For this year’s PhilPop Festival, the new normal posted quite a lot of challenges. The people behind this yearly songwriting contest had to depend on the things that connect the industry more than the external, pandemic-related factors that cause division.
According to Festival Chair and National Artist for Music Ryan Cayabyab, PhilPop was on track as things have been planned and set to motion as early as 2019. “We’ve planned for this when COVID-19 was nowhere in sight. When the pandemic hit us, we had to make a huge pivot in terms of the execution of most ideas, many of which were originally envisioned to happen in the usual, traditional in-person platform,” Cayabyab said in a statement released by Smart Communications, the festival’s mobile services partner.
“We did encounter challenges in executing some tasks. In terms of producing the songs for example, it was quite a different process owing to the restrictions in travel, mobility etc. But I’m happy to say that PhilPop managed to find ways. Thanks to the ingenuity of the team and their passion to make things happen, I am confident of how the top 15 songs will turn out,” he added.
PhilPop Festival Co-Chair Noel Cabangon also felt the shift. “The PhilPop Festival this year is basically faced with a challenge of not celebrating the event face to face or with physical presence and interaction between the audience and the performers. Due to the pandemic everything has to be migrated to digital. It may have its advantage in terms of costs of production but to make it more appealing and creative on digital is a tough challenge. PhilPop is still in the process of overcoming these hurdles,” he said.
Music breaking borders
Consistent with this year’s theme—#MusicBreakingBorders—PhilPop shattered ceilings to search the entire country for fresh OPM blood. Technology powered the transition. Migration to everything digital was the only choice.
Cayabyab said, “Technology made things possible for us. Amid the pandemic, it served as a bridge for us to continue engaging with one another. It gave us a platform where we could continue to do things that we previously thought aren’t possible virtually. It also help provide a new dimension and flavors to our songs as we discover more reasons of how great it is as a tool in music production.”
Like most events, PhilPop made the necessary fine-tuning. “Technology is the ultimate answer to the major hurdle of this festival. Connecting people in order to keep the festival preparation running was made possible by the aid of technology,” explained Cabangon.
“Even the finals of this festival, technology is the answer in providing an alternative platform to a live program. Every coordination was done through technology. And the several platforms that were provided to launch the festival and introduce the finalists and their songs to the public were made possible through the digital technology. No pandemic can stop the festival from happening,” he shared.
The festival official found overwhelming inspiration to move mountains from the entries. At the end of the day, it will be a disservice to Filipino music lovers if these songs fail to get the spotlight they deserve.
“What I can say as the real challenge is going through the thousands of songs and discovering the best among the best. The entries are wonderful. It was difficult to eliminate songs, especially whenever we reach the last 1-2 stages of the adjudication. Salute to our lead adjudicators—Trina Belamide and Jungee Marcelo—and to our partners from Warner and the regions for patiently and successfully screening the songs,” said Cayabyab.
“It’s amazing how much talent our songwriters have and I am glad we are able to encourage many of them including those in the regions to join. This year’s finalists are a great mix of songs and I am sure many—whether they are here or across our borders—will enjoy listening to the top 15 songs.”
Last September 23, PhilPop announced this year’s top 15: Abegail Esteban and TJ Paeldon’s “Agsardeng,” Lolito Go’s “Balikan,” and Angelic Mateo’s “Paos” representing North Luzon; Kulas Basilonia’s “Para Kay Catriona,” Chochay Magno’s “Lunod,” and Princess Roselle C. Germina’s “Bitaw” from South Luzon; Kian Dionisio’s “Huling Sayaw,” Aikee’s “Bestiny” and “Mapa” from Metro Manila; Jerika Teodorico’s “Ayaw Na Lang,” Noah Alejandre and Reanne Borela’s “Suyo,” and Michael Catarina’s “Hinungdan” from Visayas; John Cadeliña’s “Akong Bililhon,” Christian Chiu’s “Kasadya,” and Sherwin Fugoso’s “Pahuway” representing Mindanao.
Follow, PhilPop on social media for online events leading up to the finals happening on December 2.
The author is a former entertainment reporter and editor before shifting to corporate PR. Follow @kayevillagomez on Instagram and Twitter for more updates.