February is the prime season for fresh OPM.
Love Month isn’t only about roses and “Balentayms.” It’s also the prime season for fresh OPM releases. Filipinos are music lovers, after all.
This February, rising acts and even P-pop powerhouses are reinforcing why Filipino music isn’t only thriving but also expanding.
Consider adding these songs to your queue.
SB19 – “VISA”
“VISA” is a testament to how far SB19 has come since its 2018 debut. Unlike the group’s earlier material, it leans into a more aggressive, commanding sound: blaring trumpets and anthemic percussions aligned with the angas and datíng of recent releases like “DUNGKA!,” “DAM,” and “GENTO.”
The title nods to the visa issues that Ken, Josh, Pablo, Justin, and Stell faced during their “Simula at Wakas” world tour in 2025. But the song goes beyond anecdotes, much less protest. Its inventive lyricism weaves unapologetic Noypi colloquialisms and cross-generational cultural references, reflecting the group’s growing confidence and artistic maturity.
“VISA,” then, is a love letter to OPM artists and Filipinos navigating global stages.
raven – “Huli”
“Huli” feels tailor-made for indie movies, late-night city vlogs, and anniversary reels—thanks to its mellow electric guitar riffs, laidback drums, and raspy vocals.
In the song, he assures his beloved that while everyone else rushes ahead, they can choose to linger. It’s a timely message in the age of social media, AI, and post-pandemic hustle culture when everything feels accelerated.
As the chorus goes: “Ngayong gabi / Lahat nagmamadali / Ngunit tayo / Ay magpapahuli / Atin muna ang sandali / Dito muna saglit / Huwag munang umuwi / Tayo’y gagawa ng ilang mga ngiti / Papasayahin kitang muli.” Don’t be surprised if this finds a second life on TikTok, soundtracking soft launches and slow-burn love stories.
JP Bacallan – “No Hoe”
In “No Hoe,” JP flexes his airy, smooth vocals—a noticeable shift from the lower register he used in “Isang Gabi” and “Tulad ng Dati.” The flexibility isn’t shocking; he previously impressed audiences with covers of Brian McKnight’s “One Last Cry” on “Tawag ng Tanghalan” and Join the Club’s “Nobela” on The Clash.
Backed by piano, soft synths, and lo-fi textures, his falsettos and runs glide effortlessly. In terms of lyrics, he pines for—and lusts after—a mystery woman, delivering intense, unabashed lines: “At kung kailangan ako sa ‘yo luluhod / Mahal kita sa kahit anong panahon / Baduy pakinggan pero talagang gano’n / Gigil ko sa ‘yo, kakaiba ngayon.”
But it’s the bridge that echoes the rather explicit—and contentious—title: “I don’t want no, no hoe.” It ought to raise eyebrows—even the title alone—but vocally, the artist makes his case clear: he can sing, and he knows it.
John Sam – “Kanta kay Ella”
“Kanta kay Ella” feels like a throwback to the classic OPM of the aughts: clean rhythm, sweet guitar licks, and steady drum beats—all framing John’s low, hypnotic voice.
On the surface, it plays like a callout to a former lover—presumably the titular Ella—who left him heartbroken: “Wala na / Wala na talaga / Sana di ka nakilala.”
The backstory may be open to interpretation, but the song’s YouTube description clarifies its core: It captures “the quiet anger and exhaustion of loving someone who’s unfaithful.” To prove its point, the provided lyrics are written in the uppercase, underscoring its emotional intensity.
With a recent Social Weather Stations pre-Valentine’s survey showing that at least one out of four Filipinos have witnessed or experienced cheating, this song is a welcome addition to OPM’s ever-growing catalog of heartbreak anthems.
EJ De Perio – “Kahit Pa”
“Kahit Pa” may share its title with a Hale classic, but the similarities end there.
While Hale’s version leaned on promises of enduring love amid hardship, EJ’s take feels more immediate and personal, centering on reassurance: “At kahit pa iwanan ka ng lahat / Sasamahan kita / Kahit pa maluma ang pagsasama / Hindi kita bibitawan.”
With a stripped-down production that fits busking sessions, coffee shops, and acoustic bars, the song feels contemporary yet quietly nostalgic at the same time.
DEMI – “luv songz (Love Songs Remix)”
“luv songz,” subtitled “Love Songs Remix,” is a reminder that female artists don’t have to be boxed into biritera types to showcase their musical range.
Over lo-fi beats, DEMI delivers a smooth, controlled rap, plus the occasional melismas. She code-switches between English and Filipino seamlessly, as she wrestles with her lover’s seeming indifference toward her: “I told you I am down for the worse or the better / But I keep sticking to you ’cause them four stupid letters / Tiniis ko na nang ilang beses, huwag ka nang namimilit / Di ko na maisip kung sa’n pa ilulugar itong hapdi.” The vulnerability feels contemporary yet familiar, intimate but self-aware.
Though the narrative of loving despite red flags may be common, it remains deeply resonant. After all, a SWS pre-Valentine’s survey found that about four in 10 Filipinos believe trust can still be restored in a relationship after cheating.
Clocking in at just over two minutes, the track hits that replay-friendly sweet spot.
Filipino appointment to Sony Music Publishing Asia
The releases, all under Sony Music Publishing, came on the heels of Filipino music executive Roslyn Pineda’s appointment as president of the company’s Asian division on Feb. 11. It marked a major milestone not just for her career, but for the Philippines’ growing influence in the global music business.
As president, Pineda will oversee creative and business operations across the region, strengthen relationships with key industry partners, and expand global support for SMP songwriters under her leadership.
In an April 2025 interview with Billboard Philippines, which named her its first-ever Music Industry Executive of the Year, then-general manager Pineda said the OPM scene has “never been this exciting.” From a scene once dominated by international music, she said local acts now share the spotlight 40-60, 50-50, “sometimes more.”
She added that the business is already in a “creator first economy,” something that many talented OPM artists have been doing in recent memory.
“No longer it’s the days when companies would dictate what people hear. Now, you can upload your music from your bedroom and you could be an overnight sensation,” she said. “That kind of democratization makes things so exciting, keeps us record labels close. But it’s all good. It’s how it should be.”
Filipino music isn’t only thriving but also expanding.
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