VXON appears to have fully stepped into their own lane. They sound less like a group searching for identity and more like one that has finally locked into its natural rhythm, and they’re thriving in it.
The “Monsters of P-pop” have officially released their second studio album, “Pasakalye.” From the opening moments, it’s clear that VXON is settling into a sound that feels natural, confident, and unmistakably theirs.
True to its title, the album’s carrier track “Pelikula” plays like a cinematic slice of everyday life. It captures the grit and groove of kalye-inspired music, those familiar rhythms and melodies that instantly feel lived-in. The track is effortlessly catchy, built for cruising playlists and late-night drives which taps into a shared nostalgia that listeners either secretly enjoy or proudly blast on full volume.
Following “Pelikula,” Pasakalye continues to flex its range with tracks like “sikretong malupet,” “taguan (tayo lang),” “lamoba,” and “walang iba.” These songs highlight VXON’s strongest asset to balance sharp, fiery rap deliveries with smoother, head-bopping production. The verses hit hard without overwhelming the listener, while the hooks are restrained enough to let the grooves breathe.
The flows are sharp, the hooks linger, and the overall sound is undeniably addictive with each track adding another layer to the album’s streetwise charm. One of the album’s biggest wins is its cohesion. Despite the mix of moods and tempos, “Pasakalye” never feels scattered.
Moreover, what makes “Pasakalye” particularly satisfying is how it brings together the group’s past and present. The album includes pre-release singles and fan favorites such as “Tabi Tabi,” “Sh*t Sobrang Init,” and “Dapat Lang Ako Lang,” which are tracks that helped define VXON’s growing influence in the P-pop scene.
“Pasakalye” thrives on texture rather than excess. While the album doesn’t necessarily reinvent the genre, it refines VXON’s place within it. The album captures the chaos, confidence, and charisma that VXON has been building toward since their debut, now refined into a cohesive body of work. As the "Pelikula" lyrics suggest, "ang kwento natin ay nagsisimula pa lang."
As momentum continues to build, VXON is gearing up for a major milestone. The group is set to hold their first-ever solo concert, “Kalawakan,” on February 28 at the SM North EDSA Skydome.
In 2025, “Torpe” found its way into countless playlists, and likely more than a few Spotify Wrapped summaries. JAO’s highly relatable track stirred waves of nostalgia, bringing listeners back to the era of shipping loveteams like Pinoy Big Brother Collab’s WillCa, while also mirroring real-life stories that felt deeply personal and universally familiar.
For many, confessing emotions has never been easy; it takes courage to speak feelings out loud, especially for those who consider themselves “torpe.” That quiet fear sat at the heart of “Torpe,” and now, JAO revisits emotional hesitation from a new angle.
His latest single, “WAG KA MUNANG UMUWI,” gently explores a different kind of fear and the realization that time with someone special may be painfully limited.
While “Torpe” focused on the struggle of admitting affection, “WAG KA MUNANG UMUWI” captures a more immediate emotional tension. The song zeroes in on the moment just before goodbye. It is a softer, more intimate kind of longing that does not come from shyness but from the awareness that moments shared are fleeting.
JAO describes the track as a reflection of raw, unfiltered emotions which allows vulnerability to exist without walls. The song leans into affection freely given and highlights the desire to hold on to a moment before it slips away. According to the singer-songwriter, the emotional truth of the track comes from a very real and recent experience.
“From start to end, walang nagbago dahil itong song na ‘to ay literal na may specific experience na pinanggagalingan at super recent lang nito,” JAO explains.
This personal foundation gives “WAG KA MUNANG UMUWI” its sincerity. Rather than dramatizing love, the song thrives in its subtlety. It speaks to anyone who has ever wanted to pause the night, extend a conversation, or delay a goodbye just a little longer.
In an Instagram post, JAO wrote, "Para sa’ting may mga sepanx at para sa isang old flame na minsan naging muse ng buhay ko."
With this release, JAO dedicates the song to listeners who miss easily and love deeply. He encourages them to embrace openness and to express affection without hesitation, especially in moments of departure or loss.
“Sana malaman nilang ayos lang na binibigkas natin yung mga tunay nating nararamdaman tuwing lumalayo, umaalis o nawawala yung mga importanteng bagay o tao sa buhay natin.” he shares.
As JAO continues to grow as an artist, his music remains grounded in emotional honesty. From the timid confessions of “Torpe” to the tender plea of “WAG KA MUNANG UMUWI,” he consistently transforms everyday emotions into songs that feel both intimate and shared.
“Do it scared.”
These are the words singer-songwriter Loenna exclaims as she explores the push and pull of the act of confessing your true feelings for someone, which is a sentiment that lies at the heart of her newly released single, “Kabado.”
Rooted in emotional honesty, the track captures the quiet chaos of loving someone in secret and the nerve-wracking decision of whether or not to finally say what your heart has been holding onto.
Inspired by the familiar jitters that come with vulnerability, “Kabado” narrates the gradual journey of recognizing one’s feelings, learning to sit with them, and eventually mustering the courage to act. Rather than portraying confession as a single, dramatic moment, Loenna focuses on the emotional buildup—the sleepless thoughts, the racing heart, and the internal back-and-forth.
“May mga time kasi na super big na ng feeling mo, halos nag-uumapaw na so para ‘di ka sumabog, aamin ka! Pero kalaban mo nu’n is kaba,” Loenna explains. It’s that exact conflict, wanting relief through honesty while battling fear, that fuels the core of “Kabado.”
Beyond the urge to confess, the song also gives space to hesitation. Loenna notes that she wanted to highlight another side of the experience that many people quietly relate to.
“I want to write din yung isa pang side ng pagko-confess is yung pagiging urong-sulong if magko-confess na ba ngayon or bukas na,” she adds, pointing to the constant delays and second-guessing that often come with vulnerability.
Sonically, “Kabado” paints a vivid emotional landscape. Loenna’s descriptive lyricism gently unravels the highs and lows of being consumed by unspoken feelings, while the melody mirrors the tension of that frustration. Calm, tender moments reflect the comfort of being in love, contrasted by restless undertones that echo the anxiety of finally wanting to speak up.
With “Kabado,” Loenna sends a message that fear doesn’t always mean stop. Sometimes, it simply means you care, and loving bravely, even with a pounding heart, can be a powerful act of its own.
To Those Who Moved On Last,
Everything keeps moving, except for some of us.
Maybe you stayed behind in a relationship, a friendship, or a chapter of your life, while the rest of the world moved forward. Maybe you lingered in the memories, the conversations, the moments that left a mark, even when letting go seemed inevitable. They leave a residue, a quiet echo, the way Belly’s heart lingered with Conrad in The Summer I Turned Pretty, caught between love and longing.
Some feelings refuse to fade, leaving traces long after others have moved on, and that’s okay. You are not broken for holding on.
Angela Ken and Over October’s “Moved On Last” speaks to this exact experience. It captures the quiet ache of being left behind, the moments when it feels like everyone else is on the train of life and you’re still standing on the platform. It’s a song for those of us who chose to linger, not because we couldn’t move, but because our hearts weren’t ready.
Angela Ken’s tender, introspective vocals convey vulnerability with honesty, while Over October’s atmospheric production mirrors the vastness of the emotions we carry: the loneliness, the longing, and the small sparks of hope that remind us we’re still human and still feeling. The track evokes the residue of love and loss, the memories that linger, the “what-ifs” that echo, and the pieces of ourselves that remain entwined with the past.
“Moved On Last” doesn’t rush healing. It acknowledges that moving on isn’t a race, and that emotional residue is not something to be dismissed or hurried.
You stayed. You felt. You lingered. And sometimes, that alone is enough.
This song is for you.
RIIZE’s Anton promised Filo BRIIZE that they would come back to Manila after their RIIZING Loud concert. Right now, I find myself counting the days until that promise is kept, just as I count the days wishing the magic of that night could linger a little longer.
Mornings after a much-anticipated K-pop concert, the kind you bought tickets for months in advance and counted down to obsessively, have always been the hardest for me. There’s a strange stillness that settles in after the lights go out. I’m left hovering somewhere in between, still carried by the energy of the night before while slowly realizing it’s already over. All that remains are fancams on my phone and a hoarse voice from screaming every lyric like it was my last chance.
[💌] 260118 | ANTON Weverse post
— RIIZE ANTON PH (@ANTONLEE_PH) January 18, 2026
okayy this is my third attempt at uploading plz work
hey MANILAlalala!!
made so many great memories with you all this time around, and can't wait to come back to see you guys soon (like we promised 😉🤙🏻)
the concert was so much fun and the… pic.twitter.com/r3ScKEo5XF
It’s a familiar feeling now. It came after NCT Dream’s The Dream Show 2 and 3, after seeing Treasure three times, and once again, after RIIZE’s. But even though I’ve felt this a lot of times already, why does the silence after the music still feel so loud?
When RIIZE held their first Manila show in 2024 for RIIZING Day, I wasn’t able to attend. That absence stayed with me, so this time, I made sure I would be there. The ticket was something I bought as a birthday gift to myself last year. For months, I imagined the moment shouting “east-to-the-south-to-the-north-to-the-west-side” at the top of my lungs or singing “Love 119” word for word.
They were my 2023 post-pandemic boys, one of the groups I clung to during quieter, lonelier days. I’ve always thought of them as NCT’s brothers, especially knowing Sungchan and Shotaro once stood on the NCT 2020 stage. Seeing them now, fully formed and commanding the crowd on their own, felt both surreal and deeply rewarding.
Wonbin, the ace he was that night, rated the show a 9 out of 10, arguably the highest score he’s given so far on this tour. He wouldn’t shout “Napakasaya!” in the middle of catching his breath for nothing. It was also the night I saw my soft-spoken bias, Anton, fully in the moment in the Philippines, aware that his face was projected onto the MOA Globe and happily indulging in lechon and sisig.
260118 NY Fansign #WONBIN
— 원빈시 (@wonbinhour) January 18, 2026
wonbin rated yesterday’s manila stage a 9/10! pic.twitter.com/11XIhGJ45x
Wonbin: /Out of breath/
— 🦋 Xelly J. (@HelloXelly) January 17, 2026
Also Bbin: "Napakasaya!" (It's so fun!)
🥹🥹🥹#RIIZINGLOUD_IN_MANILA #RIIZEInManila#RIIZE #라이즈 #WONBIN #원빈 pic.twitter.com/DBj43EkVwl
Shotaro was every bit the dancing machine he’s known to be, glowing onstage with effortless precision as if he had his own right light. Sohee showcased his top-tier vocals, steady and powerful throughout the night. Eunseok exuded charm with an idol-actor aura that made you believe he’s destined for a drama role someday. And then there was Sungchan, my concert bias, whom I couldn’t take my eyes off from start to finish.
Post-concert depression doesn’t arrive loudly. It creeps in the silence of the morning, in the absence of something you didn’t realize had filled you so completely. I felt that all over again with RIIZE. In one of their lyrics from “Inside My Love,” they ask, “Would you run / If you realized I’m someone who exists only for you?” I know my answer. I would always run, again and again. From Lower Box 218 or wherever I’m standing, it wouldn’t matter.
So how do I cope with post-concert blues? I let it linger. I feel it fully. I don’t fight it. I sit with the ache, replay the night in my head or in my Instagram stories, scroll through the fancams, and allow myself to miss something that meant so much.
Maybe that’s the price of loving something this much. Despite knowing the ache that comes after goodbyes, I’d still do it all over again—queue for tickets, lose my voice, and wake up the next morning missing a night that already feels like a dream. Because one day, they’ll come back, just as Anton promised, and until then, I’ll keep counting the days and treasuring the moments, waiting for the next time we can feel this alive together.
Surely, there’s something about the post-pandemic Filipino music scene that shifted. What used to feel niche is now front and center. P-pop has found its footing, its audience, and its confidence. From BINI preparing to make waves on the global stage with their much-anticipated performance at Coachella this year to SB19 continuing to represent Filipino artistry at massive international events like ACON 2025, fandom culture has only grown louder, prouder, and more united.
And as the genre continues to expand, new groups are stepping forward—ready to be discovered, streamed on repeat, and hyperfixated on. One of them? WRIVE.
After coming up just short on their 2023 survival show, members Asi, Ishiro, Russu, Drei, and Mathew are finally stepping into their long-awaited era. The group is gearing up for the release of their first full album on Jan. 16, following their earlier debut tracks “Ooh La La” and “Señorita.”
If you’re wondering why WRIVE feels like a group worth keeping an eye on, here are a few reasons why they might just become your next obsession.
They’re creatives, not just performers
WRIVE is deeply involved in the creative process. Members Russu and Ishiro notably contributed to bringing BINI’s “Infinity,” from the group’s newest album FLAMES, to life, and they were also hands-on in crafting WRIVE’s debut tracks. For their first album, the members continue to take part in shaping their sound through new songs such as “PanoKung,” “Panaginip Na Lang,” and “Hakbang.”
This level of behind-the-scenes involvement gives WRIVE an edge, as they understand music not just as idols, but as artists.
Their chemistry is effortlessly chaotic
If you’ve seen their MYX Now interview, you already know. WRIVE’s brand of chaos is the fun, endearing kind, the type that comes from knowing each other too well. They bounce off one another naturally, finish each other’s jokes, and aren’t afraid to clown each other on camera. It’s the kind of chemistry that feels less like coworkers and more like a tight-knit friend group, which only makes fans feel closer to them.
They transform on stage
Live vocals? Check. Clean, high-energy choreography? Check. That undeniable “angas” that commands a stage? So check. WRIVE brings a performance style that feels confident but not forced, polished but still raw. They know how to hold attention and keep it.
They’re finally entering their long-awaited era
There’s something special about a group that waited, persisted, and came back stronger. WRIVE’s upcoming album is a payoff. Years of training, near-misses, and quiet preparation have led them here, and that journey makes this chapter feel more meaningful.
With P-pop continuing to thrive and fans more open than ever to discovering new groups, WRIVE arrives at the perfect moment. If you’re looking for a group with talent, personality, and a story worth rooting for, don’t be surprised if WRIVE becomes the one you can’t stop thinking about.
Bruno Mars is back, dropping his much-awaited new single, “I Just Might,” along with a music video directed by Mars himself alongside Daniel Ramos. The release follows the announcement of his fourth solo album, The Romantic, set to arrive worldwide on February 27 under Atlantic Records.
“I Just Might” gives listeners a first taste of Mars’ new musical era, combining his signature sound with fresh, inventive touches. The track is accompanied by a video that showcases his dynamic creative vision.
The single and video launch comes just after the revelation of The Romantic Tour, which marks Bruno’s first headline tour in nearly ten years. Produced by Live Nation, this global outing will be the GRAMMY Award-winning artist’s first full-scale stadium tour, highlighting his status as one of music’s most captivating live performers.
“I have always loved connecting with my fans on a grand scale,” Mars shared in a recent statement about the tour
The tour will feature close to 40 shows across North America, Europe, and the UK, with special guest appearances from Anderson .Paak as DJ Pee .Wee on all dates. Select shows will also feature performances by Leon Thomas, RAYE, and Victoria Monét, promising a diverse lineup of talent that complements Mars’ charismatic stage presence.
Fans eager to experience the album early can pre-save it or secure a limited first-pressing numbered vinyl, while supplies last.
HIRAYA Music Fest is set to transform Clark Global City, Pampanga into a playground of sound, motion and spectacle on January 17 and 18, promising a two-day experience that pushes the boundaries of what a music festival can be.
More than a lineup-driven event, HIRAYA positions itself as a multi-sensory celebration.
Described as a festival “na hindi napapanuod but nararanasan,” HIRAYA blurs the lines between music, movement, and visual storytelling. From himpapawid to the ground, the festival brings together live performances, motorsport elements, and aerial displays, creating an immersive environment where drifting cars, paramotors, music, and visuals unfold simultaneously.
The concept underscores the festival’s ambition to integrate adrenaline-fueled action with artistic expression, highlighting Filipino excellence through innovation and scale.
At the heart of HIRAYA Music Fest is its bold integration of motorsport into a live music setting. Drifting demonstrations and paramotor flights will serve as dynamic backdrops to live performances, turning the venue into a constantly evolving visual canvas.
As the festival unfolds across two days in January, it invites audiences to step into a space where sound is seen, movement is felt, and every moment is designed to be lived.
For years, the idea of Wanna One reuniting lived mostly in nostalgia playlists, anniversary posts, and fan hopes quietly tucked between the lines of “Spring Breeze.”
It surfaced every debut anniversary, in late-night X threads revisiting old stages, and in comment sections filled with “what ifs.” Even as the members grew into new chapters of their careers, the possibility of an 11-member reunion remained a shared dream that lingered just out of reach.
Now, it’s no longer just wishful thinking. Members of the K-pop group from a survival show are expected to reunite for a new reality show, marking their first full-group project since disbanding.
Formed through Produce 101 Season 2, Wanna One debuted in 2017 and quickly became one of the most loved K-pop acts of its generation. According to multiple media reports, the reality program is slated to premiere in the first half of 2026. While details remain under wraps, Mnet has confirmed to MK Sports that the members have agreed to come together for the show.
The network also revealed that the teaser video includes the phrase “See You Again,” a lyric lifted directly from “Spring Breeze,” the group’s farewell track released ahead of their 2019 disbandment.
Speculation around the reunion quickly intensified after members Lee Daehwi, Bae Jinyoung, Yoon Jisung, Hwang Minhyun, Ha Sungwoon, and Park Woojin shared the teaser clip on their Instagram stories.
This moment hits differently because so much life has happened in between. Since their disbandment in 2019, the members have grown into artists on their own terms—some thriving as soloists, others finding their footing in acting or new groups like NU’EST and AB6IX. Fans grew alongside them, learning how to support 11 separate paths without letting go of the collective memory. That distance, that time, is what gives this reunion weight.
Even their last group appearance at the 2021 Mnet Asia Music Awards felt more like a fleeting reunion. For a group formed under intense competition and limited time, the chance to simply exist together again, without a countdown hanging over them, feels like a gift.
Is Wanna One really back? Maybe not in the traditional sense of a chart-driven comeback. But as a Wannable, this reunion feels different because it isn’t fueled by urgency or obligation. It's built on a promise kept.
ROSÉ and Bruno Mars
Amiel Sol
IV Of Spades
SB19
BINI
BINI
SB19
Maki
Earl Agustin
TJ Monterde
JENNIE
Mika Salamanca and Brent Manalo
BINI
Alex Warren
yung kai
BINI
SB19
Cup of Joe
Charli XCX
Cup of Joe
Amiel Sol
IV Of Spades
SB19
BINI
BINI
SB19
Maki
Earl Agustin
TJ Monterde
Mika Salamanca and Brent Manalo
BINI
BINI
SB19
Cup of Joe
Maki
Maki
Dionela feat. Jay R
Lily
Ashtine Olviga and Andres Muhlach
Late Night Madness is the Filipino pop-up you didn’t know you needed — until it took over your feed.
Los Angeles, CA — December 15, 2025 — Imagine pulling up to Seafood City for groceries… and walking into a full-on Filipino block party. DJs in the aisles. Street food everywhere. OPM blasting. Everyone from titas to Gen Z dancing like it’s a fiesta.
That’s Late Night Madness — the after-hours pop-up series created by Seafood City’s Marketing team that’s turning Filipino supermarkets across North America into culture hubs.
What started as a low-key street food night in Daly City (shoutout to DJ JP Breganza for setting the original vibe) quickly grew into a movement — one that celebrates Filipino identity through food, music, and community, exactly how it’s meant to be.
Not a Party. Not a Concert. A Filipino Thing.
Late Night Madness hits different because it’s built around real culture, not hype. Every stop is powered by local creatives — from DJs and artists to Filipino-owned brands like Illa Manila, LA Popcxrn, Cukui, and Kalamansi Collective — plus community partners like Baryo Ent, Kultivation Festival, SF Kollective, Sosyal Stages, and +6THR3E.
No two nights are the same. But every night feels like home.
The Night It Went Viral
Things really popped off at Seafood City Eagle Rock Plaza in LA. A Baryo-curated Late Night Madness brought out DJ Noodles, P-Lo, and an energy that felt straight out of a Manila megamall on a weekend.
Packed aisles. Phones up. Dance circles by the produce section. The clips took over socials — and Late Night Madness officially entered the culture chat.
Food, Music, and the Sound of Home
At the center of it all? Food.
Think kwek-kwek, isaw, fishballs, chicken skin, lechon, pandesal sliders, Lumpia Overload, and tropical drinks — all served while OPM classics and dance-floor favorites keep the energy up.
This isn’t nightlife. This is community, Filipino-style.
“In the middle of the aisles, you really see it — music, food, and every generation together,” said Baryo Ent Co-Founder Jennifer Taylor.
Filipino DJs Running the Room
Late Night Madness also puts Filipino-American DJs front and center — the same DJs shaping today’s sound behind the scenes.
“Filipino DJs have always influenced music culture,” said Baryo Ent Co-Founder Stephanie Ramos.
“This gives them the space to lead, in a place that’s ours.”
The series has featured hometown talent and surprise guests like JayR, Roger Rigor of VST & Company, Kai, Carl Angelo, Russel!, Awday P, and Ruby Ibarra — turning grocery runs into moments fans won’t forget.
From One Store to Everywhere
What started in Daly City didn’t stay there. Late Night Madness rolled through California, Seattle, Las Vegas, and five cities across Canada — with the same result every time: packed crowds, viral moments, and real cultural connection.
Between September and December 2025 alone, Seafood City pulled off 76 Late Night Madness events across North America.
“This is about evolving with our community,” said Seafood City President Matthew Go.
“Late Night Madness is one way we create experiences that feel like home — while keeping people connected through platforms like the SFC+ App.”
Why It Hits Different
Late Night Madness works because it doesn’t try to reinvent Filipino culture — it just gives it space to exist.
Food, music, family, creativity, and togetherness. All in one place. Usually by the frozen goods section.
Seafood City wrapped up 2025 with Late Night Madness stops in Milpitas, North Hills, Chula Vista, Daly City, Winnipeg, Mississauga, Calgary, Edmonton, and Scarborough — and the movement shows no signs of slowing down.
To catch the next one, follow @SeafoodCity and download the SFC+ App for free tickets.
Because for Filipinos everywhere, home isn’t a place — it’s a vibe.
DALY CITY
EAGLE ROCK PHOTOS:
LATE NIGHT MADNESS SURPRISE GUESTS:
