The PUV Modernization Program and How It Affects Us All
Manila/ Vibe/ Pop Culture

Para Po! The PUV Modernization Program and How It Affects Us All

Loud, colorful, cramped. The Philippine jeepney is a riot, if not an assault on the senses. Nobody foresaw its existence, but when World War II devastated the Philippines’ economy and infrastructure, Filipinos had to start the work of rehabilitation somewhere.

From the surplus military jeepneys abandoned by American troops, Filipinos took what they could get. Ingenuity forged the Philippine jeepney from the wastes of war and local jeepney manufacturers like Sarao Motors, Francisco Motors, LGS, Malagueña, and Chariot, among others, stepped up to the plate, showcasing the possibilities and potential of the country's vehicle industry.

What started as a practical mode of transportation born from necessity has cemented its iconic place in Philippine culture. The Pinoy jeepney unapologetically makes itself known as the “King of the Road" with its garish and bright bodywork designs of religious images, pop culture icons, and landscapes; loud music and even louder horns; witty signages; and informal typographies. It careens through our streets and thoroughfares, having woven its indelible place in the everyday lives of millions of Filipinos.

But time has not been kind to jeepneys and public utility vehicles. Old jeepneys and PUVs continue to ply the roads, belching smoke and carrying passengers in dilapidated units that many deem uncomfortable, if not dangerous.

In 2017, the Department of Transportation (DOTr) and the Land Transportation Franchising and Regulatory Board (LTFRB) introduced the Public Utility Vehicle Modernization Program (PUVMP), with the goal to make public transportation more efficient, affordable, and environmentally friendly.

Dialogues and criticism surrounding the program unpeeled the heart of the issue: How to ensure a modernization that leaves nobody behind.

In the grand scheme of things, the PUVMP is more than changing lanes — literally and figuratively. As the Philippines revs its engines towards progress, it is behooved to grapple with the threats of displacement among communities and micro industries in the name of change.

The Beat Asia took to the streets to have conversations with jeepney drivers, commuters, transport group PISTON, local manufacturer Sarao Motors, and even a jeepney sign maker to reconcile each other’s woes and hopes for Philippine public transportation — and how the PUV Modernization Program affects us all.

Checking in on the Jeepney Drivers

Imus Palengke Terminal

There will be no crackdown on Feb. 1. The government had extended the consolidation deadline to April 30, giving drivers and operators more time to consolidate.

The government’s PUVMP promises great things, but it has also left many jeepney drivers in the Philippines to feel otherwise. This is mainly because the PUVMP poses huge risks to their livelihoods, among other problems.

Mang Arnold, for instance, is a jeepney driver who navigates the Imus to Dasmarinas route daily. To him, purchasing a modern jeepney for himself is completely unattainable as he only earns a clean P800 a day.

Mang Arnold's Jeepney

“If the PUVMP pushes through, we can’t do anything about it. We can’t afford to pay for the modern jeepneys,” said Mang Arnold in Filipino.

Another jeepney driver, Mang Ernest (not his real name), who travels along Pasay Road on a regular basis, shared the same sentiments. According to him, most of them earn only about P600 to P700 a day — a far cry from the P6,000 to P7,000 lawmakers foresee that jeepney drivers must earn in order to afford modern vehicles.

“How much is a jeepney driver’s minimum earnings, you ask? Only about P700 or P600. How can you make ends meet, especially if you have four children to support? What if they’re also studying, right?” said Mang Ernest.

Pasay Road terminal

To both, who have been jeepney drivers for 12 and 25 years, finding another job will be difficult for several reasons. For Mang Arnold, this livelihood is what he’s used to and what he knows best. Should the program continue to push through, he plans to take a different path, away from his current occupation.

“If it’s up to me, I’ll just go home to the province. They’ve been asking me to go home for a long time,” he said. “I will just raise pigs. At least there, I wouldn’t have a boss and the earnings are all mine.”

For Mang Ernest, while it is painful for him to let go of his jeepney, his plan is to move forward with the program and only hope for the best.

“Currently, we’re consolidated here on Pasay Road. We really have no choice because we are part of an association. If we don’t participate in this consolidation, other routes will take over this terminal,” he said.

“Let’s forge ahead first and fight for our cause. It might change after three years as the one in power now won’t always be there. When a new leader steps in, things might shift. Let’s just keep on fighting.”

The Good and The Bad: Commuters' POV

Buses, taxis, tricycles, pedicabs — the list goes on. On top of jeepneys, the country has many different modes of transportation, yet these still don’t meet the demand of commuters who need to travel daily. This case is true, especially during rush hour, when many commuters have to wait (or wrestle with others along the road) to get to their destination. Suppose the PUVMP is fully implemented by April, will the consolidated routes be enough for everyone, or will it cause a crisis that will affect accessibility to public transportation?

In a press release, the Presidential Communications Office said that about 75% of jeepneys have already consolidated as of mid-January according to the LTFRB. Meanwhile, buses were able to reach 86% consolidation, followed by UV Express at 82% and mini buses at 45%. Knowing how the country is already short in meeting commuter demand, not meeting the 100% by the deadline could spell fewer public transportation on the road.

The possibility of fare increases also hangs in the air. As per Atty. Neri Colmenares, lawyer for transport group PagkakaIsa ng mga Samahan ng Tsuper at Operator Nationwide (PISTON), in an ANC interview on Jan. 3, fares could jump to P40 due to the cost of modern jeepneys, which are priced at about P2.6 million. The DOTr, however, has refuted this claim.

According to GMA News early this month, the DOTr had said that fears over a possible fare hike under the PUVMP have no basis and that no fare hike would be implemented without going through the process of the LTFRB.

We turned to commuters to hear their views, from their thoughts on the PUVMP to their own daily commute experiences.

A 25-year-old commuter, Mark John Dulay, expressed his frustration, describing Manila as becoming an “inferno” due to the high cost of living.

“It’s annoying that the cost of living in this hellhole is expensive when we don’t even earn as much as we spend. I don’t earn much with what I do, but at this point, it’s enough to get me by on a daily basis. The problem is, not everyone’s in the same boat. If it’s a problem for me, what more for people with fewer resources than I do?”

As a daily jeepney commuter for work, Dulay questioned the fairness of the PUVMP because of its burden on low-income commuters as well as the livelihood of jeepney drivers.

Mark John Dulay

For Bernadine Buensalida, the program has its pros and cons. On a positive note, the PUVMP can improve the public transportation system, but she also said that this advancement can come with equal consequences, like a possible fare increase.

She acknowledged the factors contributing to this hike, such as inflation and fuel prices. While expressing concern, she said that “it is important for the government to ensure that the fare increase is reasonable and affordable for the majority of commuters.”

Bernadine Buensalida

Jeremae Alubog, on the other hand, expressed hope for the government's plans and the people in power, saying that a fare hike might be acceptable if it leads to a better commuting experience.

When asked if the possibility of a fare increase is reasonable, she said in Filipino, “Yes. If it’s a lot more convenient and comfortable compared to the old jeepneys.”

Jeremae Alubog

Meeting Robert Bolante, a Jeepney Sign Maker

Behind the endless calls of jeepney drivers and operators in opposition to the PUVMP hides a small voice in the name of Robert Bolante, a jeepney sign maker. Bolante, who mastered his craft of sign making over the past 17 years, is just one of the handful of jeepney sign makers still around.

Jeep Sign Maker Stall Diego Cera Avenue

Bolante’s stall is nestled along the bustling avenue of Diego Cera in Pulang Lupa, Las Piñas City where he and his eldest son endure the sweltering heat every day to make ends meet by selling jeepney signboards. His regular jeepney signs are priced at P40-P50, while bigger signs range from P150-P200.

Getting a stable income is a far-fetched dream for him. Ranging from taking home nothing to a rare P200 in hand, the PUVMP weighs heavily on him as days pass by. His future is not far from what may happen to the jeepney drivers, and the PUVMP could push him eventually to leave the job he’s known for almost 20 years in search of more secure work to feed his family.

The PUVMP will be a huge blow to him, he shared, as modern jeepneys will likely use sticker signages over hand-painted ones. Aside from the impending job loss, the possible fare hike in modernized jeeps also scares him, sharing that he already finds the current jeepney fares quite steep.

Painting jeepney signboards, however, isn’t unique to just Bolante. His eldest son also possesses talent in painting and has even started to pick up the job of crafting jeepney signboards.

While Bolante’s worries loom over him, he beamed with pride for his craft.

“For me, what I am most proud of is that these (jeepney sign boards) can only be found in the Philippines, you can’t find them elsewhere,” he said in Filipino. “Some of my signboards have reached other countries because a lot of foreigners would buy them as a souvenir. When foreigners come here, they pass by my stall to have a signboard made before going home.”

Visiting Sarao Motors in Pulang Lupa

Sarao Motors, one of the earliest and most popular local manufacturers of the jeepney, was founded after the war by the late Leonardo Sarao, a former kutsero (kalesa driver). Leonardo's experience as a kutsero would later figure in Sarao Motors' jeepneys, which were made iconic by the metal horses that adorned their hoods.

One of the Earliest Sarao Jeepneys

We took to the facility of Sarao Motors along Diego Cera Avenue in Pulang Lupa, Las Piñas, just a short walk from Robert’s stall. There, we were met by LJ Sarao, one of the grandsons of Leonardo, who showed us around the plant and shared his thoughts about the PUVMP.

All Sarao jeepneys, the millennial third-generation Sarao proudly said, were crafted by hand and made to order. During Sarao Motors’ heyday when sales were at their peak, it manufactured over 50 jeepneys a month. Today, manufacturing a jeepney would take them around six months.

From a workforce of a hundred people, Sarao Motors is also now down to around 20 employees. Much of the facility, which once buzzed with life at its height, has become a parking space for the jeepneys that ply the roads. LJ shared other jeepneys come in the shop for maintenance, too.

"Sadly, now, because of the modernization, I can confidently say we have zero sales. What we're working on now are special projects," he admitted.

LJ Sarao (Grandson of the late Leonardo Sarao)

In the facility, one of the earliest jeepney models that Sarao Motors ever made can be glimpsed, which still retained the compact size of the original Willys jeep that the American troops left behind. The old andas of the Black Nazarene that has been used during the Traslacion for the past decade was also parked in the facility that day, right next to a classic Tranvia tram and a few feet away from a modern electric jeepney prototype.

Sarao Motors Facility 3
Sarao Tranvia and Nazareno Andas

LJ estimated that the prototype was made around 2015 before the PUVMP was introduced and completely ran on battery power. Except, it didn't really look like the traditional jeepney loved by so many.

Sarao Motors E-Jeep Prototype

He showed us a second jeepney prototype beside it with a bigger and longer body, which incorporated the features of the traditional jeepney and could accommodate more modern engines. The second prototype had a side door, a high ceiling, and is capacious enough to allow for tall standing passengers. It can be open-air or air-conditioned and has an emergency exit at the back.

These modern and electric jeepneys would come at a steep price, though. He explained that just the materials needed to build the body would already cost around a million pesos, not including the propulsion system, air conditioning, and more.

"Modern jeepneys are really expensive, so that's the dilemma now. It's not a question of 'Can we do it?' It's a question of, 'Can the people afford it?'" he said. "As you know, these jeepneys back in the day, you can get [one] for P600,000, rolling 'yun eh, everything with the engine."

"We try to explain that the modern engine itself is really expensive, raw materials [are] expensive, added accessories needed for safety [are] also expensive, so those are things out of our control already. What we're trying to show is, we can do it."

He shared that the support they want to see from the government is lower taxes for the purchase of raw materials and other vehicle parts. This would allow them to manufacture vehicles that they can sell to Filipinos for an affordable price.

The government could also offer incentives for buyers, he said, perhaps tax exemptions to encourage them to purchase modern units.

"To be honest, we're not really charging that much for labor 'cause what we're spending for materials is already really high. As much as possible, we just want to be able to manufacture for the people and pay our people properly and whatever's left is probably the income of the company.”

Sarao Motors cannot compete with mass-produced vehicles and imports, and he knew this fact.

"Maybe as an oversight, [the government] didn't consider the local manufacturers anymore. Well, it's hard to say that, we don't know what they're thinking, that's from our point of view,” he said.

"We don't see other local manufacturers as competitors, we see them more of our brothers in craft. Everyone here [is] just doing the same thing. The real threat to our business is mostly the imports. There's no way we can compete with [them]."

Insights From PISTON

Transport groups are the representatives who advocate, negotiate, and handle the complex challenges of this major shift. The Beat Asia had the opportunity to interview Mody Floranda, the current National President of PISTON, who assumed office in 2019 after previously serving as PISTON – National Capital Region president. With almost two decades in the transport industry, Floranda's been fighting tooth and nail for the rights of drivers, operators, and the public.

Established on June 7, 1981, PISTON's primary objective is to safeguard the interests of drivers, operators, and the broader Filipino citizenry in the realm of public transportation. As of now, the organization has a membership base of 100,000 individuals nationwide, and around 20,000 to 30,000 members in the NCR alone.

PISTON National President Mody Floranda
Photo by Facebook/PISTON

According to Floranda, the group has organized multiple demonstrations since the DOTr issued Executive Order No. 2017-011. They have orchestrated around 20 protests at different government agencies, including the LTFRB, DOTr, Malacañang Palace, and more. Before 2023 ended, they had five protest marches in November and December.

Getting ready for these protests isn't a walk in the park. PISTON puts in about three months of hard work, making decisions together as an organization. They convene with local associations in a general assembly to delve into the reasons behind the protest and to address the impact on various groups, including women, youth, church folks, and government employees.

“We don't jump straight into protests. Instead, we choose to engage in conversations with the DOTr and LTFRB. We also submit written communications to Congress and the Senate and actively participate in public hearings. This way, we can concretely lay out the demands of the drivers and operators. Now, if after all these processes, the government agencies don't show a positive response, that's when we consider organizing a rally,” said Floranda in Filipino.

PISTON
Photo by Facebook/PISTON
PISTON
Photo by Facebook/PISTON

To set the record straight, PISTON is not against the PUVMP. Long before the government launched the program, the group was knee-deep in jeepney rehabilitation for a solid seven to eight years.

“Based on our observations, the government's objective isn't solely to improve public transport but rather to create a lucrative business for big corporations and foreign entities. If the primary aim is genuinely to enhance our public transportation system, why not focus on rehabilitation?” he added.

PISTON
Photo by Facebook/PISTON

“We have a rich history of service, and under the modernization plan, the concern arises: Who stands to benefit? It appears that countries like China and Japan will reap the rewards. By neglecting our local workforce in favor of foreign interests, we're essentially undermining our own economy and the people who sustain our public transport system.”

Floranda also emphasized that the impact of the PUVMP extends beyond just jeepney drivers and operators; it stands to affect a significant portion of individuals across various sectors, potentially leading to job losses or a substantial decline in the number of customers of micro and small businesses. This ripple effect could affect establishments like auto suppliers, vulcanizing shops, eateries, cigarette vendors, and more.

PISTON believes that their proposed rehabilitation program is a fair deal for both drivers and operators to sustain their livelihoods. Moreover, they argue it could open doors to various job opportunities for Filipinos that will further boost economic activity, which is crucial to the growth of the Philippine economy. The concern, however, lies in the government's current agenda, which leans towards importing foreign-made cars with price tags ranging from P1.6 million to P2.4 million.

Following the resolution of issues related to the PUVMP, PISTON revealed that they are currently weighing various options, and while they're not closing the door on joining a cooperative, there's a catch: No monopolies allowed. Their preference is for the cooperative to be owned by a local operator, including both units and franchises, with the primary goal of fostering mutual assistance among all its members.

“Just like what we’ve been fighting for, how can the workers fit their meager wages, if here in NCR it is only worth P610? If we look at the family living wage, it should be P1,100 to meet the needs of a family of five. It's not even about having a better life, but just to alleviate hunger, to make sure they’ll be eating three times a day,” he said.

“Right now, our drivers only earn P500-P600 for 12-16 hours of driving. What we are saying is that the government should focus on how to help the local workers who make up our country’s public transportation.”

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This Week's Event In Manila

Manila/ Vibe/ Artists

The Beat Manila's Up-and-Coming: fitterkarma Isn't Afraid of the Dark

Up and Coming Fitterkarma

The Beat Manila’s Up and Coming is a series where we feature rising talented artists from the Philippines, giving them a platform to share what they’re passionate about and to promote the music they (and us too!) would love for the world to hear. Do you want or know someone who wants to be featured? Email us at mnl.editorial@thebeat.asia or slide through our DMs on FacebookorInstagram!

College, for most, is that oasis between being young and gaining that autonomous freedom and being a full-fledged adult with a 9-to-5 job and responsibilities. It's only natural, then, for artists to come together and take full advantage of that time — to form bands, put on plays, write poetry, and wear their hearts on their sleeves for all the world to see.

It also happens to coincide with that point in our lives when love seems to overwhelm our senses and occupy our thoughts. The time when love feels powerful enough to shape what could be the beginning of a great love story, or someone's villain origin arc. It's when we feel the extremes of said emotion: the lightness that could carry on throughout our lives, or the darkness that we once thought was fiction when we were too young to know any better.

It goes beyond the cuteness of high school love, but just on the cusp of adulthood, where life's realities have yet to hit with full force.

That middle ground — that murky, gray area — is where fitterkarma shines best.

fitterkarma
Courtesy of fitterkarma

Composed of De La Salle - College of Saint Benilde (CSB) students Joao de Leon (vocals/guitar, songwriter), Sophia Miranda (bass/vocals), Sanders "Ders" Bayas (drums/back up vocals), and Mikee "Lory" Mendoza (guitar/back up vocals), fitterkarma was the result of Music Production program students coming together to share their art and skills to the public.

But like most stories born in college classrooms and art programs, their story started much smaller. Before fitterkarma became a band, it was just Joao in 2019 — writing and creating songs for what would eventually become the group audiences know today.

One of their recent hits, "Pag-Ibig ay Kanibalismo II," has reached No. 1 on both Billboard Philippines Hot 100 and Spotify Philippines Top 50. As of writing, the song has earned over 186 million streams on Spotify. Another one of their songs, "Kalapastangan," has earned over 173 million streams and also earned a spot in Billboard Philippines Hot 100 top 10.

In this Up-and-Coming exclusive, The Beat Asia sat down with fitterkarma to talk about their origin, inspiration, challenges, and the dark side of love.

fitterkarma started as a solo project for you Joao. Personally, when did music start feeling like something you wanted to do as a career?

Joao: I think towards the end of high school. First, I wanted to do I.T. stuff, [work on] computers. But I've been playing guitar and writing songs for a long time. Might as well do music, so I [decided to take up] Music Production in college.

What changed between 2019 and 2023 that made you decide to form a band?

Joao: The reason I was solo was because I had a band before high school, and back then, I was with people who didn't want to pursue music. But I wanted to continue making personal music. During college, I met people who wanted to pursue music too, and we thought, 'Why not [form] a band?' We figured it sounded like fun. And who wouldn't want to work with their friends?

[Initially,] the band was named Joao. But it's hard because there's a lot of Joao. It's literally 'John' in Portugal and Brazil. So we eventually came up with fitterkarma.

For the rest of the members, what drew you into joining Joao? Where did it start for you?

Ders: Way back in 2019, there was a 'Battle of the Bands." My churchmate knew Joao and so we joined the competition. After that, Joao invited me to play with him at gigs, when he was still performing as Joao, his solo project. Since I was still a minor then, I wasn't allowed to perform in bars. It was post-pandemic when Joao invited me again to perform with him. We were watching a 'This Band' gig. I said yes, so that's when it started.

Sophia: It was August 2023 when it all started for me. We were all in Benilde and they were looking for a bassist. For background [vocals], I was already joining sessions with other artists. One time, there was a gig in a bar in Taft and I think Joao scouted me there. We had common friends who connected us. First practice, I think, we already clicked. It wasn't just me, right? (laughs)

Joao, Ders, Lory: (laughs and nods)

Sophia: They're easy to work with and I can see my future with them. So I committed to joining the band.

Lory: I was the last to join. We're all in Benilde, and Ders is my batchmate. And before I joined, I was already playing in gigs. Eventually, they started looking for a guitarist and Ders invited me. Then it just didn't end there. Same with [Sophia], I think we just clicked instantly.

fitterkarma performing in a Spotify event
Photo from Instagram/Spotify Philippines

The name 'fitterkarma' comes from Radiohead songs. Other than your namesake, do you have any other influences in your music?

Joao: Yes, very. I think the concept of never having a constant sound. If you listen to their discography, every album sounds different. They started as a 90s, grungy band. But their latest album is so far from that now. I guess just the idea of being open to different styles of music. Also, I guess the sad lyrics. Radiohead has influenced us a lot in that sense.

What's your favorite Radiohead songs?

Joao: I listen by album, so I can't single out a song. But my favorite album is 'A Moon Shaped Pool' (2016). For me, it's their saddest album and I like how they used the orchestra.

Lory: My favorite is 'The Bends' (1995). For me, it's the best of all worlds of Radioheads. And also, 'In Rainbows' (2007).

Ders: Mine is also 'In Rainbows' because it's drum-heavy and that's the way I like it, as a drummer.

Sophia: I'm a huge Radiohead fan. But whenever I listen to Radiohead, I [gravitate towards] 'OK Computer' (1997) and that's where we got our band name, with [the songs] 'Fitter Happier' and 'Karma Police.' But my personal favorite is 'Let Down,' it's like an emotional hug for me.

Speaking of your music, it has been described as 'dark' and 'macabre.' Was this a conscious decision from the start or just something that emerged organically?

Joao: Not from the start cause 'Aurora Skies' is so vanilla (laughs). It probably started to become dark around the 'Pakinggan Mo...' EP (2022).

I wasn't doing it consciously. Just wanted to apply my influences as much as possible. And I guess, it also came from the metal bands I'm listening to. Not that I wanted us to have a metal sound, but just the dark lyrics. And when I wrote dark lyrics in Tagalog, they just sounded better. I'm not a naturally dark person, although I'm a horror [film] and metal [music] fan. I just appreciated the darkness in those forms of art and applied it to our music.

I was going to ask because 'Aurora Skies' has a whole different vibe. And it's in English. Then you switched to Tagalog, is that because some Tagalog words just don't sound accurate in English?

Joao: That's true. Aside from it sounding more natural in Tagalog, it also just sounds more raw. After I wrote 'Aurora Skies,' I wrote six or seven more English songs and just threw them in the bin. Then I started writing in Tagalog. 'Pambihira' was my first Tagalog song, which is why it's a bit simpler lyrically compared to the others. It was like a dry run for me, writing in Tagalog. That's when I realized, I'm more connected [to the song] emotionally when it's in Tagalog.

During that time, a lot of OPM artists were also writing in English. I figured if I'm going to continue writing in English, then our songs might just sound like everyone else's. So, might as well write in Tagalog.

I'm curious about your creative process. Do you usually start with lyrics, melody, or something else you can incorporate?

Joao: As far as I can remember, when I started writing songs for real, not just as practice, I always thought of lyrics and melody at the same time. It's an unhealthy practice because it almost takes a miracle for that to happen. Your [brain is] squeezed for creative juices. So, from then, it could start with anything: a word, a guitar riff, the movie I watched, anything random. Now, anything that inspires me, I try to write a song out of it.

Ders: I noticed whenever we're together in a car ride (me, Joao, and Mikee), we play something random, and thoughts come up. We find inspiration there, and then suddenly, we just get shocked because Joao would just send a demo out of nowhere. From that demo, our creative process involves going to Mikee's house or the production studio and building the song from there until the final recording session.

Sophie: Since I'm not with them during their car rides (laughs), I only hear the demo, and that's when I insert my personal touch with the basslines. Also, when we're recording, a lot tends to change. There's some magic that happens when we come together to record. We'd consult people, and it works out really well when we're together.

Lory: Ders mostly explained it. But something that happens, at least more recently, is we get the demo and we come together in the house with our parts and the song comes together pretty quickly.

I've heard some artists' creative process involve treating it like a full-time job wherein they would sit down and focus on writing or creating the music. Is that something you do or do you prefer to wait for inspiration to happen?

Joao: I guess our approach is to try to be inspired as much as possible. Not that we're waiting for inspiration to come, but rather, we seek it out. We try to be productive and creative at the same time. We're open to inspiration, not gatekeeping or letting our ego get in the way of anything that can possibly inspire us.

Lory: And I think with four brains constantly thinking, it's kind of hard to get a creative block. At least one of us will have an idea. I think we'd be unlucky if we all get a creative block on that particular day or week.

fitterkarma
Courtesy of fitterkarma

Your song, 'Pag-Ibig Ay Kannibalismo II' has earned over 186 million streams on Spotify so far. When did you realize that the song is becoming bigger than anticipated??

Joao: When it [went viral], I was in the U.S., spending time there for my residency. And I was planning to come home around November. The song blew up around April or May. It became a meme, then it grew. By November, I was ready to fly back home, and I got excited because of how the song became famous. It was perfect timing.

It didn't sink in right away, though. I didn't think that this was finally our big break. More of just wondering what to do now. Not in a pessimistic way. But I focused on the reality of the work instead of daydreaming, just kept myself grounded more instead of being swept away.

Ders: I guess it really sunk in when I looked at my calendar, and it's full of gigs. That's when I really realized, 'Hold on, this is actually tiring.' (laughs) That's when it hit me that the song is already that big. There was a month when Mikee and I would barely get any rest since we are still students.

Sophia: I noticed it when it was a meme. Then people in niche or indie Facebook groups would tag us in posts. Slowly, as we rose in the charts, we got invited to play gigs, and it really hit me then. Whenever we would be given opportunities on big stages. Sometimes, I still can't believe it, and there's still that nervous feeling. We've sung the song plenty of times, but it still always feels like we're playing it for the first time. It's surreal, living the dream in a way. And I'm very happy that this gets to be our job.

Lory: For me, it's different. I wasn't a part of the band yet when they made the song. I joined when the song was already on the rise. I thought about what we can do next. Not in a pessimistic way, but thinking about what else we could achieve as a band from here.

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Looking at the lyrics, the song has such a dark, vivid imagery. Why do you think people relate to it so much?

Joao: At first, I was actually wondering why people can relate to it so much. Is there a disturbing side to our culture that I don't know? But I think it's because the lyrics are unique and Filipinos are always on the lookout for something different. If you look at OPM's history, those who are unique will always stand out. Like Eraserheads with their storytelling, something new at that time.

Sophia: Fans message us that the song really moved them in a lot of ways, to the point that they say the song has become their lifeline in their darkest days. It has a huge impact on their lives. So, it's become an inspiration for us to continue pushing forward, knowing our songs can get them through challenges in their lives.

A lot of your songs seem to deal with the darker, messier, almost obsessive side of love. Do you think your band has become this safe space where people can express those feelings, allowing them to feel them without judgment?

Joao: I think disturbing stuff and love go well together. Even with movies. In music, I also get my inspiration from emo and metal songs. Sleep Token, new songs by Bring Me the Horizon. And on the subject of love, you never want to run out of ways to describe your feelings for someone. So even if you're going to explore a dark world, just to explain your love, I think it's only natural for you to go there. It's human nature.

Ders: We're all human. And yearning is natural. For us and for fans, I guess we're all yearners.

Lory: Whether intentional or not, inevitably, we're creating this community, and everyone who feels similarly is brought together by our songs and the lyrics. And yearning is popular on TikTok right now, so perfect timing to have songs with lyrics that touch on love that isn't as straightforward. Rather, metaphorical.

Sophia: Maybe what connects us all is the language, also. Using Tagalog makes [the songs] cut deeper. Especially since we don't have gendered pronouns in Tagalog, our songs don't have to be specific whether it's for a girl or a guy. It's for all. Also, some words can only be expressed in Tagalog, and that makes it special for us Filipinos. It makes our 'yearning' more tailored for the Filipino audience.

In the past, you mentioned that 'Personal experience is the biggest influence.' Every artist goes through this, I believe. But where do you draw the line between honesty and self-exposure? Do you ever think if it's too much, or is bearing your heart out to the audience part of the experience?

Joao: Like how Phoebe Bridgers writes lyrics, that's self-exposure, but I don't see it as a bad thing. Her lyrics almost feel like she's the only one who could possibly relate to them; they're very personal. But the imagery still makes you feel things.

Almost all of us cried watching Titanic, but not all of us have experienced being on a sinking ship where your lover froze to death. It's just like watching a movie; you don't have to relate to a song to feel it. And I'm not scared of writing something personal in the lyrics. 'Sumpa' is personal to me, but people can relate to it. Maybe our experiences aren't exactly the same. But as long as they feel something with the song, then that's what's important.

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Is it a healing experience, almost like shared therapy, when you play for an audience and they sing your songs back to you?

Joao: It's very fulfilling. We feel honored whenever that happens. Because that's the point, to connect with people. And when plenty of people connect with our music, that's the best reward ever. When they sing the songs with us, it's fun.

Is there a specific gig that is memorable to you?

Lory: Our recent gig in Iloilo. It was the first time we took a flight [to a gig]. We were super shocked by the number of people and the enthusiasm of the crowd. It was surreal to think that we had to fly to get there, and yet, people knew who we were and our songs. Surreal.

Sophia: For me, it's also Iloilo. It was so much fun, but too short. We were so shocked that the venue was full, even up to the 2nd floor, and I even saw some people watching from the parking lot. It was fun seeing people singing along to our songs. I remember one specific fan who kept shouting along to our songs, even 'Sumpa,' which is a relatively quiet song. I felt a mix of happiness and wanting to laugh.

Lory: By the end of that, [that fan] was already crying.

Ders: Same, Iloilo. We're still not over that trip. I freaking love Iloilo. That's all that I have to say. Second, maybe our gig somewhere in Tarlac. It smelled like carabao dung, and [Lory] almost caught on fire.

Everyone: (laughs)

Lory: There was some pyro effect, but nobody told us anything. No warning at all. And there were suddenly sparks next to me. Nobody briefed us about the pyro effects.

(From left) Ders and Lory of fitterkarma
(From left) Ders and Lory of fitterkarma | Photo from Instagram/Spotify Philippines

You mentioned the challenges of balancing student life with being part of a band. But aside from that, what is the most shocking challenge so far that you didn't expect?

Joao: Guestings.

Ders: We didn't expect that one guesting would take so many hours to shoot. At least for me, I thought it would take maybe two to three hours, but we experienced shoots taking about four to six hours, and that's something I didn't expect.

Joao: Two things. One, when celebrities follow us on social media. Another is whenever we're somewhere far for a gig, and the crowd would go wild even when we're not onstage yet. There were a few times when it felt like the crowd would swarm us. I didn't expect it to feel scary in reality. Not that I'm scared of the fans, just worried that people would get hurt. Of course, we're grateful for their energy.

Lory: It's just surprising whenever we get recognized outside of gigs or performances. Like when we're just hanging out in malls, not something you expect in your everyday life. Of course, we're grateful and happy to meet our supporters. It's just shocking, especially since we're still students.

Sophia: One of the challenges is staying healthy despite the busy gig schedule. In one day, sometimes, we would have up to three gigs. One in the province, two in Metro Manila. It takes a physical toll, but you have to give them 100% every time, in every gig. It's fulfilling, in a way, that we're not getting sick. And I agree, getting recognized outside of gigs. It still hasn't sunk in, honestly. I still feel like an ordinary citizen, not someone worth recognizing.

At this point in your careers, who would you say are your biggest support systems?

Joao: Friends, new friends, friends that we didn't expect to make. They keep us grounded. And they make us feel like humans. It's ironic because the ball game is now on social media. But I've actually found myself connecting to the real world more, [generating] less screen time. Just use social media to send messages, most of them for work. Nothing's changed between our friends and us. Same as when it was in college, just with work now. Family as well. There are those relatives who you're surprised are proud of you.

Lory: The biggest support system for me is also each other, in the band. Cause we're all experiencing the same things; nobody would understand us more than each other. Outside of the band, everyone who is involved in fitterkarma. Those who are more experienced in our circle, like Ms. Pat, our manager, and Sir Monong, our recording engineer and teacher at DLSU. Their insights are always really helpful, ground us, and keep us from getting too paranoid.

Ders: For me, I agree with Mikee. Each other. Secondly, my family. I grew up in a family of musicians, and their experiences help guide me in my career. They've become my mentors, too, in a way.

Sophia: Unlike Ders, I'm the only musician in the family. So, they supported me from the very start, allowing me to enroll in music production. It was a leap of faith, being the first to pursue music as a college degree and then [subsequently] as a profession. I'm so lucky that they've been supportive since the start, and they're proud that we've made it this far. Friends, I agree, and partners who know everything we're going through. And the encouragement we get from everyone is the best.

Was there a particular piece of advice that has stuck with you since you started?

Ders: Attitude over skill. They said, 'Yes, even if you have the skill, but if you have [a bad] attitude, people will find it difficult to [book and] work with you.' But if you have a great attitude, even if you're not the best in terms of skill, you'll still get opportunities and make friends in the industry. Both friends and family have told me that.

Joao: Just be kind. Most [artists] around us don't even say it; they just show us. Even when we were in college, studying Music Production, we would meet plenty of people in the [music] industry. And I noticed that those who get a lot of opportunities are those who are also the nicest. They're the easiest to work with and have a great work ethic. There are a lot of musicians out there, but not all of them are nice to work with.

Lory: Jumping off what Joao said, a lot have also said, in general, not just in music: Choose your circle. Choose the people you surround yourself with. Whoever you surround yourself with, they will also serve as an example for you.

Sophia: For me, even before I got into music, my parents always taught me: Learn how to respect each other's time. I always do my best to arrive before the call time. Especially if you're facing a client. Always be presentable so they can tell you're professional, and they can trust you.

(From left) Lory, Sophia, and Joao of fitterkarma
(From left) Lory, Sophia, and Joao of fitterkarma | Photo from Instagram/Spotify Philippines

Do you have a dream venue or concert?

Joao: I want us to play in Houston, Texas. It's my hometown also. So, I want to bring [fitterkarma] there, meet my family, tour them around, and eat barbecue. My favorite is Pappas Bar-B-Q; I'll bring the band there.

Lory: Maybe Coachella. They don't think of the budget there; all of the budget goes into the performance. The set and the production are full-on. Extra. So that's my dream: unlimited budget, unlimited concepts.

Ders: All of the arenas here in the Philippines. We would like to play solo concerts in all of them. I guess that would have to be fulfilled first, and then we can dream bigger after. But if a blessing comes to play in a bigger arena, why not? Coconut, choc nut (laughs).

Sophia: For me, it's a band's dream to play live in Siquijor. It's a small-scale gig, but I want to fulfill those vibes. Motorbiking around Siquijor. And also, the Philippine Arena. I guess cause it's 'suntok sa buwan (almost impossible).'

Do you have a message you'd like to share with your fans?

Joao: We thank them so much, and we're so honored to receive their support. We wouldn't be here without them. They're the reason why we're doing this, and we appreciate our fans who encourage more people to listen to us. They always recommend our music and help us grow. We're always excited to see them!

Lory: We'd like to thank each and every one of them in person, so I hope we get to see them live. If it's even possible to shake their hands, we'd do that.

Ders: Their support means so much. We wouldn't be at this stage in our careers without our fans. Since our target audience is mostly teens, I'd like to say: listen to your parents, study well, and finish your studies. It's still important to have a diploma. That's it.

Sophia: Thank you to our 'Kanibals.' For all your support and for believing in us. Without your love, we wouldn't be here. And as cliché as it is, our fans really are one of the biggest reasons why we're here. If our songs have an impact, please share them with others. Share the joy. And also, we'd like to thank our parents. From the very first few gigs, they have been very supportive. They didn't know we'd end up here, but they always had faith and were our top supporters. Shout out, mga Titos and Titas. We love you.

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This interview has been edited for length and clarity.

For more updates on their gigs and music, follow fitterkarma on Instagram and listen to them on Spotify.

Enjoyed this article? Check out our previous Up-and-Coming profiles here.

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Manila/ Vibe/ Artists

In Tune With: DJ Chele, the Chef Who Found His Way Back to the Booth

In Tune with DJ Chele

In the daytime, Asia embraces a true hustle culture; by night, we let our hair down and erupt in a magnificent energy to good crowds and good music. In Tune With meets the electric DJs and music makers of Asia to feel their pulse and uncover why they entered the frenetic nightlife industry.

Chele Gonzalez is no stranger to commanding a room and connecting with people through his work.

In the Philippines, his name has long been tied to memorable meals and a culinary career that has earned him acclaim and admiration from within and outside of the industry. That reputation reached new heights in 2025 when Gallery by Chele received a MICHELIN One Star and a MICHELIN Green Star for sustainability, while Asador Alfonso also earned a MICHELIN Star.

Cantabria by Chele Gonzalez at The Westin Manila and Enye by Chele Gonzalez at Crimson Resort and Spa Mactan, Cebu were both MICHELIN-selected as well. Add that to the everyday, more casual presence of Deli by Chele across four malls in Metro Manila, and it's easy to understand why many know him first as a chef.

But last Labor Day, The Beat Asia met a different Chele — not behind a kitchen counter, but behind the decks.

Long before he built a life around food, Chele was moving — and making others move — to a different rhythm. In 1997, he was a professional DJ.

In his early 20s, while still studying marketing in college, he opened Club Montreal in Santander, Northern Spain, with his best friend, Fernando. It was ambitious for two young men, and Chele admits it was far from easy, but it was where his love for music found a home for a few years before it closed.

When that chapter ended, Chele started another and became a chef, eventually moving to the Philippines, where his work would become widely celebrated. But music was always there.

In recent years, Chele revealed that he has been returning to those roots with a renewed sense of freedom and love for the craft. As DJ Chele, or Cassette, he is mixing, playing, and reconnecting with sounds that first shaped him — a passion that stretches back to his childhood, when he bought Michael Jackson's Bad on cassette and danced to it every day. In 2026, Chele co-founded BGC's newest hi-fi restaurant & bar Got Soul MNL, where he regularly plays and curates vibes. Right after our interview, we had the pleasure of enjoying his set.

In this "In Tune With" exclusive, The Beat Asia sat down with DJ Chele to talk about his love for electronic music, how playing has become both an escape and a form of release, and the spirit behind Got Soul MNL.

DJ Chele Gonzalez
Courtesy of Chele Gonzalez

You have this deep connection with music which started early in your childhood. Looking back, do you think this connection shaped the kind of DJ you are today?

I think [music] is a seed inside me that, for some time, I was very much into. But things changed in my life, especially when I became a chef, and I had to leave it a bit, put it aside.

But then in the last few years, I connected with it again. It really brings me back to who I am. But the way I now use music, it's a bit different from how I used it before. I grew up during the revolution of electronic music, going to raves, clubs, all over Spain to listen to DJs. Then I started to play music, and I opened my own club when I was only around 21 years old.

[I was] a very young kid opening a business at night, it was difficult to manage, you know? There's a lot of alcohol, a lot of partying. I burned out. And the business side was also a challenge. But everything ended well, I sold the business and got my money back.

When I came to the Philippines, for a few years, I disconnected with music, because it was the time that everything switched to digital. And I had a really hard time moving to digital because of the technique at that time. Now the new CDJs (Compact Disc Jockeys) are much more similar to turntables.

Then in 2020, I started to reconnect. During that time, it was the pandemic. I was on full drive, bought the gear, and started to feel at home and more comfortable with digital. Now with Got Soul, I have my collection from Spain and buy new vinyls every month. In here, I play vinyl.

What sparked that reconnection with music during the pandemic?

I had more time. Because if you really want to take care of your craft [as a] DJ and do it right, then you have to spend hours.

Nowadays, I spend two to three hours every day with music. There are days I spend six or seven [hours]. I'm a perfectionist. If I do something, I do it until the end. If I get involved with something, either I don't do it, or I do it all the way.

Would you say that it's a misconception that DJs don't spend too much time honing their craft?

I think it's like with everything [you do], you know? We have a lot of restaurants here in Manila. You can see a lot in the streets, in the malls. But at the end of the day, how many restaurants are at the top of the top? 

There are a lot of chefs, but it doesn't mean they are all doing an exceptional job. So, same with being a DJ.

DJ Chele Gonzalez
Courtesy of Chele Gonzalez

In an Instagram post, you mentioned buying Michael Jackson's 'Bad' cassette when you were younger and playing it on repeat. What was the feeling back then, when you were first connecting with music like that?

Actually, it's the feeling that I have now about music. I just turned 50 years old, and I think there are moments in life when you start to look back and realize a lot of things that make you happy, and you understand better who you are. What gives you joy and happiness. And music is one of them.

I remember when I was a kid, I used to listen to Michael Jackson; he was my favorite. I remember buying all the cassettes, or seeing his videos, and dressing and dancing like him. That feeling about music going inside your body and your soul, it makes you feel something. It was early childhood when that happened for me.

When I was a teenager, [I'd go to] an afternoon club, [where] you cannot drink alcohol. It was called "afternoon session," from 6 to 10 PM. I remember [listening to] Madonna, dancing to "Vogue." I even used to breakdance.

Now, reconnecting and going back, I can feel those moments when I was dancing to Michael Jackson and Madonna all the time. That is the same feeling now when I play music.

Music, for me, it's energy, it's soul, it's art, and connection. It's deep.

How did you reconnect with that feeling during the pandemic?

I needed to educate myself again. Because the digital world was new for me, I had to shape [up], get deep, and get comfortable with the records.

There is a spiritual connection with records. You see a record; you know the songs on the record. When you take a record and put it on the turntable, the needle starts to play, and it can transport you to moments in your life. It's like a perfume or if you go to a place you haven't been to in a while, it brings back emotions.

But when I was learning digital, I would just see the name of the artist on the screen, and I was not connecting to it. That's why it was hard for me to move to digital, because it felt so cold. But slowly, I learned to adapt to it.

Every month, I push myself to download music. Every day, I research online. Then I start to create playlists, depending on my mood, if I feel a bit more disco, more minimal, more techno, etc. I play [anywhere] from Downtempo to Jazz House to New House and so on.

It's a never-ending road. If you are really passionate about music, it's so diverse, so many genres out there, it's just beautiful.

I [also] use music as a mental therapy. When my wife got pregnant, I decided that I wanted to change a lot of things in my life and be healthier. I dedicated time and did personal therapy to go deeper within myself. And in the middle of this evolution, music came back in, and I found that it really relaxed my mind, especially during weekdays.

I manage so many things, people under me, so many businesses. It's very stressful. I love what I do; I'm not complaining, but it's also a high level of responsibility.

How has the shift from analog to digital shaped your journey as a DJ?

For me, it's about having different sides, two different ways to play music and be a DJ. What makes a DJ is to have the ability to connect with people and connect people with the music.

There's Cassette, going back to the roots and the essence of what is analog. When I play as Cassette, it's a little more cultural. But if I go to a club tomorrow, I will play something much more energetic. Because it's about energy. So, in my sets, where I get more into the dance floor, [that is] as Chele. One is cultural, more deep. One is club, more dance floor.

I always push myself to put records that [are part of that era] that shaped electronic music today. Because I was there, I try to educate and put songs that are part of the history of electronic music.

But when I go to the vinyls, my style is softer. It's more soulful. And what I really like the most is deep house. Super elegant, defined with a lot of texture and structure. As a European, my culture of electronic music is different from the American one, where it's more disco. Mine is a little more German in the sense that it's a bit more minimal, deep tech.

When you're a chef, you prepare things for hours to be cooked in under a minute and served. With digging [for music], it's the same. You spend days, weeks, and months researching, and then you are going to prepare for each gig.

DJ Chele inspecting vinyl records
Photo from Instagram/ DJ Chele Musik

How has your work as a chef influenced your work as a DJ, and vice versa?

To be honest, I don't think they influence each other. They're like two parts of myself that are connected as art expressions. The same methodology: you prep, or what it's called in cooking: mise en place. You spend time cutting, preparing, and then it's service time, where the real art happens, where you have to cook, plate. As a DJ, you research, and then the real art is reading the energy when you go live.

But what I try to do with music is actually to escape from everything that it means to be a famous chef. When you have awards, that comes with a price. The price is that you need to be consistently at the top of your game. And I love what I do, I love being a chef, and the creativity. But the pressure is also very high. So I use music to escape from Chef Chele and just be Chele, you know?

But the thing with me and music is that I don't need to prove anything to anybody.

If I'm Chele, I'm focusing more on the dance floor. I give completely without compromising who I am or the quality of music, but I can go a little bit more mainstream. But with Cassette, it's more me and a little more personal. It's who I am, playing vinyl records for 30 years. So, these two personalities also go together.

People enjoying the music at Got Soul MNL
Photo from Instagram/ Got Soul MNL

What advice would you give to young DJs, especially when it comes to crafting their own style?

With young DJs, I feel they sometimes try to play either for themselves or for other people, and what other DJs would think, and that's a big mistake. You cannot be selfish and not connect with people. Your responsibility is to please and connect with the audience. That comes with maturity.

Even with Cassette, while I'm a little more selfish, you are coming into my world, and I'm going to bring you on a journey and tell you stories. I'm telling you where House Music and Techno Music started. It's history and culture. With Chele, I adjust to the dance floor and give a little more. But again, I have a lot of hours behind the decks. I don't care about what anybody thinks about me as a DJ. If I have to prove something to anybody, it's to the people coming that night to listen, to give them an amazing experience.

But first, you have to enjoy. Understand that it takes time, it requires technical skills- that's the easiest part. [On the other side] it requires connecting with people.

For me, I will only respect a DJ as an artist when they really connect with the people and turn stories into a set. Not because they're putting some songs that are cool or what others think is cool.

Well, sometimes you need to educate. That's why I have Cassette, which is more underground, culture, history, heritage, and many other things. I really want people to understand that better.

DJ Chele playing a set behind the decks
Courtesy of Chele Gonzalez

Are there any lessons you learned back when you opened Club Montreal that you still apply to this day?

For me, personally, I'm a much better DJ now than back then. I have a strong respect for the community back in the days because to be a DJ then, you needed to have taste. You need to have a strong idea of who you are, what you want to play, and your style. But at that time, I was young. Too much partying, too much alcohol. So when I was playing then, I was not 100% myself. Now, when I play, that's 100% me.

But it's an evolution. It happens to everyone where you're given opportunities, and sometimes they're up there, and you don't see it. But we all have the chance to rebuild ourselves. I've experienced that in my life several times, certain moments where you're given two choices. And if you're able to see that opportunity for what it is when it's given to you, then you have the choice to step up, evolve, and mature.

I think that happened with me when it comes to music. I got this opportunity to reconnect with music, come back in a very beautiful way. I feel so happy now because I can experience music in its purest form, just the music and myself.

One time, my wife noticed me spending a lot of time with music. And I said that I also need to give time to myself. Outside of the time I spend with her, our daughter, my 200 kids (or the people who work under me), music helps me destress, to be less frustrated, less anxious. I think it even helped our relationship because it puts me in a better, calmer mood and helps me be more present in other aspects of my life.

Your ventures explore your passions for both food and music. How do you protect your passion while at the same time, run them as a business?

I'm hands-on and very responsible, so Got Soul needs to be a positive business because what's the point if not? But at the same time, I don't allow people to call me "Chef" here. I just want to be Chele Gonzalez, who curates the music. For me, this is a happy place. I like to come here and enjoy, not to feel the pressure of cooking or people expecting MICHELIN dining.

We created this place because we all wanted to connect with ourselves. And each one of us put something. Benjo [Marquez] made the design, and Jason [Soong] connected us all together. Jason is also a partner in Nokal, and we met way before. We connected a lot because of music, and we talked about opening a place.

It's a very personal project where we all want to enjoy. Of course, it needs to be sustainable and make numbers, but this is a happy place for us.

Chele with his fellow founders of Got Soul MNL
Photo from Instagram/ Got Soul MNL

Is there a specific sound, genre, or artist that you feel deserves more attention?

Matthew Herbert. He's a big influence for me because he was in between Deep House and Minimal House. If I had to describe my style, I would say that it's really Deep House, from Jazz and Disco to Minimal Techno. I also like Afro and Downtempo. Matthew Herbert, an English producer, has a very defined sound that can be Deep House, but Minimal House too, and it connects very well with a European sound. But right now, he's not producing much anymore.

One of my other favorite producers is DJ Garth from San Francisco. Together with E.T.I., they have a group called "Rocket." They have a label, Grayhound [Recordings]. For me, they did one of the best underground [music], something in between House, Disco, and Deep Tech House. He has a strong influence on the way I understand music.

Another producer is Schwag, another English producer. Very innovative, very electronic.

Are there any other misconceptions about DJs you'd like to debunk?

In the underground scene, everybody's normally criticizing Afro House. In Afro House, there are very quality and good productions, but there are shitty ones. Not because it became trendy, but the underground scene and DJs are also very fashionable. But I think it's the wrong approach to categorize that genre. It's better to analyze the sound by itself and not put them all in the same bucket. Don't generalize.

We need to understand that Afro House is warm and very easy for people who are not used to the underground scene. It's understandable. Sometimes the structure and way it's composed is very fine and well done, so it's not fair to exclude or criticize it.

In the late '90s and early 2000s, if you went to a club, everything would be House. And many of the songs that everybody now is raving and talking about, that was the essence of House music. At the time, it was part of Commercial House. So, you know, we need to understand that sometimes we need to be more open.

When I [first] experienced electronic music, it evolved so much because I was there in the beginning, where everything was innovation and avant-garde, somehow. During that time when I was going out, Electro was born, Techno was born, Minimal was born, House was born in many varieties. I remember you went out and you would be experiencing a new sound. It was amazing.

You've been a DJ for 30 years and your connection with music runs deep. Is there a key to longevity as a DJ?

Back in the days, we thought that being a DJ would only last 10 years. That after 10 years, people will stop DJing because they cannot party so much. But it's not true. Aside from the names that I mentioned who have disappeared, I would say 70 to 80% of the DJs have stayed alive [in the scene], producing and building, even at 50 or 60 years old.

If it becomes a career, that career can last until your last breath.

Pre-opening of Got Soul MNL
Photo from Instagram/ Got Soul MNL

This interview has been edited for length and clarity.

To know more about DJ Chele and his sets, follow him on Instagram. Follow Got Soul MNL on Instagram for more information and updates.

Enjoyed this article? Check out our previous In Tune With profiles here.

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Manila/ The List/ What's On

Lola Amour Celebrates their 10th Birthday with Shows on May 22 and 23

20260511 lola amourPhoto by Lola Amour/Instagram

Filipino band Lola Amour is celebrating their 10th anniversary with a two-night birthday celebration this May at the 123 Block in Mandaluyong!

Poster for Lola Amour's upcoming birthday show
Photo from Instagram/Lola Amour

Set for May 22 and 23, 2026, the anniversary shows bring together long-time collaborators and friends of the band, including Any Name’s Okay, Jan Roberts, The Ridleys, Shirebound, and more interesting surprises in store for fans.

As a nod to the band’s beginnings and earlier years, online tickets for the anniversary show on May 23 are priced at P350 — the same rate they were a decade ago before inflation hit — with walk-in rates priced at P450. Gates open at 4 PM for the main show, while the newly added “pre-gameshow on May 22 opens at 5 PM. Tickets are available via Helixpay.

Created as an entirely intimate experience for Lola Amour, their friends, and the fans, the two-night shows offer a chance to celebrate the band’s journey with throwback hits and more.

For more information and updates, follow Lola Amour on Facebook, X (formerly Twitter), and Instagram.

Lola Amour Turns 10

Location: 123 Block, Mandala Park, 312 Shaw Blvd, Mandaluyong City, Philippines

Dates: May 22 and 23, 2026

Time: 5 PM (Pre-Game Show, May 22), 4 PM (Main Show, May 23)

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Manila/ The List/ What's On

SB19’s Sister Group XONARA Set to Debut This May 16 with 'XONARA’S WORLD'

20260506 xonaraPhoto by XONARA/Instagram

The P-Pop scene is welcoming a new act this May 2026, and they sure are making waves.

1Z Entertainment’s newest girl group, XONARA, is making their highly anticipated official debut at Escolta Street, in front of the First United Building, on May 16, 2026. Happening from 12 NN to 10 PM, “XONARA’S WORLD” unfolds as an open-format street event, blending high-energy live performances with interactive activations and pop-up markets.

A poster for XONARA's official debut showcase
Photo from Instagram/XONARA

Attendance is limited, with passes available via online registration here. Sign-ups close on May 11, 2026, at 12 NN.

XONARA is an upcoming seven-member girl group under 1Z Entertainment, consisting of members Tin, Eurekah, Dominique, Ella, Namie, Megumi, and Lei. The girl group moves through lived truth: raw, honest, and deeply human.

The girl group first performed in SB19’s “Wakas at Simula: The Trilogy Concert Finale” last Apr. 18 as a guest act and later made their festival debut at the Aurora Music Festival on May 2. XONARA will be releasing their first single, “Uy Tabi Tabi,” at their debut showcase.

For more information and updates, follow XONARA on Facebook, X (Formerly Twitter), Instagram, and TikTok.

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Manila/ Vibe/ Artists

DAM! SB19 Heads to Two of the World’s Biggest Music Festivals This 2026

20260325 sb19Photo by SB19/Instagram

A'TINs, ready na ang "VISA" ng SB19!

From the Philippines to the global stage, P-Pop Kings SB19 are set to take P-Pop to two of the world’s biggest music festivals in 2026.

The five-piece boy group will perform at Lollapalooza Chicago in July, followed by Summer Sonic Tokyo in August — marking a global milestone for Filipino acts on the international music scene.

SB19’s upcoming appearances build on their growing global presence, including a recent showcase at D.U.N.K., performing an unreleased collaboration with J-Pop group BE:FIRST.

Lollapalooza Chicago

Lineup for Lollapalooza 2026
Photo from Instagram/Lollapalooza

One of the United States’ most popular music festivals, Lollapalooza first began as a touring event in 1991, before permanently settling in Chicago in 2005. The music festival is renowned for blending a variety of genres into their lineups, including alternative rock, punk rock, heavy metal, pop, hip-hop, electronic, and soul.

In recent years, more Asian acts have graced the Lolla stage in its different locations: J-Hope, TXT, and Audrey Nuna in Lollapalooza 2022; NewJeans, Stray Kids, and beabadoobee in Lollapalooza 2023; SEVENTEEN in Lollapalooza Berlin 2024; and Fujii Kaze, TWICE, and Wave to Earth in Lollapalooza 2025.

SB19 is set to be the first Filipino act to grace the Lollapalooza stage in Chicago’s Grant Park from July 30 to Aug. 2, 2026, joining Charli X, Tate MacRae, Lorde, Olivia Dean, John Summit, Jennie, The Smashing Pumpkins, and The XX.

Summer Sonic Tokyo

SB19's announcement poster for Summer Sonic Tokyo 2026
Photo from Instagram/SB19

The Summer Sonic Festival is Japan’s biggest music event, featuring major international acts alongside Japanese artists. The festival bridges rock, alternative, electronic, metal, hip-hop, and pop across a one-weekend simultaneous festival held in both Chiba and Osaka. The festival lineup also features revolving sets, where artists first perform in Chiba, the next day in Osaka, and vice versa.

Some of the festival’s past headlining artists include Green Day, Guns N’ Roses, Oasis, Linkin Park, Metallica, Arctic Monkeys, The Black Eyed Peas, Coldplay, Beyoncé, My Chemical Romance, and Kendrick Lamar.

Summer Sonic 2026 marks the festival’s 25th anniversary, and the lineup is not one to miss. Joining this year’s lineup are The Strokes, The Adults Are Talking, Reptilia, BUMP OF CHICKEN, Jennie, FKA twigs, keshi, Audrey Nuna, BABYMONSTER, L’Arc-en-Ciel, BABYMETAL, LE SSERAFIM, and Pentatonix.

SB19 is the first P-Pop group to perform on Japan’s Summer Sonic Festival stage and is the second P-Pop group to join the festival’s overall lineup, following fellow P-Pop group BGYO and their performance at Summer Sonic Bangkok 2025.

With SB19's upcoming appearances in Lollapalooza 2026 and Summer Sonic 2026, P-Pop is sure to be heard on a larger stage. Fellow P-pop artists BINI are also set to raise the Philippine flag on the Coachella 2026 stage this April.

Follow SB19 on Facebook, X (Formerly Twitter), Instagram, and TikTok to stay updated on their future releases and performances.

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Manila/ Vibe/ Artists

Sony Music Publishing Launches in the PH, Championing Homegrown Talents

20260225 smpPhoto by Sony Music Publishing Philippines

Filipino music is now stepping into a bigger and brighter spotlight — now standing a chance to be heard alongside K-Pop and Latin music around the world.

Global powerhouse Sony Music Publishing has officially launched its new flagship office in the Philippines, marking a major step in amplifying Filipino songwriting on the world stage.

The new hub, now known as SMP PH, is dedicated to discovering, developing, and championing local songwriters — helping their stories, melodies, and emotions travel from the Philippines to the world, while protecting their creative rights.

The stage at the media launch
Courtesy of Sony Music Publishing, Philippines

“Music comes from everywhere these days,” said Guy Henderson, President, International, Sony Music Publishing, during the company’s Philippine launch event on February 24, 2026. “This has opened up new markets from around the world and the Philippines is one of those markets.”

Guy Henderson also touched on how Filipino music has a strong domestic scene, noting its growing audience and momentum made this the right time for the company to expand locally.

The Philippine office builds on the foundation of Sony Music Philippines, which was officially relaunched under the leadership of Roslyn Pineda, now President for Asia at Sony Music Publishing. Known as “Mama Sony” in the local industry and for fans, she played a key role in signing major acts such as Ben&Ben, SB19, and IV OF SPADES, as well as leading the acquisition of the ABS-CBN Music Catalogue in 2024.

The Philippines presents an exciting domestic market, and with music traveling around the world like never before, there’s immense potential for Filipino songwriters,” she said, echoing Guy Henderson’s sentiments on the company’s launch in the Philippines.

People talking at a panel discussion
(From left) SB19's Pablo, Ben&Ben's Paolo Benjamin, and General Manager of Sony Music Publishing PH Stephanie Ortiz at a panel discussion | Courtesy of Sony Music Publishing, Philippines

The event also served as the introduction of Sony Music Publishing Philippines General Manager, Stephanie Ortiz, who will be closely working with the Filipino music industry, including labels and collection societies, to promote international networks and partnerships, as well as develop creative opportunities for Filipino composers and songwriters.

“It truly is an honor to champion Filipino songwriters, from legendary voices to emerging talent,” said Stephanie Ortiz at the launch. “We look forward to bringing their music to the international stage, connecting their stories and creativity with audiences everywhere and supporting their continued growth and success.”

Sony Music Publishing Philippines represents a monumental roster of songwriters and composers, including Ben&Ben, SB19’s John Paulo Nase (Pablo), Josh Cullen Santos (Josh), Justin de Dios (Justin), O SIDE MAFIA, DWTA, Ace Banzuelo, MATEO, Arnel de Pano, Mike Hanopol, Rey Valera, and more.

For more information and updates, visit Sony Music Philippines’ website and follow them on Facebook and Instagram.

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Manila/ Vibe/ Artists

The Beat Manila’s Up-And-Coming: Singer & Multi-Instrumentalist Rob Deniel

TBM UAC Rob Deniel

The Beat Manila’s Up and Coming is a series where we feature rising talented artists from the Philippines, giving them a platform to share what they’re passionate about and to promote the music they (and us too!) would love for the world to hear. Do you want or know someone who wants to be featured? Email us at mnl.editorial@thebeat.asia or slide through our DMs on FacebookorInstagram!

There are many artists who become overnight sensations, with virality often shaping the trajectory of their careers. In today’s fast-paced digital landscape, aspiring musicians can feel pressured to chase views, streams, and follower counts, sometimes at the expense of the craft itself.

Rob Deniel, however, is the opposite. This rising OPM artist is living proof that slow and steady can still win the race. He began as a teenager with a guitar, writing songs, playing music, and sharing his work online, long before the spotlight found him. His journey wasn’t marked by instant virality, but by years of quiet persistence, experimentation, and a genuine love for music that allowed him to grow into the artist fans know today.

In our latest exclusive, Rob opens up about his creative process, what makes music-making deeply meaningful to him, and how he continues to find inspiration in the everyday. He also gave us a sneak peek into his upcoming concert and album, offering a glimpse of how his sound has evolved while staying true to the sincerity that has defined his work from the very beginning.

On Creating Honest Music

Rob’s brush with music first started back when he was a teenager. As a student, he revealed that his focus was on his studies and hanging out with friends, which mostly involved pulling out his guitar to jam with his band.

“It started for fun. I started enjoying playing the guitar while jamming with my friends or when we joined Battle of the Bands. It was really more of a hobby, and I never really thought about stepping into the music industry,” he told The Beat Manila.

Being part of a band was what first sparked Rob’s interest in songwriting. Back in 2018 and 2019, the local band scene was thriving, with acts like Ben&Ben, December Avenue, and IV of Spades dominating the airwaves. Even bands that are now household names, such as SB19, Over October, and One Click Straight, were making their mark during those years through debut EPs and early singles.

When the pandemic hit, however, Rob shared that his band naturally fell apart as restrictions made it impossible to meet and create together. Rather than letting this moment end his music journey, he chose to pivot. Rob dove headfirst into producing and songwriting on his own — a shift that not only kept his career alive, but ultimately deepened his passion for the craft and sharpened his voice as a solo artist.

As for why he never pursued getting the band back together afterwards, he simply answered, “I just enjoyed the process of being a solo musiciana multi-instrumentalist. I enjoyed playing drums, guitar, and piano, and making original music by myself. When my songs started getting attention, I also became known more as a solo artist, but during live performances, I would still have a band with me. That has never changed. I always treat them as part of my group, like we’re in a boy band.”

From early breakthroughs like “Miss Miss” and “Ang Pag-ibig” to the more recent fan-favorite “RomCom,” the song that catapulted him to viral sensation, the young songwriter has proven his ability to create songs that resonate with this generation of listeners. Most would describe his music as deeply personal, like pages straight out of someone’s diary. His sound has retro pop influences, drawing inspiration from classic songs from the 50s or 60s.

A photo of Rob Deniel with a guitar
Photo from Facebook/Rob Deniel

When asked what inspires him to write most, Rob expressed, “It’s like my journal. I do put in personal experiences, but there are also experiences from the people around me, like my friends. That’s why I enjoy it so much, because I never run out of ideas or stories for songs. I’m still so thrilled when it comes to songwriting.”

He also added that he takes inspiration from consuming media such as romantic films and television series. Sharing personal stories while making them relatable is something the singer has mastered when crafting songs. In fact, he revealed that it’s the easiest part.

“For example, I had this song about my dog who passed away, and I wrote about missing someone when I was really thinking about my dog at that time,” he explained. “I’m able to generalize my feelings so it could be dedicated to a person — like a partner, your mother, or loved one.”

“I always write songs with a lot of yearning. *laughs* Never nawala sa'kin 'yun (that has never disappeared),” he added when asked why he thinks his music is so relatable. “There’s always that constant yearning for love. I’m really that kind of person. I also think that as we grow older, we’re always looking for something — a missing piece that was present in the past. So I think that’s partly why many people enjoy old-sounding music. We always crave that feeling of nostalgia.”

As for what makes his music stand out, Rob puts importance on sharing his true self with his listeners and keeping that transparency, and letting it reflect through his songs. “I want to be always honest about what I want to express. I strive to remain consistent about that. Whatever I feel or think, I won’t be afraid to write it into a song. From all the years of writing music, I always ask myself if it’s honest. I also make it a mission to enjoy what I do, because if I enjoy making music, then I believe listeners will also enjoy the songs.”

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Rob’s honesty has clearly resonated, cementing him as one of the most beloved voices of his generation. From soulful renditions of OPM classics like Ogie Alcasid’s “Nandito Ako” and “Ikaw Sana,” to his contributions to the “100 Awit Para Kay Stella” soundtrack, where tracks such as “Kumusta Na,” “Iisang Daan,” and “Simoy” climbed viral charts, Rob has consistently showcased both his versatility and wide-reaching appeal.

Last September 2025, he ranked as the Top #2 OPM Male Artist on Spotify, amassing more than 4.7 million monthly listeners. It’s a milestone that proves he’s more than a musician known for “yearning” anthems; he’s an artist whose work deeply resonates, inspiring listeners through sincerity, emotion, and craft.

A photo of Rob Deniel's music milestones
Courtesy of Vicor Music

On His Upcoming Concert and New Music

Fast forward to 2026 and fresh from his successful concert with Arthur Nery and Amiel Sol last December, Rob is taking the Araneta Coliseum stage once again for his first-ever major solo concert on Feb. 27, 2026.

When asked what he’s most excited about, the singer replied, “I’m excited to see everyone — the people I see at gigs, new faces, and to be together at such a big venue and to perform in front of all of them. I’m also excited for my band and to see us execute the new arrangements of the songs, from the popular ones to the new songs, which I’m so excited to perform for everyone.”

Rob promises a musical night filled with all his beloved hits and covers, but upgraded with new arrangements and production. During our interview, he also revealed more about his upcoming album, “Wander Boy,” which was released on Feb. 13.

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“The songs are about different kinds of love, like heartbreak or being crazy about someone. It’s a mix of emotions, but the main theme is constantly seeking love or our journeys towards finding true love.”

Rob revealed that the album is composed of previously released tracks from 2023, newer releases in 2025, and unreleased songs, marking it as a culmination album that spans three years of music making.

“The process and preparations were long, especially when it came to arranging the music and finding songs that matched the concept of the album. It has the same sound as what I’ve previously released, as I felt that I’m not yet finished with that kind of sound, so we continued it here. But there are also new sounds which I think people will really like. We stayed in the studio for two weeks to finish the new batch of songs,” he shared with The Beat Manila.

He also shared that from all the songs on the album, “BAL” was the easiest to write and record with its acoustic and mostly stripped version, while the first track, “Pwede Ba Tayong Lumabas?” was the most challenging to create and execute.

A photo of Rob Deniel in concert
Photo from Facebook/Rob Deniel

With a major concert and new album on the horizon, things are only getting better from here. When asked about a lesson he has carried throughout his career and what advice he would give to aspiring musicians, he shared, “To be kind is what I’ve always brought with me. Be kind to everyone — the supporters, the people behind the scenes, the people who play for me. Because when you’re kind, everything else follows. Everyone will be happy, and that joy can be felt through the music.”

“Just enjoy,” he advised. “'Wag n'yo masayadong isipin yung mga mangyayari (Don’t think too much about what will happen). Don’t think about whether people will like it. Just focus on enjoying the process and being true to yourself. Don’t be afraid to express what you feel, especially if music is your biggest outlet. Keep it as your diary. Enjoy ka lang (Just enjoy), don’t overthink it.”

Before wrapping up, Rob also invited everyone to his upcoming show, and shared a special message for his fans: “Sa mga ROBBEARS ko at sa lahat ng nakikining ng music ko, maraming maraming salamat sa pag suporta. Kayo ang dahilan king bakit nakikita ako sa charts — malaking parte kayo nun (To my ROBBEARS and to everyone listening to my music, thank you so much for the support! You’re the reason why I can be seen on the charts — you’re a big part of that). Thank you for coming along my journey and my growth as an artist.”

Tickets to the “Rob Deniel Show” on Feb. 27, 2026 at the Araneta Coliseum are now on sale. Prices are at P4,500 (VIP Standing), P3,700 (Patron), P3,200 (Lower Box), P2,200 (Upper Box), and 1,500 (General Admission). The show will also welcome special musical guests Janine Teñoso, Ashtine Olviga, Arthur Nerry, Amiel Sol, Adie, Pops Fernandez, and Ogie Alcasid.

You can buy your tickets here.

This interview has been edited for length and clarity. For updates on music releases and upcoming shows, follow Rob Deniel on FacebookX (Formerly Twitter)TikTok, and Instagram. Listen to Rob Deniel on Spotify.

Enjoyed this article? Check out our previous Up-and-Coming articles here.

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Manila/ The List/ What's On

Women’s Run PH Celebrates Int’l Women’s Month with FCC Women’s Run 2026

20260213 fcc womens runPhoto by Women's Run PH/Facebook

Strength meets sisterhood this March as Women’s Run PH returns with a bigger and bolder celebration of International Women’s Month and International Women’s Day with the 2026 FCC Women’s Run PH!

Set for Mar. 8, 2026, the highly anticipated run is bringing women of all ages, companies, and brands that champion empowerment, health, and wellness together for a day of movement, motivation, and community at the SM Mall of Asia Complex.

More than a race, Women’s Run PH is a celebration of wellness and empowerment — honoring women’s strength, resilience, and stories through running, connection, and shared energy. The running event offers a perfect event progression to all women of all ages and different fitness levels, with distances starting from 5 km, 10 km, and 16 km!

Runners running
Photo from Facebook/Women's Run PH

Whether you’re chasing a personal best or simply showing up (because that is more than enough!), Women’s Run PH offers a space where every woman can feel their best with every stride.

With categories for beginners, seasoned runners, and young participants, the event welcomes everyone to celebrate strength in their own way.

This March, Women’s Run PH invites participants to lace up, show up, and run in honor of empowered women. The upcoming race is presented by Women’s Run PH, SM Supermalls, and Filipina CEO Circle.

It is also the first of the upcoming series of races to be held by Women’s Run PH throughout the Philippines.

For more information and updates, follow Women’s Run PH on Facebook and Instagram.

2026 FCC Women’s Run PH

Location: SM Mall of Asia Complex, Pasay City

Date: Mar. 8, 2026

Distances: 16K, 10K, 5K, and 1K (for Kids)

Registration fees: P1,200 (1K Kids), P1,400 (5K), P1,700 (10K), P3.400 (10K Buddy), P1,900 (16K), P3,800 (16K Buddy). Register here.

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Manila/ The List/ What's On

Asia’s First 'Portal' is Opening at Bonifacio Global City in Manila

20260116 portals bgcPhoto by Portals Organization/Website

Bonifacio Global City (BGC) is set to host Asia’s first Portal, reinforcing its position as Metro Manila’s leading business, lifestyle, and cultural district.

Debuting this Jan. 21, 2026, at Bonifacio High Street, the upcoming "Portal" sculpture will become the sixth one in the world — connecting Manila to existing Portals in Vilnius (Lithuania), Lublin (Poland), Dublin (Ireland), Philadelphia (United States), and Ipswich (United Kingdom). More portals will be launching in Piauí (Brazil) and others later this year.

The installation offers a 24/7 livestream connection, creating a real-time window for human connection across borders, cultures, and continents.

A portal sculpture in the UK
The Portal sculpture in Ipswich | Photo from Website/Portals Organization
People looking at the portal sculpture
The Portal sculpture in Philadelphia | Photo from Website/Portals Organization

BGC is a dynamic cultural hub in Metro Manila, renowned for its public art, modern infrastructure, and vibrant cultural life. According to Portals Organization, BGC was the ideal environment to host Asia’s first portal, with its forward-looking spirit offering a pure window to different cultures from around the world.

“The opening of our first Portal in Asia is a powerful and exciting moment for us,” said Benediktas Gylys, Founder of Portals Organization, in a statement. “Bringing the Portal to BGC in Manila — a city known for genuine warmth and deep sense of human connection — expands our vision of a world connected not by borders, but by human encounter.”

Enrique B. Manuel Jr., Chief Operating Officer in Bonifacio Global City, echoed this sentiment. “With Portals and at BGC, we hope to create a new space for connection — one that not only engages our community, but also proudly shares the vibrancy and richness of Filipino culture with the world.”

The Manila Portal will be unveiled along 5th Avenue at Bonifacio High Street, Taguig City, with an opening ceremony on Jan. 21, 2026, at 6 PM.

The project was made possible with the support of their partners: Excell Contractors and Developers Inc., Euroasia Marble & Granite, Habitus Design Group, United Neon, Globe at Home, Unionbank, and CMC Contract Manufacturing Pte Ltd.

For more information and updates, follow Portals Organization on X (Formerly Twitter), Instagram, and TikTok.

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Manila/ The List/ What's On

Art Fair PH 2026: A New Beginning at the PH’s Future Arts and Culture Hub

14012026 2Photo by Instagram/ Art Fair Philippines

Following its successful run at The Ayala Triangle Gardens for Art Fair Philippines 2025, the country’s most renowned art fair is making a move to a new home over at Circuit Corporate Center One, Circuit Makati.

Here’s what to expect from this year’s edition of Art Fair Philippines on Feb. 6 to 8, 2026.

New Venue: Circuit Makati

From the wide expanse of the Ayala Triangle Gardens for last year’s fair, the premier Philippine art fair is now moving to the site of the country’s future arts and culture hub – Circuit Makati.

The Art Fair PH moves here first,” said Co-founder Trickie Lopa in a private media event held on Jan. 14, 2025, at The Social Hall, The CityFlats Circuit Makati. “Eventually there’s going to be a Contemporary Arts Center that’s opening here, so it’s going to change the life of the city.”

Circuit was always envisioned from the beginning as a creative and cultural district” said Paloma Urquijo Zobel de Ayala, Creative Director of Ayala Land Inc., in a video welcoming the media. “A place where art, performance, and public life coexist across indoor venues, open spaces, and everyday settings, and also with the soon to rise Contemporary Art Center.”

“More than a venue, this moment marks the beginning of a longer cultural ecosystem being built in Circuit,” she continued. “One that will continue to grow through a broader cultural roadmap for the area.”

Poster for Art Fair Philippines 2026
Courtesy of Art Fair Philippines

What to Expect at Art Fair Philippines 2026

Participating Galleries

The 2026 edition of the fair brings together leading galleries from the Philippines alongside exhibitors from France, Hong Kong, Indonesia, Japan, South Korea, Malaysia, Singapore, Taiwan, Vietnam, and Spain. This wide selection reinforces Manila’s growing role as a creative hub within the Asian and international art

ArtFairPH/Projects

ArtFairPH/Projects presents a curated selection of artists in different stages in their careers – from modern masters to contemporary visionaries – celebrating artistic excellence and experimental innovation.

Selected by the founders themselves, the artists featured in this part of the fair are to be presented to fairgoers for the first time.

This year’s artist selection includes the foundations of Philippine art and an eclectic mix of modern artists. The contemporary lineup includes Imelda Cajipe Endaya, Ambie Abaño, Ged Unson Merino, Jon and Tessy Pettyjohn, Berlin-based Sa Tahanan Co. collective, and Spanish artist Ampparito.

A variety of works from a Berlin-based Filipino art collective
Sa Tahanan Co. collective's work | Courtesy of Art Fair Philippines
Tarot cards in Filipino
Brenda Fajardo's work | Courtesy of Art Fair Philippines

Late Filipino masters Brenda Fajardo, Constancio Bernardo, Solomon Saprid, and Romeo Tabuena complete the roster, ensuring that their legacies of feminist social realism and geometric abstraction continue to resonate with today’s generation.

Nazareno/Lichauco will once again be designing this space, with this year’s concept said to be a sort of a “town plaza.”

ArtFairPH/Digital

A digital film's poster
"The Keeper" by TRNZ | Courtesy of Art Fair Philippines

Art Fair Philippines continues its study on the connection of art and technology through this space, highlighting works that dabble in animation, virtual and augmented reality, Artificial Intelligence (AI), and the metaverse.

Artists presenting their work under this category are TRNZ, a painter and graphic artist debuting his animated short film “The Keeper,” and TLYR Collective, presenting their works that center on the theme of “digital alchemy.”

ArtFairPH/Talks

In partnership with the Ateneo Art Gallery and the Museum Foundation of the Philippines, ArtFairPH/Talks continues the fair’s mission of developing audiences for contemporary arts.

The fair features daily sessions that deep dive into the evolving art landscape, as well as exchange views on art collecting and the art market. Speakers and topics for this year’s sessions will be announced soon on the fair’s website.

ArtFairPH/Residencies

In contrast to the usual artist residencies, Art Fair Philippines expands the horizons of Filipino artists by inviting international curators for a global exchange of ideas about the vibrant Philippine art scene.

For this year’s edition, the fair has invited New York-based independent curator and producer Anne-Laure Lemaitre as the recipient for this residency grant. She is recognized for her work in cross-disciplinary projects and her expertise in blending public art, technology, and cultural storytelling.

Applications for ArtFairPH/Residencies are now officially open.

BPI Sponsors Project

As co-presenter of the Art Fair Philippines, the Bank of the Philippine Islands is sponsoring multimedia artist AR Manalo and will be presenting his works at the BPI Lounge in the Art Fair.

10 Days of Art

Various public spaces around Makati City will be transformed into large public art installations from Jan. 30 to Feb. 8, 2026, celebrating the best of Makati’s cultural spirit for 10 days.

A large public installation of a carousel
"Carousel" by Ronald Ventura | Courtesy of Art Fair Philippines
A set of hats displayed with mannequins
"Nagsasalitang Ulo" by Mich Dulce | Courtesy of Art Fair Philippines

These installations include works by Alfredo & Isabel Aquilizan (Ayala Tower One, Fountain Area), Ronald Ventura (Ayala Malls Circuit), Mich Dulce (Greenbelt 5 Gallery), Joel Wijangco (Greenbelt 5 Gallery), and FotomotoPH (Paseo Underpass).

Participating galleries and exhibits will also be holding a Gallery Weekend from Jan. 30 to Feb. 1, 2026, where audiences can visit the galleries in their own locations for a sneak peek of what they’re showcasing during the fair proper.

Art Fair Philippines 2026

Tickets to Art Fair Philippines are priced at P750 (General admission), P500 (available on-site; PWDs, Students, Senior Citizens), and P300 (Makati students and teachers). They are available now on Art Fair PH's website. Tickets will also be sold at the door on fair days for the same prices.

Art Fair Philippines is co-presented by Ayala Land Inc, Bank of the Philippine Islands, and Globe. For more information and updates, follow Art Fair Philippines on their FacebookX (Formerly Twitter), and Instagram pages.

Art fair philippines 2026
Art Fair Philippines 2026 Circuit Makati Fri, February 6 10:00 AM - 9:00 PM Explore contemporary art at Art Fair Philippines 2026 from Feb. 6 to Feb. 8, 2026, at Circuit Makati.

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