing for my medical board examinations. My wife and some friends have been sharing BINI’s songs, especially ‘Karera,’ which should inspire us in our review process. I tried listening to the music for the first time and bawled. I cried, all my frustrations and tiredness seeping through my body as I read and reread my review materials.
I searched for the song and found it on my music streaming apps, shared my reaction with my wife, and became obsessed with it. During this time, I was still unable to explore BINI’s discography. Still, because of my interest, my wife started sharing videos of BINI, their hard work through their training, their continued patience to improve and maintain their craft, and their overall desirable qualities.
Thankfully, I passed my board examinations, and my free time allowed me to explore BINI and their songs. During this time, my wife continued to share all things BINI, saying she was obsessed with this girl group. I was hooked and became a BLOOM myself, the collective fan base of the group. As I explored their projects, I became exposed to other artists they collaborated with and started listening to other P-Pop acts.
To say that I was blown away is an understatement. I was exposed to a movement that valued creativity, performing well-written songs, presenting well-meaning and inspiring messages, and people passionate about their art. After BINI, I listened to ALAMAT, G22, Hori7on, SB19, KAIA, BGYO, and VXON.
Of course, I first hesitated because why would I spend time listening to songs by artists nearly half my age? Why would I dare listen to bubblegum-style music with polished visual looks? Why would I decipher the meaning behind the songs about teenage love or the inspiring anthems directed towards the youth? It feels off-brand for a married, nearly-middle-aged person. Yet, the musicality, lyrics, and passion caught up with me, and I became hooked.
Appreciating the Aesthetics
As I have stated above, one of my major issues with P-Pop, which initially prevented me from enjoying this genre, was the visual aesthetics being highlighted by the industry. Like KPOP’s, this aspect emphasizes beauty in promoting their music. P-Pop even adopted the KPOP positions, including the ‘visual,’ which is usually the person generally at par with the beauty standards, whether male or female.
However, I failed to realize that this emphasis is uplifting and encouraging. Even though visual members shine out among their co-members, everyone is celebrated, and their brand of beauty, especially the Filipino image, is given importance.
Visual aesthetics also involve the choreography and fashion of the P-Pop groups. In the case of BINI, their choreography stands out, and their dances frequently feature in challenges on social media accounts. Their attires also highlight local fashion artists with varied styles that often surprisingly meld seamlessly in their performances.
Perhaps the group that made me fall in love with aesthetics is ALAMAT, whose Filipino-centric branding incorporates traditional and cultural aspects in their clothes and choreography. The angst and charm they present onstage make me question why I did not pursue this path. I would have loved to perform like them.
Revitalizing Filipino Music
Aside from visual aesthetics, auditory elements also set P-Pop apart. Continuing with ALAMAT, their multilingual songs, use of traditional Filipino musical instruments in their music, or their rousing ‘Alamat, Handa, ‘Rap’ spiel wkes the soul, allowing one to be hopeful of the Filipino music scene.
While I think (especially now) that despite the foreign challenges, OPM continued to survive, P-Pop has seen a resurgence in the acceptability of admiring and following local acts after a long period of Filipinos thinking that liking international artists is cooler than loving the local scene. This may not be a general truth, but I observe this.
But what I like here is my rediscovery of how good lyricist Filipinos are. I mentioned Nica del Rosario before, who may not fit into the P-Pop categorization, but guess who was the leading composer and writer of ‘Karera;’ it’s her, the one I can call today’s Nicanor Abelardo!
P-Pop paved the way for Filipino creativity in writing to reach new heights, bearing the challenge of fitting Filipino languages (which include English) with modern music without sacrificing the essence of the lyrics. It also brings in writer-composer-singers who dance so well and present the P-Pop idol image so well.
The Influence of P-Pop
2024 has seen P-Pop groups frequent international stages for their performance and not just for the Filipino diasporic communities. Aside from being brought to the general attention of Filipinos, P-Pop has eventually seeped into the international consciousness and would perhaps have more exposure in the future.
As merely an observer, I cannot tell concretely how the local music scene has changed since P-Pop’s emergence. However, with the seemingly absent TV network wars and the general appreciation of all kinds of music, the Filipino music industry has felt P-Pop’s passion.
BINI, a known talent of ABS-CBN, has been popping up on the network’s former rival’s various TV shows. Their hits are also performed on GMA’s Sunday noontime variety show, though BINI is frequently its counterpart.
While collaboration between artists was widespread before, collaborations among PPop groups or seasoned OPM artists are also revitalizing local music. Whether this partnership involved one artist showing up on another’s music video (like in the case of Maloi from BINI in Maki‘s ‘Dilaw‘) or legendary performances (especially Gary Valenciano performing ‘Gento‘ with SB19), these are truly remarkable.
Community and Culture
Of course, fan wars and rivalries are still expected; I think it is human nature for people to want their favorite group to surpass others. It’s been happening in all waves of trends in the entertainment industry; thus, it is well expected in P-Pop.
Yet what struck me with the rise of the different groups is how individual members usually speak out in support of other groups or even praise them for what they do. It brings a sense of pride that each artist would want people in the same industry to rise and be known for their craft.
Thus, aside from toxic individuals, most relationships between fans are amicable at best. When I first posted praises for BINI, I found fans supporting me and retweeting my tweets. When I shared how ALAMAT’s ‘ILY ILY’ impacted me, I was welcomed by users to the fanbase, all who found belonging in the music and the members’ artistry.
Learning and Growth
I have always been a language junkie, and I was blessed to have learned Chinese in high school. Currently, I have three pending languages in my Duolingo app. But after I came to explore P-Pop, especially ALAMAT, I hungered to learn the local Filipino languages.
My family has also been multilingual, as I have Cebuano roots and live in the Hiligyanon-majority areas. Add to that the school’s Filipino, English, Mandarin, and Hokkien lessons. But now I think over things in Ilocano and Tausug. What if I learn more about this?
Also, the shared heritage highlighted in the songs reflected a Filipino culture that’s living, ever-evolving, and flourishing. I’m so proud to have been at the forefront of this growth in Filipino artristy.
Perhaps another personal growth for me is how I am now receptive to different types of subgenres. P-Pop has grown to feature various kinds of music genres. And I wouldn’t say I liked hip-hop and rap music before. But because of P-Pop, I now enjoy them all. I never cringed with the rap breaks and enjoyed the instrument change.
Looking Forward
I have been exposed to numerous PPop groups but have barely grazed the surface. More is yet to come, with more agencies developing their P-Pop groups. I’m still juggling the groups that drew me in and am in the process of appreciating HORI7ON (who breaks the KPOP/P-Pop divide), Press Hit Play, and KAIA.
Aside from groups, P-Pop has also opened to single acts from individual members of the groups like PABLO, Felip, and JOSH CULLEN of SB19. The industry is also ripe for single acts developed outside NCR, like Gl4ddyy, whose songs resonated with me.
P-Pop has also seen an international boost, especially this year. What does the future hold for these artists? While not concretely sure, I am confident that they will be showered with success. As long as the fans continue to support them and the industry follows through their journeys, we can be sure that P-Pop will continue to rise.
Personal Reflection
I may be late to the party, but I am dancing now. These past few months, I have opened my eyes to the promise of P-Pop and the future of OPM. It reignited my love for music in general and served as a rebuke for ignoring the Filipino music scene in the past.