Why Lola Amour feels a deep connection with Japan
Last January, Filipino funk-pop-rock band Lola Amour fulfilled a long-held dream as they performed in Japan for the first time, mounting two shows in Tokyo and one in Osaka. The group described the experience as “unforgettable” and a “dream come true,” marking a major milestone in their international journey.
In 2025, they collaborated with Kokoro Kohatsu of the Japanese boy group Psychic Fever from Exile Tribe for The Moment. Also last year, their smash hit Raining in Manila was cited at the inaugural Music Awards Japan International Special Award for Popular Music (Philippines) in partnership with the Awit Awards.
It is noteworthy to mention that Raining in Manila was heavily influenced by Japanese city pop.
“It’s fitting that’s there’s an actual connection between the song (and Japanese music),” vocalist Pio Dumayas told The STAR during the “Tsudoi’26 Philippines edition – Music Way Project,” a music networking event that was organized by the Culture and Entertainment Industry Promotion Association (CEIPA) and Toyota group, at The Astbury, Makati City.
Lola Amour members Angelo Mesina (trumpet) and Manu Dumayas (bass) said they were honored and flattered to receive the award. Although they were unable to attend the Music Awards Japan, their manager accepted it on their behalf.
Pio recalled that their manager met friends there who paved the way for their Japan gigs.
“It was a good mix because we initially thought the audience would be mostly Filipinos, but around 50 percent were actually Japanese,” noted Pio of their shows there in January. “It’s validating for us because we’re also doing this not just to meet the OFWs (Overseas Filipino Workers) but also to meet new audiences, the locals. The cultural exchange is also very fulfilling. We are able to bring the Filipino culture there and it’s great to see that they appreciated our culture and at the same time, we also got to experience their culture and that’s the fulfilling part.
“I also want to share this story. During our shows in Japan, the first three rows were occupied by Japanese attendees. Why? Because the Filipinos arrived late. Haha! The Japanese are always on time, so they got the front rows while the Filipinos (were) at the back.”
“The important thing is that they showed up,” Angelo chimed in.
“There was this certain mix of the two cultures, and the Japanese audience would even sing along loudly because they were feeding off the energy of the Filipinos. I think that was something really noteworthy about the shows,” Pio continued.
The “Tsudoi ’26” Philippines edition event was also attended by executives from CEIPA and the global networking platform Gig Life Pro, along with music professionals and artists. Japanese guitarist Ichika Nito showcased his guitar prowess as part of the program.
Music Awards Japan executive director and CEIPA executive committee’s Taro Kumabe remarked in his speech that he was “deeply moved by the immense energy generated by the exchange between the music scenes of the two nations today.”
“CEIPA is dedicated to the development of Japanese industry. We also hold the highest respect for the incredible talent across Asia. Of course, here in the Philippines, like Lola Amour. We are committed to learning from you and building a platform together with this talent that can truly resonate globally,” he went on.
Founded on the concept of “Connecting with the World and Illuminating the Future of Music,” the second edition of Music Awards Japan is set on June 13 at the Toyota Arena Tokyo.
Meanwhile, here’s the rest of the interview with Lola Amour, where they share more about their connection to Japan and their music.
How does it feel knowing that you have international fans outside the Philippines?
Pio: “When we were younger, it was just a dream for us to play in bars. But now, the more we do this, the more doors open, and it’s about choosing the kind of opportunity we want to take on. And one of them is expanding our fan bases in other countries because not many people get to enjoy a career that (is) as fulfilling as what we do right now.
“We’re eight in the group, and it’s difficult to organize tours like that. It feels like something that we really enjoyed doing, meeting new people, exploring new territories as well and just pushing the limits of what we can achieve.”
Angelo: “Likewise, we enjoy what we do. It always gets back to being able to perform for new audiences. Pio mentioned that we really want to reach out to more people, and if that involves different nationalities, even better. We’re also proud to be able to champion Filipino music, something we also want to aspire to keep doing in a way we want to promote the culture. OPM (Original Pilipino Music) is a big thing here in the Philippines.”
What similarities do Japanese and Filipinos share when it comes to music?
Angelo: “There’s a lot of music aficionados in Japan, like they want to explore different music. So, maybe that’s how Japanese fans came to know us. We’re not exactly sure how they were able to find our music, but for sure, they are very attuned to music, same as Filipinos.”
Manu: “There’s something nostalgic about playing in Japan for the first time. Our Japan shows felt like how it was in the Philippines, pre-pandemic. Those bar gigs were so packed. People were there to watch, (and check out) what’s new, who’s playing tonight. There was no holding area. You’d have to squeeze through from the audience to the stage. It felt nostalgic like pre-pandemic days.”
Pio: “I think (the) Philippines and Japan, they both have a lot of people who want to become artists. They have a very good environment for creativity. It might be more challenging for them, but their love for music is also maybe stronger, maybe at par with our level of demand for local music.”
What can the Filipino artists and music professionals learn from this kind of event (‘Tsudoi ’26’)?
Pio: “There’s an international demand, and there are people trying to push the limits between country borders, and the fact there’s an event like this, industry professionals know that there’s a potential, not just for Filipino music but also about (Japan’s) local music and how we can also connect. We can go from there.”
Angelo: “Music is very global. For young artists, they need an outlet. Social media is very big right now, like Spotify, YouTube, there’s a lot, but sometimes it’s not enough…. The demand for music will always be there. There will be more and more people who want to learn and listen to something new.”
Lola Amour’s favorite Japanese artists include Ichika, Creepy Nuts and RADWIMPS.
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