The state of Pinoy pop: 2016
MANILA, Philippines - Take it from someone who has been monitoring the latest Filipino releases for a music website since 2012: 2016 is shaping up to be a good one for Pinoy pop. Never mind that we subscribe to an industry mandate awarding albums that sold 15,000 copies a platinum certification. Disregard the fact that our growing interest in cultural nostalgia has immortalized The Eraserheads, MYMP and Nina in the upper echelon of the Spotify and iTunes music charts, preventing the latest crop of local singles and albums from getting a higher placement. If we ignore the status of commercial releases in terms of fiscal performance and impact, then we might see things from a different perspective, and hopefully in a better light.
For one, major record labels have been decimated by the decline of physical sales and the surging prominence of digital consumption. Even the stakeholders from the Philippine Association of Recording Industry (PARI) no longer hold power in the affairs of the local music industry: Awit Awards, the board’s award-giving body, has become an uneventful showcase of old guard prestige, tricking the public into thinking it’s our version of The Grammys when it doesn’t even act like one.
Behind-the-scenes vindication
Given its misfortunes, there is a dramatic shift in the record label system that enables artists, composers and producers to explore other viably artistic options outside of traditional tropes — the very reason why I remain optimistic about the leaps and bounds Pinoy pop has taken in the last four years. Thyro and Yumi, the prolific composer duo behind some of the biggest pop hits of Sarah Geronimo, James Reid, Nadine Lustre and Sam Concepcion, continue to challenge songwriting conventions with their skillful grasp of the local vernacular and their preference for modern production values. Pop culture critic Richard Bolisay perfectly sums up why Thyro Alfaro and Yumi Lacsamana have played a significant role in redefining pop music as both a commercial enterprise and a creative endeavor over the years: “They understand that to penetrate this uneven and fickle pop scene, controlled by the same megalomaniacs that offer other diversions through film, television and print, one must wade through the trash with eyes open and arms wide while making smart compromises.” Even telecommunications giant Talk ’N Text recognizes the duo’s emerging influence on pop radio, recruiting them along with fast-rising rapper Quest to pen the mobile phone brand’s new anthem “It’s A Tropa Thing” with the promise to cater to a younger demographic.
Aside from Thyro and Yumi, the creative partnership between songwriter Nica del Rosario and producer Jumbo de Belen is starting to catch fire at the forefront of mainstream consciousness. They’re the duo responsible for Sarah Geronimo’s latest single Tala — a tribal-infused banger that is as immediately impactful as her previous smashes, but rendered with a more vibrant, summery appeal. The lead single off Geronimo’s 12th album, “The Great Unknown,” currently sits atop the MYX Hit Chart and is making waves on top 40 radio stations as of this moment. Sure, the pop star’s name has something to do with its strong chart performance, but the duo’s sleek, understated groove and trop-house production brought Geronimo on top of the game, helping her adapt to the ever-changing trends of contemporary pop music.
More and more production stalwarts from independent entities are recruited by major record labels, even going as far as entrusting the material of their most bankable artists without hesitation. One of the beneficiaries of this trend is Kiko Salazar — an industry rookie who is slowly building his mainstream portfolio by penning and producing songs for Morisette Amon, Zia Quizon and Kyla. Though far from flipping the game to unexpected places sonic-wise, Salazar has taken with him the opportunity to handle the nitty-gritty work behind Enchong Dee and #Hashtag’s recently released albums. Replacing lame remakes and watered-down ballads are fun, bubbly upbeat numbers expertly engineered to fit the artist’s personality. Nothing groundbreaking, really, but it’s a fresh start considering how backward mainstream pop releases were five years ago.
Game changers
Late last year, Julie Anne San Jose reinvented the local pop wheel with the release of her “Forever” EP. Stepping into the spotlight with a complete makeover and a self-assured music direction, GMA Records’ biggest star took inspiration from the gutsy urban sass of Beyoncé and Tinashe and managed to sound at home with her newfound swagger. On her future-forward smash Not Impressed, San Jose takes an unexpected turn toward a more hip-hop-leaning vibe. “The track’s realest strength is being able to channel Julie Anne’s star power into full potential, marking a transformation from wholesome personality to a feisty, bad-ass woman confident of her life decisions,” I wrote in my review of her single via Vandals On The Wall. The Julie San Jose we know now is tough, independent and ready to conquer the global music arena at any given pace — a far cry from her teenybopper days.
Quite at par with San Jose’s transformation is MCA Music’s Jason Dy, who rose to prominence after bagging the coveted title in The Voice Philippines’ second season. This year seems promising for Dy with the jazzy, soulful lament Walang Iwanan cracking the music charts nationwide a few days after it was released. Its music video — a modern update on femme-fatale revenge noir — was directed by Jiggy Gregorio, an upcoming filmmaker who is no longer a stranger in helming experimental and campy shorts. This combination of pop ubiquity and bizarre visual treatment is what makes Walang Iwanan refreshing in my playbook, a song that seems to have staying power as compared to its contemporaries in the similar lane.
Speaking of staying power, how come nobody mentions Gloc 9 and Yosha’s Kalye? The soaring, meticulously arranged anthem was written as a tribute to the EDSA Revolution, a stroke of pop music genius that recounts the period of social unrest and oppression during martial law through Aristotle Pollisco’s own lens. Forget about his controversial appearances on Jejomar Binay’s campaign sorties or the lack of explanation to justify his actions. The celebrated rapper has done greater things to trump what the rest of you thought of as damaging. Whatever you say about Gloc 9, his work will remain relevant as it captures the incendiary spirit of our generation: our struggles, our collective plight, even our very own excesses.
Before you get snarky about the disposable state of local pop, one must realize that not everything is about pandering to the latest trends or keeping up with commercial demands. Sometimes, it’s all about communal liberation or self-empowerment, about being gay and mighty proud of it, about dancing to the beat of one’s heartbreak. In 2016, we’ve seen artists defy the mold to find their own voice in the sea of predictable sound-alikes; we’ve heard cutting-edge songs that push the envelope in terms of creativity. There’s no way to drown out the noise if it’s as promising, exciting and compelling as this.
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