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IMAGE CREDIT: KQ Entertainment

K-pop powerhouse ATEEZ returns with their highly anticipated new mini album, ‘GOLDEN HOUR : Part.5,’ marking the next chapter in the group’s ongoing GOLDEN HOUR series. Released on June 26, the album features five brand-new tracks that further showcase ATEEZ’s signature ability to blend powerful performance-driven music with genre-crossing artistry. The EP is out now via Sony Music Korea/RCA Records – click here to listen.

Led by title track “BAD,” ‘GOLDEN HOUR : Part.5’ delivers a catchy and addictive new sound filled with bold energy, confident attitude, and instantly memorable hooks. The album’s five tracks each bring distinct colors and genres to the project; from explosive hip-hop and sleek dance production to moody alternative pop and rhythmic Latin-inspired influences. Alongside “BAD,” the album includes “MAMACITA,” “TOXIN,” “Fallin’,” and “Body,” creating a dynamic listening experience that highlights the members’ versatility and evolving musical identity.

Members HONGJOONG and MINGI once again participated in writing lyrics for all five tracks on the EP, continuing their consistent creative involvement in ATEEZ’s music and storytelling.

Ahead of the album release, ATEEZ heightened anticipation globally through a cinematic trailer and teaser campaign that immediately sparked conversation among fans worldwide. The visually striking trailer introduced the mysterious atmosphere surrounding ‘GOLDEN HOUR : Part.5’ while hinting at the bold storytelling and larger-than-life visuals to come.

The official music video for “BAD” further expands that immersive world through intense choreography, cinematic visuals, and high-energy performance sequences. The video also features rising Hollywood actress Chase Infiniti, known for her breakout role in Apple TV+’s Presumed Innocent, as well as her outstanding performances in One Battle After Another and The Testaments. Her appearance adds another cinematic layer to the visually ambitious music video while highlighting ATEEZ’s growing global reach across entertainment and pop culture.

ATEEZ is also set to bring the new era directly to global audiences through a series of major international festival appearances this summer. The group will headline at BST Hyde Park in London on June 28, one of the UK’s most iconic music festivals, where they are set to unveil the first-ever live performance of “BAD.” Additional festival appearances include headlining performances in Poland, Istanbul, and Italy’s Rock in Roma, further cementing ATEEZ’s status as one of the leading global acts in K-pop today.

Continuing their global promotions, ATEEZ is also scheduled to appear on The Kelly Clarkson Show for a special performance on July 1. With ‘GOLDEN HOUR : Part.5,’ ATEEZ continues to push boundaries creatively while delivering the explosive performances and ambitious artistry that have defined their rise on the global stage. You can watch the music video here and stream the album here.

LISTEN TO [GOLDEN HOUR : Part.5]  HERE

[GOLDEN HOUR : Part.5] TRACK LIST

1. BAD **title track**
2. MAMACITA
3. TOXIN
4. Fallin’
5. Body

The comeback arrives shortly after ATEEZ achieved another major career milestone by receiving the grand prize award at the Seoul Music Awards, reaffirming both their critical acclaim and worldwide popularity.

ATEEZ 2026 UPCOMING PERFORMANCE Dates:

June 28 – London, UK – BST Hyde Park

July 8 – Rome, Italy – Rock In Roma

August 14 – Istanbul, Turkey – İstanbul Festivali

August 15-16 – Silesia, Poland – SOUND IN COLORS

For more about ATEEZ, visit: https://ateez.kqent.com/

ATEEZ SOCIALS:

INSTAGRAM (11M+) | TIKTOK (9.5M+) | X/TWITTER (4.6M+) | SPOTIFY (4.5M) | YOUTUBE (4.9M+)

INDIVIDUAL INSTAGRAM:

HONGJOONG | SEONGHWA | YUNHO | YEOSANG | SAN | MINGI | WOOYOUNG | JONGHO

Penned by Kakoy Legaspi and produced by the pop-rock quartet, the new single marks a confident return to form

More than two decades after stepping away from the music scene, Barbie’s Cradle makes a long-awaited return with “Emergency,” their first release since 2003, signaling a fresh chapter for the band.

Released through Sony Music Entertainment, the indie pop single showcases the band’s signature vocal harmonies. Written by guitarist Kakoy Legaspi and co-produced by Barbie Almalbis alongside the rest of the group, the track explores existential anxiety with a refreshing sense of humor. Instead of attempting to resolve life’s biggest uncertainties, “Emergency” embraces the idea that accepting life’s unpredictability—and even finding amusement in it—can be the most meaningful way to cope.

“It’s a sarcastic take on existential crisis,” Legaspi explains. “It’s about trying to make sense of life’s absurdity by simply becoming more ‘zen’ about it—and about ourselves.”

“Emergency” mirrors the adventurous spirit that has long defined the band’s late ‘90s to early 2000s work, while also presenting the band at their most collaborative yet. The song begins with an unconventional verse riff written in 7/8 time, a rhythmic idea that became the foundation of the composition.

Legaspi recalls, “I came up with the idea of the lyrics when I found myself staring at a piece of paper on the wall that had ‘emergency numbers’ written on it. At first, it was very hard for me to sing and present the song to the band, but Barbie came up with the ingenious idea of cutting up the verses in a very fast, jarring way, like a duet but with no spaces in between. It made the song flow way better and gave it a unique twist.”

Although the track was originally written during the mid-2000s, it remained shelved for decades before being rediscovered during the pandemic. Working remotely through email between 2021 and 2022, the band revisited and refined the arrangement before finally recording the song live in Almalbis’ home studio after restrictions eased. The sessions captured the chemistry of the band performing together, with vocals and additional overdubs completed in subsequent recordings before acclaimed engineer Angee Rozul delivered the final mix.

“Emergency” also serves as the first glimpse into the musical comeback of Barbir’s Cradle. The band, composed of Barbie Almalbis (vocals and guitar), Kakoy Legaspi (guitar), Rommel dela Cruz (bass), and Wendell Garcia (drums), will release a few more songs throughout the following weeks, leading to an EP release.

As Barbie Almalbis mentioned in the previous press release, “We’re excited to revisit the greatest hits and misses while also sharing new songs that reflect where we are now in our lives, both as musicians and human beings. This new body of work is more collaborative and intentional than ever. We’ve poured months of hard work into these songs, and we can’t wait for everyone to hear what we’ve created.”

Recognized as one of the defining acts in the Filipino alternative music scene, Barbie’s Cradle has cemented its legacy with celebrated albums including Barbie’s Cradle, Music from the Buffet Table, and Playing in the Fields.

The band’s highly anticipated comeback will be capped by a one-night-only concert on August 1, 2026, at the Music Museum. With balcony and orchestra sections nearly sold out, fewer than 100 tickets remain available for fans hoping to catch the reunion live.

Few tickets are still available via:

https://www.ticketmelon.com/gnn-entertainment-productions/barbiescradlereunion

Music Museum: 0917-513-0909

VIP – PHP 2,900

Includes photo op (6pax/batch), soundcheck access, signed poster

Orchestra – PHP 1,900

Balcony – PHP 1,300 (free seating)

Barbie’s Cradle’s new single “Emergency” is out now on all digital music platforms worldwide via Sony Music Entertainment.

The “paasa anthem” explores the frustration and exhaustion that come from life’s repeated curveballs

Filipino singer-songwriter Gab Cabangon channels frustration and unresolved anger in “Ikot Ulit,” the third official single off his highly anticipated debut EP to be released this year. Described as his ‘paasa’ anthem and ‘galitcore’ track, the pop-rock tune comes from a place of personal uncertainty and professional setbacks, confronting the experience of repeatedly facing broken promises with both grit and emotional exhaustion.

“I think the emotion that really drove the song was mainly frustration,” Gab admits. “I was getting sudden postponements for work-related projects and pitches, and it was a period wherein I had bar gigs that were cancelling at the last minute. I also felt like I couldn’t trust anybody outside of my family and circle of close friends because I felt like people were going to throw me under the bus at any moment.”

Gab reveals that he had always intended to release “Ikot Ulit” a couple of months after “Kama” but later realized how the timing made so much sense in today’s socio-political landscape. “There are so many broken promises happening right now, and the consequences are very real and very frustrating. While I did not write Ikot Ulit with the initial intention of relating it to the political climate right now, I do realize that it’s important to express that frustration through this song.”

While based on Cabangon’s real-life experience, the song intentionally leaves room for listeners to project their stories onto its themes. Its lyrics avoid specificity, allowing the frustrations explored in the track to appeal across different circumstances and walks of life.

“I kept the lyrics quite general so that people can associate the song with their own respective experiences,” he adds. “Just like most of my songwriting, I often start with my experience, then I incorporate the stories of other people to try and make the song more relatable to my listeners. By the time I finished Ikot Ulit, I wanted to make sure that the feelings of ‘frustration’ and ‘anger’ were felt throughout the whole song.”

Sonically speaking, “Ikot Ulit” revisits elements of the artist’s earlier band-driven roots while integrating the singer-songwriter sensibilities he has long established with his solo material. Produced and arranged in collaboration with David Lina, the track embraces a grittier indie pop-rock aesthetic, brimming with dirtier guitar tones, a less strained arrangement, and a heightened sense of urgency that mirrors its thematic vibe.

A notable addition to the final recording is an instrumental bridge that was absent from the original demo, which somehow elevates the level of intensity to the overall sound. The track was mixed and mastered by Shadiel Chan and Jan Fuertez with vocal engineering by John Crupero, further refining the song’s raw yet deliberable sonic identity with just a subtle amount of grace.

Beyond its cathartic energy, “Ikot Ulit” occupies an important place within the broader narrative of Cabangon’s upcoming debut EP. Following “Pieces,” which explored the acceptance of vulnerability, and “Kama,” which finds beauty in peace amidst the cosmopolitan noise, “Ikot Ulit” serves as the next vital phase in a larger road toward healing.

Gab summarizes it all by saying, “I think it’s really about going through the process of healing and learning to love again. That in order to be whole and be passionate about the things we love, we have to allow ourselves to feel, to rest, and, in some cases, to express our frustrations and our anger. I’d like to think of Ikot Ulit as the third chapter that kind of opens a space for everyone to just let it all out.”

Gab Cabangon’s “Ikot Ulit” is out now on all digital music platforms worldwide.

The Bali-based music conference and showcase also introduces an expanded songwriting camp and a Southeast Asian hawker-inspired food experience

Fast-emerging Filipino acts ALYSON, PLAYERTWO, and Novocrane are gearing up to represent the Philippines at AXEAN Festival 2026, Southeast Asia’s leading music showcase and conference, set to take place on August 29–30, 2026 at Jimbaran Hub in Bali, Indonesia.

Selected by AXEAN Festival in partnership with its co-founder and official Philippine collaborator, The Rest Is Noise PH, the three artists have secured spots in the festival’s first-wave lineup. They will perform alongside acts from across Asia and other regions, showcasing their music before an audience of international industry professionals, festival organizers, and music enthusiasts from around the globe.

AXEAN Festival and The Rest Is Noise PH co-founder MC Galang emphasizes that beyond the roster’s individual achievements, their inclusion reflects the depth, diversity, and global potential of the Filipino music community today. “As co-founders of both AXEAN Festival and The Rest Is Noise PH, it’s especially meaningful for us to continue creating opportunities that connect Filipino artists with international audiences, industry professionals, and new markets. Over the years, our work has been centered on building bridges between Southeast Asia and the rest of the world, and seeing more Filipino artists take their place on global stages is a reminder of why that work matters.”

Galang explains that the global push for homegrown artists builds upon The Rest Is Noise PH’s longstanding commitment to music export and international development. “Earlier this year, The Rest Is Noise PH expanded this mission through the launch of our music consultancy and management arm, beginning with AXEAN Festival 2025 alumni ONE CLICK STRAIGHT for global management representation and bookings. For us, these efforts all stem from the same belief: that Filipino artists deserve sustained support, meaningful opportunities, and a place in conversations happening far beyond our borders. We’re excited for what lies ahead—not just for these artists, but also for the next generation of Filipino musicians ready to connect with the world.”

Regional and international artists join the celebration

Also leading the first wave announcement is an esteemed pool of Indonesian artists that reflects the country’s vibrant and eclectic music scene. Among the names confirmed for the maiden batch are top-streamed singer-songwriter Ndarboy Genk, experimental music quartet Basajan, Yogyakarta-based band LOR, Tropical Dessert trio Babon, Jakarta alt-rock band Satu Per Empat, rising singer-songwriter Jo Soegono, jazz rock trio Emptyyy, and R&B/soul star Noni.

This year’s lineup also gets an extra boost from emerging and seasoned acts in Southeast Asia, including Malaysia’s very own indie pop outfit Masdo, alt-rock veterans Pitahati, and genre-defying artists Lil Asian Thiccie x dj magn3sium. Singapore contributes a strong contingent with acclaimed indie rock band Subsonic Eye and experimental collective sub:shaman. Thailand’s thriving independent scene arrives in force through Yellow Fang, INSPIRATIVE, SLOWWVES, and Cupnoodle, while Macau’s Scamper and France’s Treaks heighten the festival’s increasingly global outlook.

Explaining the festival’s curation philosophy, AXEAN Festival co-founder Piyapong Muenprasertdee shares, “Professionalism, live performance excellence, and a clear artistic vision genuinely drive most of our selections—those are the qualities we’re looking for first. However, not every artist meets all the criteria, and this approach is intentional: we also prioritize representing less-heard music scenes. Alongside the most polished, export-ready acts, we make room for artists from locales the wider industry rarely hears from. And the value there is long-term—when those artists showcase at AXEAN, they take the experience and the learnings home, where they help nurture the next generation from their scene, who may go on to reach the global stage further than the artists who came before them.”

AXEAN Festival co-founder David Siow echoes Py’s statements but emphasizes that this year’s edition promises a stronger lineup with global potential. “For audiences, our curation of artists has been geared towards artists with great live sets and who are ripe for export. You can see artists who are about to blow up, artists who will blow your minds, and artists whose future moves will blow you away.”

New program elements

Standing up for its commitment to community-building and innovation, AXEAN Festival 2026 will introduce several new elements in the program designed to strengthen its engagement among artists, delegates, partners, and audiences.

The conference and festival platform will also continue its highly regarded Songwriting Camp, which has become a cornerstone of AXEAN’s artist development initiative since its introduction in 2024.

Siow explains, “The songwriting camp introduced in 2024 (and optimized in 2025) was also born out of our drive to do things right for artists; hence, when we designed the camp, it was something that was only meant for collaborations. We take pride in creating a relaxed and casual environment that fosters creativity and friendships, as we believe the atmosphere contributes to the high quality of the final song outputs. Of course, being in Bali helps, because we can conduct the camp in villas with pools and great vibes.”

The AXEAN Festival team, including Philippine co-founders Ian Urrutia (far left) and MC Galang (fourth from the left)

Further improving the festival experience is a brand-new food and beverage concept inspired by Southeast Asia’s iconic hawker centers and food courts. The initiative will bring together dishes and culinary traditions from across Southeast Asia, giving attendees the opportunity to explore the region’s rich cultural diversity through food.

Py adds, “Few things represent Southeast Asian culture better than its food, so we’re curating regional vendors into the festival canteen. There’s a saying that the way to someone’s heart is through their stomach. Also, I personally think, and have seen, that people connect more genuinely over food and drinks, so we’d rather create the conditions for that than over-program things.”

Apart from the carefully curated lineup of performances and new offerings, this year’s AXEAN Festival will continue its focus on industry development programming through panel discussions, business matchmaking, and structured networking sessions.

Early bird tickets

Early bird tickets are now on sale through www.loket.com/o/axeanfestival, with more artist announcements, conference speakers, and program updates expected in the coming months.

AXEAN Festival 2026 is presented in collaboration with Jimbaran Hub as the venue partner and TuneCore as the main stage sponsor. The festival is also supported by EMPIRE as a stage sponsor; the Embassy of France in Indonesia & Institut Français Indonesia, Embassy of France in Singapour, Centre National de la Musique, and Institut Français as festival partners; The Orchard as the VIP partner; MADVERSE as the primary sponsor of the songwriting camp; KSR and Musicway as secondary songwriting camp sponsors; Sounds Australia as the music exchange partner; and DEBEAT Sunset Road and Millers Records as equipment partners.

The tender pop ballad arrives alongside a music video introducing new characters in Justin’s growing fictional universe

SB19’s justin continues to diversify his artistic expression with the release of his new single, “dahon,” out now via Sony Music Entertainment.

Penned by acclaimed singer-songwriter Maki, the track explores the idea of romance as a steadfast force through life’s inevitable transformations. Metaphorically speaking, the rising P-Pop star likens the lasting power of love to a tree: bending rather than breaking during a storm, but holding still and firmly rooted in its given space despite the changing seasons.

“The tree imagery reflects my understanding of love and commitment as something that remains strong even through change,” shares the ‘surreal’ singer-songwriter. “One of the things that struck me the most is the idea that commitment is not about everything staying the same, but about choosing to remain grounded and steadfast through life’s ups and downs. I also find hope in the idea that after a leaf falls, another one eventually grows. It reminds me that genuine love can continue to renew itself over time, which beautifully reflects the song’s message of a timeless vow in an ever-changing world.”

The song’s visual counterpart expands the theme even further. The official music video introduces audiences to three original characters: Treesha, JahJah, and Brodie. Expanding the immersive creative world that Justin has carefully built throughout his solo career phase, the MV also gives fans another way to connect with his creative endeavors.

“[These characters] are part of that larger world, and they help bring the themes and emotions of the music to life in a more visual and engaging way,” justin admits. “As someone who has always loved cute and memorable characters from franchises like Pokémon and other games, I wanted to create characters that could serve as alternative visual representations of my music and storytelling.”

Moving forward, justin hopes to develop their stories and personalities even further. “Fans can look forward to learning more about them through future releases and, hopefully, through merchandise, comics, or visual storybooks that explore their world in greater detail.”

The release of “dahon” also arrives alongside Justin’s ambitious multidisciplinary art initiative, which bridges music and visual expression. For SB19’s creative director, the project represents a convergence of two creative passions that have long informed one another.

“I hope people will see the beauty and inspiration that can come from combining music and visual art into one experience,” justin adds. “More than just enjoying the song, I want them to feel how different art forms can work together to tell a deeper story and create a stronger emotional connection. If the project inspires someone to appreciate art in a new way, reflect on their own experiences, or even pursue their own creative ideas, then I would consider that a meaningful takeaway from the world of dahon.”

justin’s “dahon” is out now on all digital music platforms worldwide via Sony Music Entertainment. Watch the music video, out now.