Some performances entertain. Others resonate long after the final note.
When Jarren Garcia arrived in Vancouver for MYX Presents: Jarren in Vancity last October, the result was not simply a live set, but a carefully felt exchange between artist and audience. In an intimate setting of 150 fans, the evening unfolded with a rare immediacy — measured, immersive, and deeply connected.
The night opened with Téa G, whose poised and assured performance established a tonal foundation that was both contemporary and self-possessed. Jarren followed with a set that emphasized nuance over spectacle — a performance defined by control, presence, and a clear articulation of his evolving sound.
Beyond the stage, the experience extended into a broader cultural dialogue.
A Fit Check featuring Baldylox Vintage (Alex Chang), a leading voice in Vancouver’s vintage and streetwear space, positioned style as an extension of artistic identity — a visual counterpart to sound.
An Artist Appreciation session with John Concepcion, a Vancouver-based Filipino-Canadian R&B artist known for his smooth, contemporary sound, offered a thoughtful exchange between two artists navigating the intersections of music, heritage, and global audience — grounded, reflective, and forward-looking.
Together, these moments formed a cohesive narrative: Jarren in Vancity as both performance and perspective — a study in how music, fashion, and community converge in real time.
MYX now brings this moment into focus.
Special performances, exclusive conversations, and behind-the-scenes access from Jarren in Vancity are now available on MYX’s official YouTube channel.
*Photo courtesy of Archia Natividad.
by Julienne Frago
BGYO’s youngest member, Nate, sat down with VJs Ella, Jarren, and Robbie for a deep-dive interview to discuss his growth from being a child prodigy from Chicago to becoming a key member who’s known for his clean and powerful dance skills.
Nate’s journey to being a performer began at the age of six, inspired by watching America’s Best Dance Crew and listening to hip-hop tracks his father played in the car. Groups like Extreme Dance Force and The Future Kings made him discover his own “energy and flavor", and taught him how to incorporate it in his craft. Nate also shared his participation in Justin Bieber's Purpose Tour in Chicago as a child, recalling how surprising it was to be contacted for the project and be able to watch the artist play drums during a technical rehearsal.
Usually focused on the performance side, Nate recently started exploring his creative side as a choreographer, revealing that his contribution to the choreography for their new single “FRESH” happened almost by accident as it was an on-the-spot inspiration. Nate was asked during the rehearsal if he had ideas for the chorus, spontaneously coming up with a smooth and swaggy groove that perfectly suited the vibe of the song.
As BGYO hits their five-year milestone, Nate is aiming for a more hands-on future where he can be more involved in music production, and potentially return to gaming and live streaming. When asked about his dream international stage, he didn't hesitate to answer “The Rose Bowl Stadium". For future aspirations, he hopes to perform back in his hometown Chicago with his group members, and to one day be able to collaborate or have a dance-off with Justin Timberlake.
Watch the full episode:
by Julienne Frago
As BGYO celebrated their fifth anniversary, BGYO Mikki revealed that the past years have been a "solid” period of learning and developing as an individual, and honing their crafts as a group. To commemorate this milestone, the group released the single “FRESH" which was co-composed and written by Mikki.
During the first episode of MYX NOW Season 2, Mikki provided a peek into how the track came to life. He stated that he began with the chorus before working on the verse four days before the listening or deadline. The reason for the short preparation time was because sometimes he had a lot of things to do to the point of procrastinating and doing other things first. He also added that he works better when there's little time left before the deadline.
Moreover, in writing and composing, he focused on how to further highlight each group member’s vocal strength and impact.
Other than the "FRESH” sound, Mikki stated that the impact should also be fresh, referring to the new and unique way to promote their song and came up with the idea of wearing the white shirts with "FRESH” printed on them by seeing Marty Supreme going around wearing a jacket with his name on it. He also shared that his fashion icons are ASAP Rocky, Kanye, Tyler the Creator, Don Toliver, and Playboi Carti, influencing him to his own distinct fashion sense.
With Mikki’s goal of having a balanced discography that blends international appeal with Filipino-centric upbeat tracks, this is more than just the charts—it’s about staying authentic and real to his quiet yet creative soul while pushing the boundaries of what P-Pop can be.
When asked what headline he wants to see for BGYO by the end of the year, Mikki answered " BGYO: Still FRESH."
All of this and more on MYX NOW Season 2:
There is a cat at the center of Mitski’s newest world.
Not the soft, internet-famous kind curled in a sunbeam, but a cat suspended in a moment of tension, with one cat calmly occupying the foreground while another waits in the background, ready to pounce. The first cat doesn’t see it. Or perhaps it does, and simply refuses to live in fear.
That image anchors “Nothing’s About to Happen to Me,” Mitski’s eighth studio album released through Dead Oceans. The album artwork, made by Mark Burckhardt, came directly from a scene Mitski imagined in her head long before the music took its final form.
“So the album art started with basically the idea in my head,” she told Gannon Hanevol of The Current. “I had this mental image of a cat in the foreground, oblivious, blissfully unaware of a cat in the background about to pounce on it.”
The title of the album, she explains, comes from the voice of that unaware cat: Nothing’s about to happen to me.
That tension has long defined Mitski’s songwriting. Few artists of her generation have captured the emotional interior of modern life with such sharp precision. On this album, those feelings became so dense that Mitski began to notice a shared emotional landscape across the songs.
“I think the music came first, and I think I just looked at all the songs and I was like this feels like there’s a common theme of feeling claustrophobic, but in your mind,” she shared.
It’s a specific kind of claustrophobia, where the outside world feels overwhelming, but the inside world feels even louder. “Feeling boxed into your thoughts,” she continued. “Feeling wary of the outside world, feeling overstimulated and feeling lonely and isolated at the same time.”
If the album cover is the cat, then the setting of the record might be the house it lives in. Mitski imagined the album’s central figure as a strange, solitary woman living in an old inherited house where she can’t quite manage but can’t abandon either. In her mind, the house itself mirrors the mind—rooms filled with accumulated objects, inherited stories, and emotional debris that stretches across generations.
Mitski explained that she was drawn to the idea of a house representing a person’s mind, with the objects collected in its rooms serving as a metaphor for the generational traumas that can build up within someone over time.
And inside that house is the cat. The metaphor, Mitski admits, arrived more as instinct than calculation. Cats have always carried a strange cultural reputation: adored by some, distrusted by others. People who dislike them often describe them as mean or distant.
But Mitski sees something else entirely. Cats do not obey commands or organize themselves into hierarchies. They don’t perform affection on cue. They live beside humans and not beneath them.
“They love you how they love you and they do what they want.” In Mitski’s telling, that independence reveals something deeper about how people, particularly women, are judged.
“I think often cats are demonized for that. In a similar way that I think a lot of women maybe are misunderstood for that quality.” The comparison isn’t heavy-handed. Instead, it reframes the album’s emotional terrain, that is the misunderstood woman, the solitary house, the watchful cat. All of them exist slightly outside the expectations placed on them and even the music itself refused to behave.
When Mitski first began recording the album with longtime collaborator Patrick Hyland, she imagined something stripped down and direct, more like rock songs as she wanted to use the bare minimum amount of instruments. But songs, Mitski believes, have a way of revealing their own needs.
“Sometimes you can't enforce your will onto songs,” she uttered. “Sometimes songs just are what they are and you have to follow what they need to be.”
What began as minimal rock arrangements slowly expanded into something more cinematic, with orchestral textures and choral layers weaving through the record. The songs, it seemed, had decided their own scale. If that unpredictability feels familiar, it’s because Mitski’s career has always unfolded in a similar way.
Over the years, she has become one of the most respected songwriters of her generation. Her songs capture the contradictions of being alive, like wanting connection but fearing it or searching for meaning while knowing life itself is fragile.
“I mean, I can’t make anyone feel anything,bBut the ultimate would be… I hope I can die happy if someone at some point listens to specifically the end of this album and feels a sort of awe towards life and its fragility and its beauty,” she shared.
It’s an audacious wish, she admits. But it’s also a very Mitski one. Because in her songs, life has always been something both delicate and enormous, but still worthy of wonder. Like the cat in the painting, we move through the world without seeing everything that waits behind us. Danger, change, endings—they exist whether we acknowledge them or not.
But Mitski’s music suggests another possibility that even in the shadow of the pounce, there is still time to sit in the sun. And well, simply exist.
Celebrated Filipino rapper Gloc-9 is bringing his storytelling beyond music and into the world of poetry with the launch of a new literary project that reflects nearly three decades of his work as a lyricist.
On March 12, 2026, the artist—whose real name is Aristotle Pollisco—unveiled seven poetry chapbooks collectively titled Makata Sa Pinas during the Philippine Book Festival 2026 at SM Megamall. The title echoes a hashtag Pollisco has used for more than a decade, symbolizing how he has long viewed himself not just as a rapper but as a poet chronicling the lives and struggles of Filipinos.
The collection gathers poems inspired by themes that have consistently appeared throughout Pollisco’s 28-year discography. Through the chapbooks, the rapper revisits the ideas, stories, and perspectives that shaped many of his songs, presenting them in a literary form that invites readers to engage with his words in a new way.
Unlike his previous poetry release, Akin Lang Naman, which came out in 2017 through ABS-CBN Publishing, this latest project adopts a different format. Instead of compiling everything into a single volume, Pollisco envisioned a series of shorter books, each focused on a specific theme. The concept was developed alongside the independent press Everything’s Fine, which worked with the rapper to revisit his body of work and identify the recurring subjects that define his writing.
The seven chapbooks are arranged as a journey—beginning with personal reflection, expanding into stories about everyday life, and eventually addressing broader social realities.
The first three books center on Pollisco’s inner world and creative beginnings. Pagkatao explores his formative years in Binangonan, Rizal, and the experiences that helped shape his identity as a writer and performer. Pangarap gathers poems about ambition and his dream of becoming a rapper and songwriter, including reflections on what it means to achieve those goals. Pursigi focuses on perseverance, highlighting the determination and discipline required to stay true to one’s aspirations and values.
From there, the collection widens its scope. Pagibig reflects on love in its many forms—from family connections to romantic relationships, including those that end in heartbreak. Meanwhile, Komunidad paints snapshots of life in local neighborhoods, telling the stories of people often encountered in everyday spaces but rarely centered in mainstream narratives.
The final two chapbooks address larger societal themes. Lipunan contemplates the kind of society people have collectively shaped, influenced by both compassion and division. Bayan turns its attention to the nation itself, telling stories from the perspective of ordinary citizens whose struggles are often overlooked by those in power.
To pre-order, click https://bit.ly/EFpreorderMSP
GOODPHIL 2026 is officially leveling up.
From March 13–16, Filipino student leaders and athletes from across Texas are taking over Round Rock for one of the biggest collegiate Filipino events of the year a weekend packed with sports, culture, and community pride, hosted by the University of Texas Filipino Students’ Association.
And this year? The finale hits different.
On March 16, MYX Global is stepping in as a proud Media & Entertainment Partner, mounting MYX Presents at the closing ceremony; Headlined by Filipino-American singer-songwriter AJ Rafael.
If you grew up on YouTube-era love songs and heartfelt acoustic anthems, you already know AJ. With his signature soulful vocals and emotionally honest songwriting, he’s built a global following that spans generations of fans. Now, he’s bringing that same energy to the GOODPHIL stage.
Opening the night is rising artist JMKO, whose smooth, genre-blending sound and effortless stage presence make him one to watch.
Before the concert, the weekend kicks off with three days of competition (March 13–15):
Indoor games at Round Rock Sports Center
Outdoor matchups at Round Rock Multipurpose Complex
The closing ceremony and concert take place at Kalahari Resorts and Conventions, where culture, competition, and music all collide.
From courts to concert lights, GOODPHIL 2026 is about showing up for community and celebrating Filipino excellence in every lane. And we’re hyped to help amplify it.
See you soon, Texas!
For event updates and exclusive coverage, stay tuned to MYX Global and official GOODPHIL channels.
More info: https://www.utfsa.com/goodphil
Contact: utgpc2026@gmail.com
MYX is the official entertainment and media partner of GOODPHIL. For media requests for our talents, please email us at MYXGlobal@abs-cbn.com.
Singer-songwriter MRLD recently shared a post on social media announcing that she is now an independent artist.
In the post, MRLD described the start of her 2026 as a difficult period, saying she experienced conflicts with people she had previously worked with. She also spoke about the emotional toll of the situation, mentioning the “tears,” “frustration,” and “sadness” she felt in recent days.
Despite this, the artist expressed gratitude to those who supported her during her time with O/C Records. She thanked the staff and emphasized that she did not want her message to sound ungrateful or resentful.
MRLD also stated that she is “now an independent artist” and said she looks forward to releasing her own music and fully receiving the results of her hard work moving forward.
However, O/C Records said exclusively that the announcement was not mutually agreed upon and came as a surprise to the label, adding that MRLD’s recording and exclusive management contracts remain in effect.
In a statement shared with MYX, O/C Records said that both her recording deal and exclusive management contract are “still in full effect.”
“We’re a bit surprised that she posted something like this when in fact we’ve been constantly reminding her about this,” they shared.
WASHINGTON, D.C. (February 2026) - A new 13-episode documentary series airing on MYX Global pulls back the curtain on the power of authenticity, friendship, and independent artistry in the margins of the music industry. WRIZZARDS follows a Fil-Am indie collective carving out its own space in the DMV (DC, Maryland, Virginia) underground scene. Spanning 20-24 minutes per episode, the series introduces the core four: J Matty, Leif, Bema Tadey, and Tina Carzon, and traces how their bond evolved into a DIY music collective and independent label rooted in community over commercial recognition.
Filmed over two years, the series captures the highs and hidden costs of the independent grind, from basement rehearsals to headlining local venues, before an unexpected loss threatens to derail everything they’ve built. As missing music, unanswered questions, and unspoken tensions begin to surface, the group is forced to reckon with pressure that extends beyond the studio. Raw and unfiltered, WRIZZARDS explores resilience not just as a creative pursuit, but as a test of trust, loyalty, and whether a collective can survive when what’s lost isn’t only files on a hard drive.
WRIZZARDS: Underground Uprising, premieres April 2026 on MYX Global. Stay tuned.
What: A 13-Episode Documentary Series airing on MYX Global
Who: LEIF, Bema Tadey, J Matty, Tina Carzon or also known as WRIZZARDS
When: Premiering April 18, 2026
Where: On MYX Global
Washington Rizzards (also known as WRIZZARDS) are a Filipino multi-genre musical collective of independent artists consisting of four members: J Matty, Bema Tadey, LEIF, and Tina Carzon - all based in the DC, Maryland, and Virginia region. They've opened for major Filipino artists such as Billy Crawford, Jay R, Kris Lawrence, Ben&Ben, Silent Sanctuary, Moira Dela Torre, HappySlip, and more. They were also featured on notable platforms such as Billboard PH, NYLON Manila, Wish Bus, Washington Post, Washington City Paper, and MYX Global.
After a decade-long wait, Bruno Mars officially returns to the solo spotlight with his fourth album, The Romantic, now available worldwide.
Leading the album’s charge is his new single, “Risk It All,” accompanied by an official music video directed by Mars and Daniel Ramos, now streaming on YouTube.
“Risk It All” marks a statement of his artistic evolution. The single follows the explosive “I Just Might,” which debuted at No. 1 on the Billboard Hot 100.
To celebrate the album’s release, Mars turned the launch into a global experience. Fans were treated to premieres across all iHeartRadio stations and a live performance broadcast on TikTok Live. The promotional campaign also included immersive, romantic activations such as mobile flower trucks handing out roses, “love lock” walls in multiple cities, and a themed pop-up experience, The Romantic Flower Shop, at Tommy’s Gift Shop in Los Angeles.
The album arrives on the heels of Mars' continued international success. His 2025 collaboration with Lady Gaga, “Die With A Smile,” became the fastest song in Spotify history to hit 1 billion streams and topped the Billboard Global 200 Chart for 18 weeks. Similarly, his hit with ROSÉ, “APT.,” was named IFPI’s biggest-selling global single of 2025, topped global charts for weeks, and earned three nominations at the 68th Annual GRAMMY® Awards.
Following the gentle intimacy of her recent single “muscle memory,” Clara Benin returns with “the one to blame,” a new track that continues her exploration of reflective soundscapes.
This latest release from the indie singer-songwriter offers what could be called “headspace harmony,” which is a music that doesn’t just fill the ears but quietly settles in the mind.
From the very first notes, “the one to blame” immerses listeners in a soft, wistful atmosphere. Clara’s voice floats over delicate acoustic arrangements, creating a sense of nostalgia familiar to many. There’s a subtle melancholy in her tone, a kind of yearning that resonates especially on quiet, solitary days. It’s the kind of track that invites you to pause, stare out a rainy window, and let your thoughts drift freely.
Lyrically, the song stays true to Clara’s hallmark introspection. She captures the complex feelings of reflection and accountability, framing them not as heavy burdens but as contemplative moments that encourage connection with one’s own emotions.
In a post, Clara admits that this song came from learning how to let someone in without running way. "most of my songs come from heartbreak, longing, or overthinking everything, but this one came from learning how to let someone in without running away," she writes.
With “the one to blame,” Clara demonstrates her gift for translating certain emotions into music that resonates deeply. It’s a companion for solitary afternoons and reflective nights. Fans of her previous work will find a familiar warmth here, while new listeners are invited into a contemplative space that only Clara can craft.
Filipino pop-rock duo ONSE is stepping into a brighter, more playful era with the release of their newest single, “Mukbang.” Known for their guitar-driven sound and emotionally grounded lyricism, the pair takes a noticeable creative approach that feels lighter, warmer, and intentionally refreshing.
From the very first listen, “Mukbang” radiates an easy optimism. The guitars remain at the forefront, anchoring the song in ONSE’s signature sonic identity, but there’s a buoyancy here that sets it apart from their previous releases. The rhythm feels more carefree, the melodies more open, and the atmosphere more inviting, like an open table waiting to be shared.
“It’s so different from our previous work…our goal was to create something fresh, upbeat, and optimistic,” ONSE shares.
That difference is immediately apparent. Rather than leaning into the emotional weight often associated with pop-rock storytelling, ONSE allows themselves to experiment, not only in sound but in perspective. The duo embraced a more playful creative process, giving themselves room to explore how love can exist beyond intensity and longing.
“The idea came from wanting to explore love in a fun and relatable way,” they added.
At the heart of “Mukbang” is a charming metaphor that feels both contemporary and culturally resonant. Borrowing from the concept of online “mukbang” content, where hosts share meals with viewers, the song reframes love as an act of giving. Food becomes the language. To prepare, serve, and offer a meal is to give a part of oneself wholeheartedly.
While ONSE experiments with tone and theme, they never abandon their musical core. The guitars still shimmer with familiarity, grounding the track in their established sound.
With “Mukbang,” ONSE proves that evolution doesn’t always mean drastic change. Sometimes, it simply means seeing love through a softer lens, and inviting listeners to take a seat at the table.
Earlier this year, Kenaniah casually mentioned in a #MYXChecksIn interview that fans could expect more music, and even an album, within the year. It sounded exciting, sure, but with “Huli Na Ba Ang Lahat?” now out, it’s clear he meant every word.
Opening his 2026 slate, the single doesn’t attempt to reinvent him. It refines what listeners already love about Kenaniah: emotional sincerity wrapped in melodies that sit gently on the heart. But this time, there’s a deeper stillness to the storytelling. The track moves with some kind of reflection, carried by smooth soft-rock textures that feel expansive.
“Huli Na Ba Ang Lahat?” unfolds like a late-night realization. It captures the perspective of someone who once chose silence over courage and someone who watched love drift away because they hesitated to fight for it.All that remains is the question, huli na ba ang lahat?
The verses are contemplative, almost conversational, as if Kenaniah is thinking out loud. With the soft rock backdrop, his vocals glide without overpowering the emotion. When the chorus arrives, it opens up.
What makes the song particularly compelling is how it mirrors where Kenaniah is artistically. He has openly shared that he’s still discovering what his sound truly is in 2026. And while that search continues, this track suggests he’s honing in on it. Coming after “Nahihiya” and “Sabihin Mo Lang (Kung Ayaw Mo),” the balance of soft rock soundscapes, introspective lyricism, and understated delivery is beginning to form a cohesive identity.
If “Huli Na Ba Ang Lahat?” asks whether love came too late, Kenaniah’s artistry feels right on schedule. He may still be defining his sound, but with releases like this, he’s clearly moving closer. Because if this is him still “finding” his sound, then it’s safe to say, hindi na talaga huli ang lahat.
Watch the #MYXChecksIn interview here:
