Produced by hitmaker Shadiel Chan, the group’s latest release showcases a softer, more mature sound following newfound momentum

After captivating local and international audiences with the viral cover of “Takedown”—which has amassed more than millions of views across social media—and following the release of their fan-favorite single “Tanga,” emerging P-Pop powerhouse KAIA makes a triumphant comeback with “hulog,” their new single under Sony Music Entertainment.

Where “Tanga” mined the irrational things people do in the name of love, “hulog” steers the direction toward something lighter, brighter, and more hopeful: the exhilarating feeling of falling in love. Built around the central question, “Paano ka ba nahulog?,” the song invites listeners to revisit the innocent and exciting moments that made their hearts flutter for someone in the first place.

The song celebrates romance in its purest form, capturing the indescribable joy and overwhelming feeling of someone who is ready to fall in love.

“hulog came at the right time because it really represents where we are as KAIA now,” shares the five-piece pop group. “After everything we’ve experienced from our previous releases and the love we received from our fans, we wanted to share a song that shows a more vulnerable and heartfelt side of us. This song is about vulnerability, about allowing ourselves to be open, to take risks, and to embrace the emotions that come with caring deeply about something or someone. We felt that it was the perfect song to mark this new chapter because it reflects our growth not just as artists but also as individuals.”

The release marks a big moment for KAIA as it taps some of the most influential names in today’s modern OPM. “hulog” is produced by Shadiel Chan of Nine Degrees North, alongside Ken Ponce, with Chan cementing his reputation as one of the country’s premier hitmakers. Widely recognized as the producer behind Cup of Joe’s blockbuster hit “Multo” and numerous chart-topping records over the past five years, Chan brings his signature melodic chops and production touches to KAIA’s latest release.

The song’s lyrics were penned by Jikamarie, Red Ridao, Ron Pangyarihan, and Chan himself; KAIA, on the other hand, contributed to the creative process by sharing their experiences and perspectives. “Working with Mr. Shadiel Chan was truly a dream for us. We’ve always admired his work, especially his ability to create deeply emotional songs like Multo, so getting the chance to collaborate with him felt really surreal and special.”

The acclaimed quintet adds, “It was also a dream for us to perform a song created by Mr. Shadiel Chan and Mr. Red Ridao. We are truly grateful and honored to have worked with them on hulog, as they thoughtfully shaped its sound and emotion while guiding us in delivering the right feelings through our vocals. The entire experience made the song even more meaningful and special for us as artists.”

hulog stands out thanks to its warm, uplifting production, backed by carefully crafted vocal arrangements. Throughout the recording, KAIA worked closely with Chan, Ponce, and R&B singer-songwriter Jikamarie, who guided the group through harmonies, ad-libs, and vocal interpretation.

“While recording, we learned so much from our producers and Ms. Jikamarie, who helped us with the adlibs and harmonies, allowing us to explore and bring out different emotions in the song,” KAIA reveals. “We also had meaningful conversations that helped us connect with the message of hulog on a deeper level. The process gave us the chance to look back on some of our happiest memories and use those genuine feelings to bring more heart and authenticity into our performance.”

KAIA’s “hulog” is out now on all digital music platforms worldwide via Sony Music Entertainment.

Learn more about our creators and labels here.

From practical streaming insights to networking opportunities and live performances, the two events emphasized Symphonic’s commitment to empowering artists, labels, and music industry professionals in the Philippines

Symphonic Asia Pacific recently held two back-to-back initiatives focused on fostering collaboration and advancing music industry knowledge: the Spotify Masterclass and Symphonic Social Night. The events brought together Symphonic Distribution’s partner artists, labels, and other creative stakeholders at Sari-Sari Bar on June 18, 2026.

Spotify Masterclass

The day opened with the Spotify Masterclass, designed to provide artists and music professionals with practical insights into navigating today’s streaming landscape. Led by Spotify experts, the session covered essential Spotify for Artists tools, audience analytics, promotional features, digital growth strategies, and industry best practices to help participants strengthen their presence on the platform.

Participants include representatives from Underdog Music Asia, FlipMusic, Fire and Ice, Diorama FM, Groovy Garden Records, Music Monks, Playback Records, and acclaimed music icon Jim Paredes, among others.

“Symphonic’s goal is for participants to gain a clearer understanding of how to build sustainable careers, use available tools and platforms more effectively, and make informed decisions that support their long-term growth in the industry,” shares Guji Lorenzana, Director of A&R and Client Development, APAC, Symphonic Distribution. “The music industry is more accessible than ever, but it has also become increasingly complex. Artists today are expected to navigate distribution, marketing, analytics, branding, audience engagement, and business strategy, often simultaneously. Initiatives like the Symphonic x Spotify Masterclass help bridge the gap between access and understanding. By providing direct access to industry expertise, current best practices, and real-world experiences, these programs equip creators and professionals with the knowledge they need to make confident, strategic decisions. More importantly, they foster community.”

Symphonic Social Night

Following the masterclass, Symphonic Asia Pacific hosted Symphonic Social Night, a special gathering dedicated to creative professionals, artists, and partners in a creative space centered on connection, collaboration, and celebration.

Created as an extension of the day’s conversations, the event provided a place for networking and relationship-building while spotlighting some of the most exciting artists from Symphonic Distribution’s growing roster through a curated live showcase.

Fresh off their acclaimed debut album release, P-Pop group VVINK graced the stage with their infectious anthems, polished choreography, and commanding presence. Chezka and Novocrane also captivated the crowd with performances characterized by melodic grit and creative boldness, while Indonesian artist Jordan Susanto brought the house down with his soul-stirring numbers. Other notable performances include Symphonic’s very own Fiona, who performed some of her original songs; P4blo, whose hard-hitting verses resonated strongly with the audience; and pop-punk veterans Letter Day Story who took attendees on a nostalgic journey through fan-favorite hits, alongside new material. Capping off the celebration, Symphonic’s very own Guji took the decks for a special DJ set that brought the night to a fitting close.

Guji explains that events like these reflect the music industry’s core values: community, creativity, and connection. “We wanted to create a space where conversations continue, collaborations can begin, and everyone can come together to celebrate the vibrant and diverse music culture emerging from the region.”

He adds, “As Symphonic continues to expand across APAC, our goal is to empower the independent music community by creating more opportunities for artists and industry professionals to connect, learn, and grow together. Many of us at Symphonic are artists ourselves, so we understand firsthand how important community, education, and access to meaningful industry relationships can be in building a sustainable career. The stronger our community becomes, the stronger the future of independent music in the region will be.”

PURCHASE HERE | LISTEN HERE | WATCH HERE

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.