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:
BGYO just stepped back into the spotlight — and they didn’t come to play. They came to remind everyone exactly who they are.
The Filipino boy group has officially released their newest single, “FRESH,” and it’s everything you’d expect from a group entering their most confident era yet: smooth, bold, and unapologetically self-assured. Available now on all streaming platforms via ABS-CBN Music, the track marks BGYO’s first Tagalog release since 2024’s “Andito Lang,” signaling a sonic and creative reset that feels sharper, cooler, and undeniably them.
At its core, “FRESH” is an anthem for owning who you are — no filters, no apologies. With standout lines like “I got what you want” and “Ain’t nobody fresher than me,” the track leans into confidence as its superpower. Built on a groove-driven hip-hop foundation, the song highlights BGYO’s effortless swagger while expanding their sound into smoother, more refined territory.
Even more personal, the track was written by member Mikki Claver, making it a reflection of the group’s growth not just as performers, but as artists finding their voice. It’s BGYO at their most authentic — and it shows.
This release follows a major year of milestones for the group. From headlining their first solo concert to earning a spot on Spotify Philippines’ “Best of P-Pop On The Rise,” and receiving TikTok’s Community Impact Award, BGYO has continued to level up both at home and globally. They’re also set to hit the stage at DUNK! Music Festival in Japan, further expanding their international footprint.
And the momentum isn’t slowing down anytime soon.
With over 100 million combined audio and video streams, multiple #1 iTunes debuts across Asia and the Middle East, and recognition from global platforms like the Recording Academy, Teen Vogue, MTV Asia, and Netflix, BGYO continues to cement their place as one of the leading forces shaping the global P-Pop movement. Add to that their 5 million-strong social following and over 60 million TikTok likes, and it’s clear: BGYO isn’t just riding the wave — they’re helping define it.
More than just a comeback, “FRESH” feels like a statement. It’s BGYO stepping into their power, owning their evolution, and inviting fans along for the ride.
Because at the end of the day, nothing hits harder than confidence. And right now, nobody’s doing it fresher than BGYO.
Listen to “FRESH” now on all streaming platforms.
On Lunar New Year, Filipino American singer-songwriter Yeek chose to begin the season not in silence, but in sound.
The artist welcomed 2026 with the release of “Stayin’ Low,” which is a track that feels an easy listen on the surface, yet layered with the kind of detail that rewards repeat plays.
The timing of the track also came with a message from the artist that reveals his mindset entering 2026. Reflecting on the current landscape of music and online culture, Yeek wrote, “In a new time where fast content is the new standard & numbers seem to matter more than ever, make time for the art that's for you first. See you in 2026.”
While many releases at the start of the year aim to be loud and attention-grabbing, Yeek took a different route. That sentiment echoes throughout the single, which feels patient, intentional, and rooted in craft.
Musically, “Stayin’ Low” carries the familiar DNA that listeners have come to expect from Yeek. Known for producing, writing, and singing his own material, Yeek continues to shape a sound that feels unmistakably his. His music has often been described as melancholic, soulful, and DIY-driven, and those elements remain present here, but “Stayin’ Low” leans further into groove.
It carries a warm pulse and the overall production glows with a smooth, almost hypnotic texture.
There’s a warmth in the production that pulls you in almost immediately, while the rhythm keeps things moving just enough to make it impossible not to nod along. There’s something about its flow that makes it easy to loop. It’s the kind of song that naturally gets your head nodding, whether you’re paying close attention or letting it play in the background of a late-night drive or a quiet afternoon.
If Yeek’s message was about making time for art that feels personal and unhurried, “Stayin’ Low” is proof of concept. With “Stayin’ Low,” Yeek proves that consistency doesn’t have to mean predictability. It can mean refining a sound, trusting your instincts, and letting the music speak at its own pace. And in a time when everything seems to be speeding up, that approach feels not just refreshing, but necessary.
For Yvng Jin, music is a bridge between two homes.
The 20-year-old Filipino American singer, songwriter, and producer is entering a pivotal chapter with the release of his newest single, “WALA NANG IBA (NOBODY).” But beyond the sleek production and smooth vocals lies a young artist carving out space for his Filipino identity in a global soundscape.
Born and raised in the United States, Jin has never shied away from calling himself a “pure-blooded Pinoy.” That pride takes center stage in this latest release. While “NOBODY” delivers a polished English-language track primed for international playlists, he made a deliberate choice to drop a Tagalog version titled “Wala Nang Iba (Nobody)” at the same time.
“It explores the feeling of finding somebody that nobody else you know compares to,” he shares, describing the song’s core theme. The sentiment is universal, but the bilingual release makes it personal. In an era when Filipino artists are increasingly gaining global traction, Jin positions himself as part of a new wave, those artists who don’t see their heritage as a niche, but as an asset.
His relationship with music began early. “Music’s always been a part of my life,” he says. “I started making music in the 7th grade. I fell in love with it quick.”
That early infatuation has since matured into a full-fledged career backed by serious numbers. With millions of streams across YouTube, Spotify, and other platforms, Jin is steadily building an audience that stretches far beyond Fil-Am communities.
Yet even with early success, Jin’s eyes are set on growth. He’s already at work on his second album, signaling that his debut chapter was only the beginning. At the same time, he’s looking to reconnect with his roots in a more tangible way. Having last visited the Philippines as a child, he’s planning a return.
“Excited to experience being back in the motherland as a young man,” he says, smiling at the thought. If “WALA NANG IBA (NOBODY)” proves anything, it’s that Yvng Jin isn’t choosing between cultures.
There’s a familiar feeling that settles in the moment Arron Rebustes begins to sing. It’s a kind of quiet warmth, like hearing a voice that understands the things you sometimes can’t explain. That same sense of comfort finds its way into his newest single, “Panahon,” but this time, the emotion lingers a little longer.
The song unfolds gently, almost like a story told in soft light. It doesn’t rush toward a climax or chase a dramatic peak. It walks beside the listener, exploring the quiet spaces where questions about love often live.
Arron himself shared how personal the track is to him. In an Instagram post, he wrote, “this song is very close to my heart. it’s about believing that there’s a perfect time for everything, and how this feels like the perfect time to share this music, especially in the month of love. i hope you guys love this as much as i do. i wouldn’t be able to do this without the people who helped me and believed in me.”
Listening to “Panahon” feels like reading a letter never meant to be rushed. The song traces the journey of someone learning to sit with uncertainty rather than fight it. There’s longing, but it isn’t desperate. There’s solitude, but it isn’t lonely. There’s a quiet acceptance that love, like time, moves in its own rhythm.
Part of what makes the track stand out is its structure, or rather, its lack of a traditional one. Arron steps away from the usual chorus-driven format, explaining, “I realized that not every song needs a traditional chorus, it just needs to feel right.”
And the song does feel right. The melodies rise and fall naturally, carrying emotion in place of repetition, allowing the music itself to become the refrain. With subtle production touches from Nikhil Amarnani, the arrangement adds depth without overshadowing the heart of the song.
But more than anything, it’s Arron’s voice that anchors the experience. Soft but assured, it guides listeners through the song like a companion on a long walk and not telling them what to feel, but giving them space to feel it.
Whenever Arron sings, it feels more like being wrapped in a story you didn’t realize you needed to hear.
