P-Pop Group SB19 Discuss 5 Of Their Biggest Songs: From "Go Up" To "Bazinga" & More | GRAMMY.com (2025)

Filipino pop group SB19 are characterized by their daring spirit — no challenge is too big or too arduous for the quintet to endure. Since debuting in 2018, the group have earned both international and local accolades, achieved historic firsts, and have helped bring P-pop beyond its borders.

SB19's journey began when members Pablo, Josh, Stell, Ken and Justin were recruited by a Korean company to create a Filipino group meant for the global spotlight. As with many K- and J-pop groups, SB19's trainee process was rigorous and filled with exhausting days that not only calibrated their technical abilities, but also the pace forward.

"Each one of us had a different perception back then and we used to dream quite differently about the artists we wanted to be in the future," Justin tells GRAMMY.com. "I think we're just still on the quest of achieving our dreams, and what we were thinking before, our goals, are still the same."

Though their success was not without setbacks, from a possible early dissolution to dealing with hostile remarks online. But those days are behind them, and the group are now celebrated for their razor-sharp vocal dexterity and genre-defying soundscape.

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A big part of SB19's prosperity is a result of their creative freedom, skillfully orchestrated by group leader Pablo. Over time, SB19 have developed a distinct artistic voice — one that found clarity with their first EP, Pagsibol (2021), and became even more vibrant with its sequel, Pagtatag! (2023). After a season of solo projects, the group finds its way back together with Simula At Wakas ("Start and End" in English). Out April 25, the group's third extended play is a return to form that brings the trilogy to a close while opening a new chapter.

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With the release of Simula At Wakas already here, take a journey through five songs that trace SB19's story —– with insights from the members themselves.

"Go Up" (2019)

The lyrics of "Go Up" — SB19's second single after their debut — manifest the group's determination to earn their place in the Filipino music industry. That strong-willed fire comes through over an energetic pop backdrop, with each section underscoring the song's message of persevering against all odds. "I walked with broken glasses, stuck beneath my feet, yeah!" they sing in the second verse, per an English translation. "All your doubts (Doubt) / Are my wings just like Garuda's (Ruda) / 'Cause I'm gonna go up!"

The track could have been SB19's final shot, as the quintet poured everything into a last-ditch effort to breakthrough. While initial reception was underwhelming, destiny intervened when a user on X (formerly Twitter) shared a video of the group's dance practice — a routine the members have said they rehearsed a thousand times. The clip went viral and ultimately saved their careers.

"We were on the verge of giving up," Josh shares. "We had this meeting and said, if this song did not make it, we would disband the group already." A few weeks after releasing their dance practice, "we were blowing up and surprised about the turnaround."

It is a watershed moment and one the group still considers crucial. Ken describes "Go Up," as a song that "keeps us grounded" because it is an anchor that reminds them of their roots: the countless hours of practice, and the obstacles that once threatened to bring them down. "I'm just happy whenever I hear 'Go Up' because I remember our trainee days," says Pablo, smiling. "We were just kids dreaming, very sincere about what we do, and not knowing what will happen tomorrow, or what to eat. [Laughs]. Those days were full of uncertainty, but we had each other and that's all we needed."

"MAPA" (2021)

Though "MAPA" is an emotional and sonic departure from SB19's usual intensity, it is the shiniest jewel in their discography. The title of the song combines the syllables "MA" from mama (mother) and "PA" from papa (father) while also referencing the English word "map," conveying how SB19's parents have been the guiding map that has led their way.

Composed by Pablo, "MAPA" was created during the early, uncertain days of the pandemic to express the group's gratitude for their parents' unconditional love. "We are trying to achieve our goals and dreams, but most of the time, we tend to neglect the important things," he explains. "One very important thing for me is my family because I wouldn't be here right now if it weren't for them. They sacrificed a lot for me to be able to go through this path. I just want to reciprocate all the love that I have received from them through this music and through what we're doing right now."

The magic of "MAPA" lies in its poignant depth. As Ken explains, the importance of family gives the track even greater resonance — particularly for Filipinos living abroad. "They are working hard out there, and I think they miss their families back here," he says. "We see some Filipinos reacting to our videos, and they cry their hearts out just because of the song. They can relate to the lyrics."

Pablo adds that the first melodies are especially meaningful and "very real" to him, as they are inspired by a cherished memory of his grandmother. "My Lola is already gone, and she's in good hands, but I remember her singing those [melodies] to me when I was a kid, so it's very personal," he says. "If she was here, I'd want to give all the love back, but I can only thank her from the Philippines, the earth, but I know that she's in good hands."

"Bazinga" (2021)

From the beginning, SB19 encountered criticism — not just for their appearance, but also for allegedly lacking "their own identity" and copying K-pop groups. The quintet turned that rejection into fuel with the defiant "Bazinga," the third single from Pagsibol.

The title originates from the catchphrase "Bazinga!" popularized by Sheldon Cooper, the eccentric protagonist of "The Big Bang Theory" — one of Pablo's favorite series. But while Sheldon used it as an ironic punchline, Pablo redefined it as both defiance and proud self-affirmation. "Bazinga! Your hate's like gasolina / Yeah, I'm fire, I linger," the chorus erupts. "Dare you to turn up the heat, and I'll burn y'all 'til I die, yeah."

"When you're starting to get recognition, haters will definitely come and a lot of people will not really like what you are doing, so you cannot please everyone," says Justin of the song's temper. "We just wanted to show we won’t be affected by the negativities that they are giving, and we're just making fun of all the things they throw against us."

"Bazinga" topped Billboard's Hot Trending Songs chart for 26 weeks. As if by poetic justice, there was no better response to the pushback than turning it into success. "The whole composition of the music, it sounds like you're teasing someone and the whole messaging of the song really contributed to clapping back at the haters who have been putting us down," says Pablo.

"GENTO" (2023)

"GENTO" is one of the most iconic tracks that captures SB19's ethos: a volcanic presence on stage and a fierce sound that remains true to its message. The song elevated the group's fame to another level; "I think 'Gento' is the one song that opened lots of doors for people to know who SB19 is," Pablo says.

Musically, "GENTO" — another Pablo composition, this time in collaboration with his brother Joshua Daniel Nase and Filipino Canadian producer Simon Servida — incorporates hip-hop elements, where a thumping bass drives the rhythm and highlights the group's diverse vocal tones. Ken notes that the song's pinnacle comes in the final section, when the sound of a flute breaks in and intensifies the weight of the melody. "That flute is not the kind of instrument that is commonly used by a lot of producers and modern hip-hop," he says. "I think that one instrument gives that punch, sexiness, and nasty kind of feeling to 'GENTO.'"

But beyond its hard-hitting production, SB19 used "GENTO" to mirror how they've risen and shaped their identity. That's not to say they're arrogant, but rather, it portrays their resolve. The word "GENTO" isn't chosen at random: it comes from the Caviteño dialect of Filipino, and it's a variation of ganito (or "like this" in English) while also referencing ginto, which means "gold."

The song was paired with high-octane choreography that sparked a viral TikTok trend — with many artists ranging from K-pop stars to professional dancers joining in. When asked about the secret to its popularity, Stell suggests it likely stems from the song's imposing nature. "Every time we perform it, it gives you a different aura you're not used to, but you like the feeling of doing it. That's the one reason why a lot of dancers and artists did the choreography, because of that powerful aura."

The group hadn’t anticipated such an explosive response. "If I'm going to be honest, I'm not sure or I don't know how it [happened]," Pablo admits with a laugh. "When we were on tour, we were shocked that 'GENTO' was going viral, and even the K-pop artists that we look up in terms of performance, they did 'GENTO.' It's a really, really proud moment for us.

"DAM" (2025)

SB19 opened the Simula At Wakas era with the release of "DAM," a song with an anthemic gravitas. This single is game-changing: it embodies their decision to take full control of their careers and reaffirms the artistic direction they wish to pursue.

"It's been a year since we started our own company [called 1Z Entertainment], and this comeback, 'DAM,' is the first and the biggest project that is really 100 percent controlled by us," says Justin, who also serves as the creative director of the group as well as other P-pop artists. "We really went all out and just did whatever we wanted and whatever we could."

Taking the word "pakiramdam," which translates to "feeling" in English, the track's heart — blending EDM, Celtic, and Filipino folk — palpites with the strength of those who refuse to surrender. And the music video, colossal in scale, is just as epic. The members of SB19 take on the roles of wizards and warriors, each confronting their own battles — a nod to their personal stories — which ultimately converge at the Tree of Life.

"We realized that this year, we're going to come back stronger, so we had these meetings and brainstormed to find the right ingredients to make it close to perfection," Josh explains. "I would not say it's perfect, but it's perfect to us because it's authentic. We had this ambitious idea that we had to go medieval, and it was not a common theme or concept in the Philippines because it was tough to pull off."

"DAM" is, in many ways, a new rebirth for a group that's never content with past achievements and will continue to set its sights higher and further.

Every May since 1992, the vibrant, resilient history and achievements of Asian and Pacific Islander communities have been celebrated in the United States as AAPI Heritage Month.

Though artists from the Asian and Pacific Islander diaspora remain underrepresented within the Western music scene, many have carved out a space for their voices to be heard, bridging cultural gaps and championing diverse representation within music. From Kalani Pe’a and Anderson .Paak taking home golden gramophones at the 2025 GRAMMYs to Charli xcx’s “Brat” — an album that not only elevated her bold artistry, but ultimately turned into a cultural phenomenon — the influence of AAPI artists on pop culture is undeniable.

While AAPI Month is an American celebration, the Recording Academy recognizes the impact of Asian and Pacific Islander artists globally. While K-pop continues to dominate charts globally and pack stadiums stateside, other Pinoy pop, Japanese rock and rap acts, as well as Korean hip-hop artists, are thriving across borders. Together, these artists and their American peers are breaking down the stereotype that AAPI artists are confined to a single sound.

The Recording Academy has made major strides in increasing members from diverse backgrounds across its membership body. Since 2019, the Recording Academy has seen a 100 percent increase in the percentage of Asian or Pacific Islander+ Voting Members, as revealed in a Membership Report last year. Read our GRAMMY Impact Report to explore how the Recording Academy champions diversity within its membership and across the music industry on a year-round basis.

Both on and off the GRAMMY stage, the growing presence of AAPI artists encourages diverse perspectives and storytelling that ultimately shapes how we consume art and other media. Increasing the visibility of AAPI artists not only unveils opportunities for the next generation, but also fuels a cycle of empowerment and inspiration for other minority communities. Join the Recording Academy in honoring AAPI Month 2025 and download our official social media toolkit to join the celebration online.

Celebrate the AAPI experience with GRAMMY.com’s genre-spanning playlist below, featuring 20 songs from familiar favorites and rising stars alike.

In the music video for "i’ll be happy when," Lyn Lapid performs with her band to a largely disinterested audience at a house party. As she reflects on her life in Los Angeles and the feeling of being invisible, people begin to notice her, and she spirals with anxiety. Lapid begins repeating the line: "Will I be a buzzkill forever?"

The video is a case of art imitating life for the 22-year-old Filipino American singer/songwriter, who moved to L.A. from a small town in Maryland. "For a while, I felt I was putting on a facade or mask, and morphing myself into a version that could be liked by everybody [in person and] online," Lapid tells GRAMMY.com. "I never felt so miserable because I wasn’t being true to myself. I was doing things I don’t even like to do for the sake of not being alone."

On her debut album, Buzzkill, Lapid tackles the topics of loneliness, real and fake friendships, and eventual self-acceptance. "I’m so grateful for writing Buzzkill because that was my thought process of navigating that part of my life where I’m trying to figure out what I truly value and need to let go of."

Written over a year and a half and imbued with a soft and soulful tone over a bed of R&B, indie, alternative, and pop, Buzzkill is some of Lapid's most vulnerable work. While her previous EPs did touch on growing up feeling like an outsider and situationships, she says Buzzkill focused on coming of age as an adult.

Lapid was only 16 when she found fame in 2018 when her cover of "Best Part" by Daniel Caesar and H.E.R. went viral; her social media presence skyrocketed two years later when her original song, "Producer Man," went viral on TikTok.Her song "Cruise Control" was used in the Disney/Pixar film Inside Out 2.

"Producer Man" was about a sketchy music producer who wanted Lapid to change everything about herself to cater to the music industry. In response, Lapid did what she knew best: wrote a song about it to remind herself never to give into the temptation of fame and success. She maintains that mentality, even after signing with Republic Records (now Mercury Records) and releasing five EPs.

"My definition of success is connecting with people who feel alone and making them feel seen," she says.

GRAMMY.com spoke to Lyn Lapid about her Buzzkill and upcoming world tour, which kicks off on May 6. The singer details how her EPs influenced the sound of her debut album, her relationship with social media, and what she’s looking forward to in the years ahead.

This interview has been edited for brevity.

How do you feel about your debut album's upcoming release and world tour?

To be honest, I feel overwhelmed and scared. I’ve never released a full album before. I don’t know what to expect.

I’m branching out into a different sound. Lyrically, I’m so honest in this album about personal things in my life [and] putting it out into the world is going to be very vulnerable. I have no idea how my fans are going to react. As I [made] this album, I wasn’t focused on [creating] a sound that people wanted to hear. [I was] making a sound that was true to my artist project — and to me, as a person.

Tell me the significance of your album and tour title; what is your definition of a buzzkill?

"Buzzkill" was such a keyword that I always came back to while writing the album. I wrote the album about my first year living in a new city, outside of my parents’ house, and the experience with that. Everybody talks about "coming of age" being in your teens…but nobody talks about "coming of age" in your 20s and making friends as adults.

I felt like everything I knew initially was wrong about how to make friends, and [the culture] between the East Coast and the West Coast. I’m the type of person to keep my circle small, and I can’t fake a conversation or an interaction. It’s very different over here with the people; everywhere I went, I felt like I brought the mood down. I felt like a buzzkill because I wouldn’t click with the people I was meeting.

So "buzzkill" was just that word I kept [returning] to because I was trying to find my way while living in L.A. The moral of Buzzkill is that you only feel like a buzzkill with the wrong people. That’s what I realized living in L.A. and making new friends: I needed to let go of my need to be liked, or want[ing] to be [everyone’s] friend and just allow myself to find the people who don’t make me feel like a buzzkill.

Your first EP, The Outsider, was centered on feeling like an outsider. Your follow-up EP, to love in the 21st Century, tells a story about relationships and the perception of love. How have these EPs prepared you for this album?

I was finding my sound and style lyrically. With Outsider, I was very experimental with where I wanted to take my sound and trying to figure everything out. To love in the 21st century is when I honed in on one certain sound.

Those projects tie in together. They’re very cohesive with what they’re about, thematically, sonically, and lyrically. With this album, Buzzkill, I truly felt this is the north star where I wanted to be sonically, lyrically, and thematically. I was finally able to hone in on that sound.

Jumping off the title of "i’ll be happy when," when do you, Lyn Lapid, feel like you’ll truly be happy? What makes you truly happy?

Buzzkill was that self-discovery journey to find true contentment with myself, my situation, and my place in life.

The album starts where I’m unsure of where I belong, and I don’t know who my true friends are. I’m trying to figure out who I am and my values. By the end of the album, I’ve realized that I need to let go of the need to be liked by everybody and wanting to fit in every room with every person I meet. It’s letting go of that control and allowing myself to let go and find the people that truly matter in my life, who value me as much as I value them. That’s my definition of true happiness in my personal life.

With my career, I have so many bad habits with numbers and falling into the rabbit hole of toxic ways to use success and money. Money is important, but, in my career, I view success and true happiness as making music that I resonate with and is authentic to me and my artist project. It’s seeing the true fans that resonate with that and the music.

What is your favorite track or lyric from Buzzkill?

It switches all the time based on how I’m feeling. But the one [that I really got] to be vulnerable [on] was "floater friend." Sad songs are written all the time, but this one [was] real feelings that I’m writing about real people. I’m honest on this album, [and] the people in my life who care about me will hear this for the first time, so it will be interesting to see [their reactions]. This song is [my most] vulnerable on this project.

You started in this industry at 17 and are now 22. What have you learned throughout this process?

Every time I release a song, it’s a new step in a new direction. With my songwriting and songs over the years, you can hear the progression of finding the sound I love making, the lyrics and style I love writing, and the kind of stories I want to tell. It’s just the process of allowing time to hone in on my craft and run new sounds that I love, running into new artists that I vibe with sonically and lyrically, and letting that influence my songwriting.

You’ve previously collaborated with artists such as mxmtoon, Grentperez, Ruth B, and Eric Nam. Are there any others you’d be interested in collaborating with?

One artist I felt was my north star sonically and lyrically when I was making [Buzzkill] is Olivia Dean. She’s such a cool artist. She is so locked into her sound. That inspired me, sonically — and the pure joy she puts out when performing and putting out music. That’s definitely the vibe I wanted with this project. So, even just to meet her would be crazy, and a collab with her would be a dream of mine.

This generation of young adults prefers short-form content like TikTok, Instagram Reels, and YouTube Shorts. How do you keep up with the ever-changing internet trends, and do you feel that artists need to do it to keep up?

Honestly, I am just keeping up. I’m still trying to figure out my algorithm, niche, and the right way to promote my music to reach new fanbases and audiences. I had no idea what I was doing with social media when I started; even now, I feel that way. The algorithm and social media are changing so much every day, and it’s hard to navigate that. It’s really a guessing game on what does well online and what niche I should craft.

How have the internet and social media changed your life and perspective of the music industry?

Social media essentially started my career. It was easy for me to sink into unhealthy and toxic ways to view social media…and be caught up in the number of likes and views. The numbers influenced me a bit: Oh, this sound [or lyric] does well online or this kind of content or sounds that weren’t authentic to me. I felt like I had to push myself for the sake of views or likes.

I’m still trying to figure out my relationship with social media and how that influences my music and songwriting. It’s still very much a work in progress.

How do you deal with content creation burnout or even musical burnout?

Songwriting is tricky. Content creation is tricky. Since I started making music, I’ve been going project after project, song after song. There was a moment near the end of making Buzzkill where I was in sessions every single day; different sessions, people, and different parts of the city every day. I’m the type to keep going and working to push myself. I don’t decide that I’m done. My body decides that I’m done.

At the end of last summer, I was so socially and creatively burnt out by all the different ways I could write about my experiences in real time. When it comes to that, I [tell] my team and everyone close to me that this is where my head is, and I need to step back for the longevity of my career.

Do you feel you grew up fast and never enjoyed the process of your young adult life?

I compare my life heavily to the friends I grew up with. They followed the traditional path of attending a four-year college, finding a job there, and making new friends. That’s what I wrote for my first EP, The Outsider. I felt like an outsider going into such an intense career at a young age. The ways I would make friends would be very different from [meeting friends in college].

Being thrown into the industry at such a young age was overwhelming. I wouldn’t say I lost the chance to experience making friends and finding my way in growing up while in the industry. But it’s very different from what I was expecting in my 20s. The 16-year-old me would look at me now with her jaw on the floor [amazed] that this is my life. This is how I’m navigating my early 20s. I’m just figuring it out as I go.

What do you hope to achieve in the next five years?

I love what I’m doing now. I just want to be able to continue to make music that resonates with people and find those people who feel seen in this situation — whether it be happy or sad. I definitely want to level up as an artist and find those people on a bigger scale as much as any artist does.

I truly just want to be able to, at least in the next five years, tell myself that I am still authentic with my music, sound, artist project, and my image online, in the industry, and everywhere. Wherever I go, I want to still be authentic with myself and be surrounded by the people who value that.

This is your first world tour. What are you looking forward to the most?

I am excited for the fans to see the new set. For the past three years, I played the same set; slightly different songs every time as time progressed. But this is the set where everything is new. I’m not abandoning all my old music and songs in my catalog, but this live set will be fresh.

There are many songs that I wrote for this album that didn’t make the cut, but I knew I didn’t want to completely abandon them. I definitely have plans to incorporate them into the set somehow, maybe performing them at the small VIP section before the concert or having a moment in the set where I sing it live anyway. I do that all the time with my tours, performing an unreleased song.

The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will air live on CBS and Paramount+ on Sunday, Feb. 2. Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. Donate to the Recording Academy's and MusiCares' Los Angeles Fire Relief Effort To Support Music Professionals.

Editor’s Note: This interview was conducted before the onset of the wildfires in Los Angeles. The artist has since addressed the situation.

If Hawaii is the heart of the Pacific, Hawaiian music is its bloodstream.

Hilo, Hawaii, native Kalani Pe’a is an advocate for his homeland and heritage, and uses his art to do just that. The GRAMMY-winning artist views music not just as a joy or a career path, but as a responsibility. That responsibility, and the importance of music as a tool for healing, was front and center following the devastating wildfires that swept the island of Maui in August 2023.

"To see, feel and hear the stories unfold about the wildfires in L.A. triggers many of us residents here on Maui," Pe'a tells GRAMMY.com, reflecting on the shared tragedy of losing homes, loved ones, and important cultural touchstones. "We can only do so much as musicians and Hawaiian cultural practitioners of our community, but we all had kuleana (responsibility) to assist each other, work together as a whole, as a lāhui (Hawaiian Nation), as civic and civil leaders and as first responders."

Immediately after the Maui fires, Pe'a, his husband, and team created a benefit concert for affected families and friends, raising $150,000. Working with local non-profit ʻĀina Momona, Pe'a and his team disbursed funds to families in need and hosted a live streamed event, Wiwoʻole Benefit Concert. "Wiwoʻole means courageous or bravery as Maui came together as a strong community to support each other during these trials and tribulations," Pe'a notes.

"We want to express our love and empathy to my friends and families who lost everything in the L.A. wildfires and demonstrate the significance of being wiwoʻole during this time," the GRAMMY-winning artist continues. "We hope this year's GRAMMY Awards ceremonies and festivities pivot to ensure that we focus on giving back and supporting our California residents, while we also adapt to change, and be effective and compassionate."

Pe’a has won three golden gramophones for Best Regional Roots Music Album — one for each of his three past albums, E Walea (2017), No ‘Ane’i (2019), and Kau Ka Pe’a (2022). At the 2025 GRAMMY Awards, he is once again nominated in the Category for his fourth and latest work, Kuini.

The meaning of Kuini, which translates to queen, runs deep for Pe’a. In his words, the album honors the many women, matriarchs, and goddesses who have shaped his Hawaiian identity. The title track was written for his childhood friend Kumuhula Leialoha Kaʻula, and also honors the people of Niʻihau for lei-making traditions, embodying Kuini’s rooted storytelling.

"This album is a compilation of original music and some favorite covers of mine to honor the people who are definitely queens in my life," Pe’a shares with GRAMMY.com, happily adding, "I am a queen as well!"

Read more: 2025 GRAMMYs: See The OFFICIAL Full Nominations List

At an early age, engaging with music helped Pe’a through a speech impediment, and inspired by his musical parents, Pe’a went on to perform in various choirs and competitions as a child. A few decades later, now as the first Hawaiian artist to win a GRAMMY Award for Best Regional Roots Music Album, it’s evident that Pe’a’s musical storytelling intersects with his status as a proud Hawaiian language practitioner of over 35 years.

While Pe’a sings in the traditional Hawaiian language on Kuini and his other albums, he identifies as a contemporary soul artist, emphasizing his role as a modern composer and advocate. He often sings to audiences who do not know Hawaiian fluently, and at such shows, he takes the time to share context about his music and the islands before performing. Pe’a views Hawaii as a "little dot" on the world map, but inspired by close mentors, his poignant music has helped propel Hawaiian music to more global audiences.

Watch: Positive Vibes Only: Kalani Pe'a Whisks Us Away To Hawaii With A Feel-Good Performance Of "E Nā Kini"

Calling in from his home in Maui, Kalani Pe’a shared with GRAMMY.com a specially curated list honoring Hawaiian musical legends and loved ones. Read on to learn about 10 of the artist’s favorite songs and albums from the islands.

Loyal Garner — "Ha'a Hula"

Loyal Garner passed away 23 years ago. My favorite Hawaii female vocalist, I love her. She has an album called The Best of Loyal and I sing her song "Ha’a Hula," which talks about perpetuation of hula and the art of hula; I did the cover on my third GRAMMY-winning album in my version while honoring Loyal Garner.

I wish I met her in person, but I know she's here spiritually with me because I love to wear sparkly bedazzled shoes and outfits, and so does she! So yeah, I love you, Loyal Garner, with all my heart; I love to honor you.

Willie K — 'The Uncle In Me'

I love Uncle Willie K. Pull up his version of "O Holy Night" — this is the reason why I sing "O Holy Night," we're tenors. As a vocalist, Uncle Willie Kay was my mentor and advisor.

He passed away suddenly years ago from cancer, and I honor his legacy by singing his song, "Katchi Katchi Music Makawao." It's an upbeat song to talk about my favorite town, Makawao, on the island of Maui. Makawao looks like a little Hallmark city. I love that song from his album, The Uncle In Me.

He's really uncle status; an amazing Hawaii entertainer. He's had huge concerts on Maui where he was definitely close with Steven Tyler, Alice Cooper. A lot of artists that live here in Maui, they played at his concerts, and I was there to witness this in person…

Uncle Willie K, to me, sets out that caliber with the one and only Elton John. Uncle Willie K can play any instrument and sing anything. He's one of my most favorite Hawaiian male vocalists ever.

Lim Family — "Pua 'Ōlena"

The iconic Lim family of Kohala, Hawaii — I love their song "Pua 'Ōlena." "Pua 'Ōlena" is a flower, and it's a love song. It talks about a person and comparing their beauty to the flower.

It's a beautiful song, one of my favorite oldie but goodies songs from their album Launaʻole, which is also called Launaʻole: Unequalled.

Kimié Miner — "Bamboo"

Kimié Miner is my husband's childhood friend. She's very famous here in Hawaii. She's a GRAMMY-nominated producer… and this song, "Bamboo," I love it.

It talks about strengthening yourself like a bamboo, and it's a love song. It's [about] identifying love [and] loving yourself first. [Bamboo is] a really, really a source of holding water and through life, we need that water, that wealth of water to survive. So that's the hidden message in this song.

"Bamboo" really is a self-loving song; you need to love yourself before you love others. So, my friend, you need to listen to "Bamboo" for my girlfriend, Kimié Miner! She's an amazing female vocalist of Hawaii.

Amy Hānaial'i — "Ave Maria"

I have another iconic singer, Amy Hānaial'i, [on my list], who's a six-time GRAMMY nominee and a dear friend of mine. She's performed on a few of my GRAMMY-winning albums. She is an amazing singer songwriter from Hawaii.

I love her version of "Ave Maria" from her Christmas album. Oh, oh, it is so beautiful, and I play it constantly during Christmas.**

Natalie Ai Kamauu — 'Noelani'

Her album Noelani — stunning — is GRAMMY-nominated. Natalie [Ai Kamauu] is six-time Hawaii Female Vocalist of the Year at the Nā Hōkū Hanohano Awards, and two-time GRAMMY- nominee, and I love her song "No Waimea Ke Aloha."

She currently lives in Waimea on the big island where I was born and raised in Hilo, Hawaii.

I live here in Maui, which is the land of my ancestors. My great great great grandparents come from Maui and she sings about one of my favorite towns, Waimea. It’s like a love song [that] talks about the misty rain of Waimea, the cold, crisp weather. And then when you go down 20 minutes, you're at the beach, and then you look at the beach, you look at the mountain, and there's snow. I mean, come on when you're swimming in warm water, and you can see the snow on the mountain! Isn't that beautiful? It’s everything! So Natalie is everything.

Dennis Kamakahi — "E Nā Kini"

I love Dennis Kamakahi. He passed away years ago; he was an artist that was definitely recognizable and respected. He painted his nails black, he wore brooches. He was very, very unique and different, but his style was unique and his songwriting was very modern. There was a modern approach, like how I sing my Hawaiian music with some of the faster songs, other than the ballads.

"E Nā Kini" [is a song] that he co-composed with another composer. "E Nā Kini" is a song I redid on my first GRAMMY-winning album to honor Dennis Kamakahi. So these are some of the cover songs I did; most of my albums have our original songs composed by me or others.

In "E Nā Kini," he talks about unifying our people and bringing peace and unity to the people of Hawaii. He came up with the music, but the lyrics were written by someone else, many, many years ago, by Ernest Kala of Moloka’i.

As a national anthem, it was to bring peace and unity for the people of Hawaii when we faced this pandemic called Hansen's Disease, also known as leprosy. Our people were sequestered from their families and were forced to live on this island called Kolomakoi, so that we could beat this pandemic. And so this leprosy really, really affected a lot of our people in our community.

And so Dennis Kamaka, he was that modern Hawaiian songwriter. I really loved him.

Ho'okena — "Keōkea Pāka"

Then we have Ho’okena of Ho’okena 3.0 — they're dear friends of mine. They're Hawaiian music legends, dear mentors of mine, and I love their version of "Keōkea Pāka," [which] talks about a park.

A lot of our songs talk about places and people we love, and we don't know why they compose or sing about these places, until you really interview them. Like, I can talk about a flower or a park or this type of rainfall that hits me, or this gust of wind that makes me feel so tickled inside. But we don't know what it's all about, until you really truly get the answer from the composer/singer, right? There's hidden messaging and poetry behind these songs.

So "Keōkea Pāka" talks about this park. I don't know what people do in this park, I have no idea. All I know is that it's a fun song to dance to.

Lena Machado — "Ho'onanea"

We have "Ho'onanea" from Lena Machado, one of my favorite songwriters. She passed many, many years ago, but I sing this song on my album, one of the four covers out of the seven originals.

This is a song called "Ho'onanea" and I do it in falsetto. Falsetto is very known in our culture, going from one range to a higher mixed range — head voice range — where love is identified and demonstrated and applied in that type of arrangement.

Like, [for example,] if I'm talking about [a love song about] two birds chirping. You can hear [the love] in the song, right? [Sings in falsetto, translates]: "Let's chirp like the birds, let's make love like the birds soaring in the wind." Isn't that just so beautiful to hear? oh my goodness, the way that falsetto carries is like the way the birds chirp and soar in the wind. So this is the beauty about this songwriter Lena Machado.

Now, she wrote that song, but we don't know who it is for. She wrote it in the 1930s and re-recorded it in the '70s, but she said it was for a different lover. So we don't know if it's the same lover, different lover, but to each its own, it's a love song and I love it so much.

Weldon Kekauoha — "Thank You Lord"

The last song is from my dear friend. We tour a lot in Japan. Japan treats me like Michael Jackson. I love singing in Japan! They love Hawaiian music and hula.

Weldon Kekauoha is a dear friend of mine and the way he sings this song, he's a God-fearing man and I just love his energy, our work, our synergy, and our friendship. And this song, "Thank You Lord" from his album Ka Lehua 'Ula just hits the spot. It's like the perfect last song for any concert or anything.

When you're feeling down and you just need to meditate and pray, this song "Thank You Lord" is my go-to song every time, and he's a dear friend of mine. I look up to him and he's definitely an amazing singer/songwriter.

It's no secret that Filipinos can unapologetically belt out a song from Celine Dion, Whitney Houston or any pop diva on the mic. But beyond the viral videos of them singing their hearts out in malls or in their homes, the Filipino music scene is vibrantly filled with heart and emotions; and often taken over by powerful soloists like the Philippine pop princess Sarah Geronimo, balladeers like Martin Nievera or Morisette Amon, and acoustic/rock bands like Ben&Ben or Up Dharma Down that often sing about love, heartbreak and life.

Within the last decade, we've seen an evolution in the Philippine music scene: while solo stars continue to shine, pop groups have begun to take over the spotlight. The concept of pop groups have existed before in Philippine entertainment, however, were usually formed through variety shows or composed of actors and actresses — not necessarily pop idols that you can compare in other Asian music markets like Japan and South Korea.

It really wasn't until 2018, during the peak of third-generation K-pop, where we saw the beginning of first generation Pinoy pop idol groups. Inspired and influenced by the K-pop idol training system, some P-pop entertainment companies have begun implementing similar systems, or inviting Korean mentors who are active in the industry for any vocal and dance training needed.

Two of the most notable first-gen P-Pop groups are SB19 and BINI, who are at the forefront of bringing P-pop to a global audience. Five-piece boy band SB19 became the first Southeast Asian group to be nominated for a Billboard Music Award in 2021, and their 2023 single "GENTO" was approved for GRAMMY consideration last year. Meanwhile, eight-piece girl group BINI have earned the title as the Nation's Girl Group after a string of successful viral hits including "Salamin, Salamin" and "Pantropiko"; just this year, they made history as the first P-pop act to perform at KCON in Los Angeles.

Of course, the P-pop universe wouldn't be complete without solo acts. P-pop fans love to celebrate the timeless discography of Sarah Geronimo or gush over Asia's pop heartthrob Darren Espanto, and there's always new individual talent proving that the scene is still thriving.

As major P-pop stars continue to make waves, there's tons of blossoming acts who are helping to raise the Filipino flag in the global music scene. In light of the bright future ahead, here are a mix of P-Pop groups and soloists you should check out.

ALAMAT

If the actual country of the Philippines were a pop group, it would be ALAMAT. The six member group — composed of Taneo, Mo, Jao, Tomas, R-ji, and Alas —under Viva Records values Filipino culture in their concepts.

Each member hails from different regions of the Philippines and also speak different dialects from their respective regions. Using dialects and culture to their advantage, ALAMAT often incorporates traditional folk dances, instruments, and lyrics in their native languages; and blends them into the modern sounds of hip-hop, R&B and dance.

BGYO

Formed in 2018 and officially making their debut under Star Music in 2021 with "The Light," the quintet composed of Gelo, Akira, JL, Mikki, and Nate are known as the "Aces of P-Pop." The name BGYO even celebrates their heritage, as it's an acronym for "Becoming the change, Going further, You and I, Originally Filipino."

Often fusing pop sounds with R&B, the boy group isn't afraid to get quirky with their concepts — whether they're singing a ballad in suits or wearing vibrant oversized ones. As a result, their music is helping BGYO score big wins: Their single "The Baddest" made them the first Filipino act to top Billboard's Next Big Sound chart in 2021, followed by P-Pop Group of the Year at the TikTok Awards Philippines in 2022.

KAIA

Debuting under SB19's former label, ShowBT Philippines, KAIA is composed of members Angela, Charlotte, Sophia, Alexa, and Charice. The quintet officially made their debut in 2022 with their lead single "BLAH BLAH" — a powerful EDM-pop track that can be considered for your gaming playlist.

The name KAIA is a double entendre: a Cebuano word "kinaiya" meaning one's self and personality; and the Tagalog word "kaya" which roughly translates "to be able to" or "can do." In other words, a P-pop girl group that can give you the extra boost when you need that sonic encouragement on the daily.

Inigo Pascual

One of the Philippine heartthrobs, Inigo Pascual is a suave and smooth pop soloist who aims to make you swoon with his R&B-pop serenades. His pop-doowop hit "Dahil Sa'Yo" off his solo debut of the same name became the first song to top the Billboard Philippines Top 20 chart in 2016.

Right from his debut, the actor and singer/songwriter continued to soar in his career when he released his international single "Options" in 2019. Just last month, the chart-topping singer unveiled his latest project, Basta't Alam Kong Tayo 1, a three-track single-album under Republic Records Philippines.

G22

If you already listen to K-pop, then you are familiar with the girl crush concept where the sounds are bass-heavy and the looks are all about dark outfits with smokey makeup. If that's up your alley, then check out G22.

Under Cornerstone Entertainment, the former quartet-turned-trio composed of members AJ, Alfea, and Jaz are known to be the "Female Alphas of Philippine Pop." The trio officially made their debut in April 2022 with their first single "BANG!" which was then followed by their second single "Babalik!" in May. But don't be fooled by their powerful demeanors — the trio also has a light and soft side to themselves in their B-sides and singles too.

VXON

If G22 is dubbed as the "Female Alphas of Philippine Pop," then VXON are said to be the "Monsters of P-pop" — so don't be fooled by the pretty boy looks VXON may carry. They are a P-pop group that can balance bubblegum pop with beast-like concepts, as if you're watching the transformation of boys to men. But at their core, they're making music to capture your heart (see for yourself with their viral R&B hit "Sandal").

Making their official debut in January 2022, the group consists of five members: C13, Franz, Patrick, Vince and Sam. After a big first year — they won Favorite Rookie P-Pop Group at Nylon Manila's Big, Bold, and Brave Awards in 2022 — VXON have continued winning hearts, most recently delivering a series of swoon-worthy live sessions on their YouTube channel.

Maymay Entrata

A multi-talented soloist, Maymay embodies Filipino entertainment, a fun and vibrant breath of fresh air within the Philippine music scene. She takes pride in her Visayan roots and stays grounded from her humble beginnings, even naming and singing her songs in Visaya, Tagalog and English.

First known as the season 7 winner of "Pinoy Big Brother" in 2016, Maymay has made a name for herself as a musical artist in the last couple of years. Signed under the same label as BINI and BGYO, Maymay is grandiose in her music, presenting a plethora of genres in her discography, from disco to dance pop to a little salsa with visuals that encapsulate inspiration from Filipino culture. "Her journey is only going further as she teased her first and upcoming international single "Paradise"at the 'ASAP Natin 'To in California' concert earlier this month."

PLUUS

Formerly known as SBTCBoys, the six-member boy group composed of Theo, Gab, Justin, Yen, Haro, and JL made their debut in 2023 with their first EP +.Y.M. (stylized and read as Time). Steering away from the traditional lead single promotions, PLUUS broke boundaries by promoting three tracks at once with "Amigo," "My Time" and "Cross My Heart" last year.

The trio of tracks also displayed PLUUS' wide array of talents: "Amigo" is a hip-hop-heavy dance pop track celebrating camaraderie; whereas "My Time" follows the personal stories of being an idol; and "Cross My Heart" is a love song about letting go. They've continued showing their versatility in 2024, with the airy single "Universe" and the thumping track "Summotion."

1st.One

1st.One was already putting themselves on the map, and embodying their name, before they even made their official debut in July 2020; the month before, they became the first Filipino act to perform at the Seoul Music Awards. The six members —Ace, Max, Alpha, J, Joker, Jayson — debuted under the Philippine subsidiary of FirstOne Entertainment in South Korea with their single electronic pop single "You Are The One (Ttak Maja Nuh)."

If you're into the nostalgic sounds of second-gen K-pop, 1st.One may be your seamless transition into P-pop. But just like any other group, they've explored different sounds and concepts; earlier this year, the group switched it up and dropped their R&B slow jam single "Dito" that was choreographed by member Max.

DIONE

1st.One's sister group, DIONE (or stylized as D1ONE), also debuted in 2020, carrying that girl crush aesthetic with them. Some members of the group were first introduced as LUNA, a project trainee group under FirstOne Entertainment set to debut. Eventually, the quartet composed of Joyden, DK, Clara, and Ella released their digital single "BLING BLING" in April 2022.

Upon their official debut, the quartet's image delivered expensive pop, soundtracking their luxurious, high-fashion looks with EDM-driven pop — somewhat reminiscent of the sounds of second-gen K-pop groups like 2NE1 and After School. Their music is fun, energetic and quite tantalizing.

YARA

Fairly new to the game, YARA is oozing with charisma, from their rap flows to their dance moves. Signed under Sony Music Philippines, YARA consists of four members — Gelou, Rocher, Christa, and Kim — who blend rap, hip-hop and pop all together.

Debuting in March 2023, the P-pop girl group released their first single "Adda" (short for "Apat Dapat Dapat Apat"). Earlier this year, the group revived the old school bubblegum pop song "Bakit Papa?" by variety show girl group Sexbomb Girls, and gave it an R&B twist. Their recent track "Katawan Flow" sees the group making the dancehall genre their own — hinting that their musical direction will always be unpredictable.

Maki

Maki isn't your typical idol pop singer, but that's exactly what makes him a promising soloist. He seamlessly blends alternative rock and pop together, triggering a listener to get in their feels along the way.

When he's not dancing to BINI's "Cherry On Top," you can often find Maki strumming a guitar, questioning various love-related situations. And it seems his approach is working: his latest release, "Dilaw," topped the Billboard Philippines' Hot 100 and Billboard Top Philippines Songs for multiple weeks in July.

CALISTA

Officially making their debut under Tyronne Escalante Artist Management and Merlion Events Production in 2022, CALISTA is working toward being the next P-pop greats. Carrying more of a girl crush vibe, CALISTA's sounds blend dreamy pop with 808 beats and R&B.

Originally debuting as a six-member ensemble with the trap-inspired pop single "Race Car," the group has spent the majority of 2024 as a quartet comprised of Anne, Dain, Elle, and Denise. Their latest single "Let Me Know" has made its way around TikTok, helping them get one step closer to achieving superstar status.

ECLYPSE

Originally known as YAMA, ECLYPSE is fairly new, but definitely promising, to the P-Pop game. Comprised of six former participants of reality-survival show "Top Class" (Lex, Gilly, Dean, Clyde, Gab, Joshuel) and one who was announced as a member on the live-streaming app KUMU (Rave), the group have been forming since 2022 and made their official debut this year under GKD Labels.

Whether they're taking on a light or dark concept, their sounds revolve around the EDM genre — a seamless fit for their tones and voices. If you're a fan of synths, harmonies and falsetto, this may be the group for you.