February 2026

Live performances, documentary premieres, networking sessions, and industry talks converge in TRIN’s most expansive edition yet.

The Rest Is Noise (TRIN), a music curation and events production outfit based in the Philippines, returns with the fourth edition of All Of The Noise 2026. The showcase and conference event will take place in three venues across Metro Manila: Astbury Makati (April 17 and 19), Sari-Sari in Makati City (April 17 and 19), and 123 Block in Mandaluyong City (April 18).

This year’s edition will feature dynamic, multi-format music programming centered on community building, cross-cultural collaboration, and visibility, positioning Filipino and Asian music as vital forces within the global creative economy.

“This year’s programming is more expansive than ever, growing from two days to three, with each day offering a different entry point into the experience and live music happening throughout,” shares Mary Christine Galang, co-founder and creative director of The Rest Is Noise PH. “We’re welcoming more than 20 artists this year, including Filipino artists from across the country as well as international acts from across Asia-Pacific.”

Originally conceived as a year-end, midsized music festival, the fourth iteration of All Of The Noise 2026 brings together live performances, talks and panel discussions, documentary screenings, a music market, networking, and private studio sessions into one shared experience.

“We want people to come in not only to discover artists, but to engage with the ideas, conversations, and communities that shape the music around them,” Galang adds. “That has always been at the core of what we do at TRIN.”

Live music programming

The live music showcase will run in multiple venues across three dates, with highly anticipated performances featuring New Zealand’s Phoebe Rings, Indonesia’s Grrrl Gang, Arash Buana, and Gavendri, Singapore’s Shye and Pines, and Taiwan’s Heng Jones.

Other performers include BP Valenzuela, Fitterkarma, SOS, Ourselves the Elves, Elijah Canlas, DJ Love (Davao), VVINK, Playertwo, fern, August Wahh, School Girl Classic (Cebu), Delinquent Society (Davao), Alyson, Novocrane, Amateurish (Baguio), Carousel Casualties, Magiliw Street, and kyleaux.

Music Conference

All Of The Noise 2026 announces the return of its flagship conference program, Cut Through The Noise. Designed to address the evolving needs of the local and regional music sectors, the program will feature panel discussions and keynote presentations addressing the most pressing trends, challenges, and opportunities shaping today’s music ecosystem.

Each panel will have a moderator and resource speakers who will discuss each respective topic, providing insights and expert opinions. From market development and cross-border collaboration to innovation, policy, and audience growth, Cut Through The Noise aims to equip stakeholders with the knowledge and networks necessary to navigate an increasingly competitive global landscape. Panelists and speakers will be announced in the coming days.

The topics include:

• Inside a Thriving Regional Scene: What the music community in Baguio City tells us about decentralization, crossover, and cultural sustainability
• Curating Across Cultures: Programming music festivals in Asia’s diverse markets
• Dissecting Diary Ng Panget soundtrack: A poptimist’s dream
• Indie Cred vs. Commercial Pressure: how labels grow without losing trust, taste, and cultural capital
• Unlocking the potential of Southeast Asia: findings, insights, and discussions in the world’s next music powerhouse

 Music-themed Documentary Screenings

This year, All Of The Noise 2026 will feature local and international music documentaries that intersect music, movements, culture, and politics through its Echoes of the Noise program. This year’s film selection includes the international premiere of Alulu Kuo’s Elephant Gym: More Real Than Dreams, which captures the band’s journey as they faced a potential breakup before a world tour and explored their unique musical world. The Philippine screening will also include a talkback with Elephant Gym’s very own Tell Chang.

Other music documentaries that will be screened include Nolan Bernardino’s Rosas: The Song. The Journey, which became an anthem of hope during the national elections in 2022; and Frazier de Mesa’s This is Hannah+Gabi, which explores the beloved band’s thoughts and process in music-making and performing from the perspective of the filmmaker.

Culture and Community

“Beyond the performances, we’re especially proud of this year’s curation of documentary films, cultural discussions, and community-driven moments that create space for deeper exchange,” Galang explains. “AOTN 2026 is about presenting independent music as something immersive, thoughtful, and deeply connected to culture and community. It’s also about underscoring the Philippines as an important music market—both in the way we understand ourselves and in the way we connect to the rest of the world.

All Of The Noise 2026 is also supported by its international and local music partners ONErpm, Symphonic Distribution, Astbury, 123 Block, Sari-Sari, Nyou Consultancy, and Guevarra’s.

Ticket Details

Tickets are available via allofthenoise2026.helixpay.ph with the following packages:

PHP 999 – 3-day pass: (access to Days 1, 2 & 3), inclusive of all programs

PHP 400 – Day 1 (access to April 17 program – Friday), inclusive of all programs

PHP 700 – Day 2 (access to April 18 program – Saturday), inclusive of all programs

PHP 400 – Day 3 (access to April 19 program – Sunday), inclusive of all programs

The distribution giant’s first Philippine documentary will screen in multiple cinemas across US and Canada on April 24, 2026

Abramorama has obtained the North American theater rights to film Eraserheads: Combo On The Run, which is the distributor’s first Philippine documentary. This is a historic first.

After a successful international festival run, the documentary film becomes part of Abramorama’s lineup of high-profile music films, which also includes Radiohead’s Meeting People Is Easy (Grant Gee), The Beatles: Eight Days (Ron Howard), and The Sparks Brothers (Edgar Wright).

The acquisition will be marked by an official event at SXSW 2026 next month to celebrate its forthcoming theatrical release in Canada and the United States.

Directed and produced by Maria Diane Ventura, Eraserheads: Combo On The Run tells the story of the Philippines’ most influential band, tracing their meteoric rise from their formation in UP Diliman to becoming a defining voice of a generation, their painful breakup, and their eventual resurgence years later.

Set against the backdrop of the Philippines’ shifting socio-political landscape, the film situates the band’s journey within a country grappling with deep political polarization, reflecting how their music and story became intertwined with the nation’s cultural memory.

Blending intimate interviews, never-before-seen archival footage, and unfiltered behind the scenes access, the film explores fame, fracture, growth, legacy, and the enduring bond between the band and generations shaped by their music.

“I’m incredibly excited about this partnership with Abramorama,” said director and producer Maria Diane Ventura. “They are the perfect home for this film, not just because of their legacy in music documentaries, but because they understand stories that resonate on a deeper cultural level. While the film is rooted in the Eraserheads’ music, it ultimately speaks to division, reconciliation, and healing during a turbulent political moment. Those themes feel especially relevant today, not only for Filipinos, but for audiences everywhere.”

Ventura adds, “It’s also deeply important to me that this film helps reintroduce the band and their music to a new generation, and that it creates space for Filipino stories, nuance, and complexity to be seen with greater depth. Filipinos are part of so many communities around the world, and I hope this film allows people to see us more fully, while also reminding audiences more broadly how powerful it is to feel seen in culture. When people recognize themselves in a story, it creates empathy, connection, and a sense of shared humanity across communities. Ultimately, this film is about how stories and music can bring us closer to one another, even across divides and differences.”

The film has already achieved a number of significant firsts, such as being the first Filipino music documentary to be presented at San Diego Comic-Con and the first Filipino film to be given the broadest theater distribution in the Philippines by Warner Bros.

It has also received recognition on the international festival circuit, including Doc Berlin, the Liverpool Film Festival, and the 44th Annual Hawaii International Film Festival, where it screened as part of the official Spotlight on the Philippines program and won Best International Documentary at the Ierapetra International Feature Documentary Festival in Greece.

Visit eraserheadsfilm.com for announcements, updates, and ticket details.

Trailer:

https://youtu.be/HlAt0p2kQbM?si=cVCbqXSj-mMRnhnF

Sharper in tone and stronger in stance, Ore transforms cultural memory and adulthood into abrasive pop anthems

ena mori maintained her status as one of Asian pop music’s most captivating creative powers in 2025. With high-profile festival appearances, sponsorship collaborations, and an increasing global fan base, the avant-pop shapeshifter ushered in the new year with the release of her six-track EP, rOe. Inspired by emotional sensitivity and self-control, rOe demonstrated Ena Mori’s capacity to transform vulnerability into an engrossing pop fantasy. As anticipated, the EP received overwhelmingly positive reviews from critics and fans, making it onto a number of year-end lists worldwide.

Today, February 27, 2026, ena mori completes that orbit with Ore, a companion piece consisting of six tracks that both reflects and challenges the original. The two projects, which were initially intended to be part of a single body of work, diverge in tone and aim. rOe’s work emphasizes stronger declarations and sharper textures, while the former retains emotional nuance.

“As I worked on new songs, I started to feel it would be a better representation if I separated them into two,” the Heartbreak Generation singer-songwriter reveals. “With Ore, I wanted this record to have an edge—a rough texture in its feel—while still sharing the soft and delicate feeling of rOe. Ore is kind of like a bigger sister to rOe: more direct and opinionated, rougher and grittier in appearance, and not afraid to speak her mind.”

Conceptually, Ore traces ena’s passage into adulthood, confronting emotions she once avoided and approaching them with greater clarity and resolve. The EP reflects on independence, uncertainty, and the process of defining oneself outside inherent expectations. In shaping chaos into form, the acclaimed indie pop star found herself quietly repairing—healing to an extent.

As a Filipina-Japanese straddling cultures, ena locates Ore within a deeply personal geography. Cultural identity remains central to the record, so intact and specific, it cuts through the fiber of every track in the EP.

“As I listen back to the record, I realize that it captures a very Asian experience,” ena recounts. “Growing up in an Asian household, surrounded by its values, taboos, societal pressures, and hidden passions, has shaped the way I perceive the world. Navigating my twenties between two cultures—sometimes similar, sometimes polar opposites, braided together.” The EP carries the ambient imprints of her life as is: rainstorms, rice cooker chimes, arcade noise, hot wind against a truck horn.

Produced in close collaboration with Tim Marquez, Ore emphasizes abrasive, disjointed soundscapes over the fluid softness that defined rOe. The project was mixed by Sam Marquez and mastered by Emil Dela Rosa, whose finishing touches preserve both its sharpness and its air.

“Tim and I gravitated toward sounds with humps and bumps—textures that feel tactile in an auditory way. Some might even find them unpleasant or irritating. But that friction felt honest.”

Across its six tracks, Ore balances dance-oriented momentum with reflective lyricism. The arrangements are lean but deliberate, allowing percussive elements and synth lines to carry emotional weight without overwhelming the vocal center. It’s club music without the need to feel escapist: to be specific, it’s music for dimly lit rooms, for underground spaces where self-discovery feels more communal than solitary.

The narrative of the EP is anchored by the lead track “19 Underground.” The song, which was written from the perspective of a nineteen-year-old adolescent attempting to navigate life on her own, depicts her artistic and personal awakening, but most importantly, the year she ultimately discovered her tribe. According to Ena, “I picked it as a focus track because it conveys the idea that nothing originates from a single soul.” Even if you compose music alone, it is still a collective endeavor. We love each other, we hurt each other, and we encourage one another. The great human trade is that friction.

Tracklist – Ore

1. Funny
2. Insomnia
3. Ore
4. 19 Underground (FOCUS TRACK)
5. La Loba
6. Pomegranates

ena mori’s Ore is out now on all digital music platforms worldwide.

The rising rapper delivers a heavy-hitting anthem about risk, resilience, and building a legacy that lasts

Barq, the rap moniker of Arkin Magalona, delivers another knockout punch with the release of his latest single, “TUMATAK,” under Sony Music Entertainment. The heavy-hitting track chronicles his journey as a young artist who honored the grind with the determination to make it in the industry.

“It’s all about leaving your mark on the world,” shares the rookie hip-hop act. “No matter what you’re doing in life, you should always aim to create something that lasts, something worth remembering. It’s a reminder that impact isn’t just about fame or status; it’s about legacy.”

Propelled by thunderous production and razor-sharp lyricism, “TUMATAK” is an inspiring jam that shows a more reflective, intimate side of Arkin. It debunks some pre-conceived notions about his principles and way of life, while also unlocking his potential as a storyteller.

Raised among figures who overcame adversity to reach remarkable heights, Barq speaks directly to the relentless dreamers who had to endure doubt, pressure, and expectations their entire lives but managed to be committed to their professional and life goals without the need for shortcuts.

“I wrote the track from a very personal place,” he shares. “It reflects where I am right now: not just as an artist, but as a person.”

The song was recorded at Doppla Studio and produced by longtime collaborator Denz A.K.A D. Vaughn, who helmed the track’s commanding sonic template. Inspired in part by the energy of “Gold On My Teeth” by ClicKlak and Isaiah Falls, the production blends booming beats with textured samples, including a vocal element from BARQ’s previous collaboration “Career High,” featuring Manila-based creative Migswell.

“It’s the same Barq, but a different bite,” the youngest son of the late Francis Magalona admits. “I’m like a fusion restaurant serving multiple flavors: it’s up to you to pick from the current or old selections which food you would choose to try out.”

Barq adds, “Every time you release something with your name and your truth on it, that’s a risk. You’re putting your heart out there for people to judge. But growth requires risk. Legacy requires risk.”

Barq’s “TUMATAK” is out now on all digital music platforms worldwide via Sony Music Entertainment. Watch the music video here.

The rising P-Pop group makes a confident first impression with a bop about girlhood and self-worth

Emerging as one of the most prominent P-Pop exports from Davao City, Hara is steadily gaining attention for their commanding stage presence and undeniable charisma. The six-member girl group, whose name is derived from a pre-colonial term that means “beauty” and “strength,” carries their identity with intention. They are currently managed by Unique Music Management, led by Paul Widger, best known for his work with Craig David.

“Being the first 100% homegrown P-pop group from Davao under Unique Music Management is something we’re really proud of,” shares the breakthrough P-Pop group. “They believed in our potential and helped guide us creatively while still allowing us to express stories and emotions. Their mentorship pushed us to aim for high quality in our performance, sound, and overall artistry.”

Hara recently secured a recording deal with Sony Music Entertainment, joining the label’s growing roster of P-Pop acts that includes SB19, KAIA, YARA. Marking their first team-up with the global music company, the Davao-based alphas unveiled the Eurohouse-flavored pop track “My Love” as their pre-debut single.

Buoyed by subtle piano chords and sophisticated grooves, “My Love” transports the listeners into clubland fantasia, where suave, confident vocals and magnetic dance-pop production create a mesmerizing sonic experience. The track was produced, mixed, and mastered by Pao Lofranco and Aldy, who worked closely with the group to bring their vision to life.

“The production and arrangement were carefully crafted to match the emotions of the lyrics,” Hara explains. “We worked closely with our producers and creative team to make sure the sound complemented the story of the song. From the instrumental to the vocal layers, everything was arranged to highlight vulnerability while still sounding polished and modern.”

According to the six-piece act, “My Love” was written as a nod to girlhood: a transitory but important phase in life where women experience loving deeply, feeling things intensely, and sometimes giving one’s heart to people who don’t deserve even a fraction of it. “The song talks about heartbreak but also about realizing your worth. It’s about women learning that not everyone is worthy of their love and that it’s okay to walk away. At the same time, we also wanted to show that women aren’t just victims of heartbreak: we’re strong, we make choices, and sometimes we’re the ones who choose ourselves first. The message we hope listeners take away is self-love, empowerment, and knowing your value.”

The track sets the tone for their creative direction: earnest, emotionally resonant, and unapologetically empowering. “These are the stories that we want to tell,” the members add. “We wanted our first song to connect with people emotionally and show that HARA is here to speak for girlhood, growth, and strength.”

HARA’s “My Love” is out now on all digital music platforms worldwide via Sony Music Entertainment. Watch the music video here.