Original Pilipino Music, or OPM, has always been the soul of the Philippine music scene. It is more than just a genre—it is a mirror of Filipino life, love, and resilience. Over the decades, OPM has evolved through different styles: from the ballads of the 1970s, to the rock and alternative wave of the 1990s, to today’s folk-pop revival and R&B experimentation. Yet through all these changes, what has remained constant is the way OPM connects emotionally with its listeners.

Unlike many global music industries, where trends dominate, OPM thrives on emotional relatability. It is not just about catchy melodies; it’s about hugot (deep emotional pull), kilig (the thrill of romance), birit (powerful vocals), and storytelling. These cultural hallmarks make OPM timeless, ensuring it continues to resonate with every generation of Filipinos.

As the Philippine music scene entered the 21st century, a new wave emerged: P-Pop (Pinoy Pop). While inspired by international idol cultures such as K-Pop and J-Pop, P-Pop is uniquely Filipino at its core. It takes the foundation of OPM and amplifies it with global production values, polished performances, and immersive fandom culture.

But what exactly makes P-Pop different—and how does it continue the OPM tradition? To understand this, we need to look closely at the elements Filipinos have always loved in music.

While inspired by international idol cultures such as K-Pop and J-Pop, P-Pop is uniquely Filipino at its core. It takes the foundation of OPM and amplifies it with global production values, polished performances, and immersive fandom culture.

“Hugot” literally means “to pull,” but in Filipino music culture, it refers to pulling deep emotions from the heart (makabagbag damdamin or heart-wrenching). Hugot songs articulate feelings of longing, heartbreak, and unspoken pain. They have defined OPM for decades, from the melancholic ballads of Rey Valera and Apo Hiking Society to contemporary hugot icons like Moira Dela Torre and Ben&Ben.

In P-Pop, hugot has found a new form. While idol groups are known for their upbeat performances, many P-Pop acts deliver emotionally charged ballads that rival OPM classics. SB19’s Hanggang Sa Huli is a prime example—raw, heartfelt, and deeply relatable. The song’s lyrics about unrequited love showcase hugot in its purest form, but the group elevates it with polished harmonies and cinematic visuals. Ilaw is another SB19 song that fits this category. The lyrics center on longing, emotional pain, and finding light (ilaw) amid struggles, while the heartfelt vocals and mellow arrangement amplify the “hugot” vibe, making it easy for fans to connect and use the song as an outlet for their own feelings. Similarly, Alamat often incorporates hugot into songs that highlight Filipino struggles and identity, proving that idol groups can balance flashy performances with heartfelt storytelling.

Hugot ensures that no matter how modern P-Pop becomes, it never loses its emotional Filipino core.

Filipinos are hopeless romantics, and music that sparks kilig—the giddy, heart-fluttering feeling of love—is always popular. From OPM classics like Rivermaya’s Hinahanap-hanap Kita to the endless wedding playlists of Yeng Constantino’s Ikaw, kilig has defined the lighter, joyful side of OPM.

P-Pop has carried kilig into the idol era. Groups like BINI and BGYO craft songs that capture youthful romance and excitement. BINI’s Na Na Na and BGYO’s The Baddest playfully balance modern pop with the lighthearted energy that makes fans swoon. Beyond the music itself, kilig is amplified by P-Pop’s visual storytelling—through choreographies, music videos, and even fan interactions where idols playfully engage their supporters.

For P-Pop fans, kilig isn’t just in the lyrics; it’s in the whole experience. Every smile, wink, and fan event is designed to give that same spark OPM love songs have provided for decades.

The Philippines is known as a nation of singers, and birit—powerful, soaring vocal performances—remains a cornerstone of Filipino music culture. From icons like Regine Velasquez, Jaya, and Sarah Geronimo, birit has set the bar for vocal excellence. In OPM, a singer’s ability to “hit the high notes” is often the ultimate measure of talent.

P-Pop upholds this tradition, proving that its idols are not just performers but also vocal powerhouses. Members of SB19 regularly showcase their ability to belt, with Stell earning recognition for his birit moments that rival OPM legends. Morissette Amon, though more OPM than idol, has also collaborated with P-Pop acts, bridging the gap between traditional birit culture and the modern idol industry.

This blend of pop visuals and powerhouse vocals makes P-Pop unique. While international pop often prioritizes production and style over vocal ability, Filipino audiences demand both. P-Pop idols, therefore, are trained to deliver birit-level performances on stage while maintaining choreography and fan engagement.

Another defining trait of Filipino music is the versatility of its singers. Unlike many global artists who are boxed into a single genre, Filipino performers are known for their ability to cross styles with ease. An artist can move from a soulful ballad to a rock anthem, then surprise audiences with an R&B groove or a rap verse—all while retaining a distinctly Filipino essence.

This adaptability has been seen in OPM legends like Lea Salonga, who conquered both Broadway and pop; Bamboo, who shifted seamlessly between alternative rock and heartfelt ballads; and Sarah Geronimo, who blends birit ballads with dance-pop hits. This tradition of versatility has become a cornerstone of P-Pop as well.

P-Pop idols are expected to be all-around performers: singers, rappers, dancers, and actors rolled into one. SB19 members, for instance, don’t just sing—they write, compose, and rap their own verses. Their discography spans a wide range of genres—pop, hip-hop, R&B, disco/funk, EDM, reggaeton, rock, power ballads, acoustic ballads, and even soul—demonstrating an artistic versatility rarely seen in P-Pop. Groups like Alamat integrate folk, hip-hop, and pop into a single track, while BINI moves fluidly between bubblegum pop and more experimental sounds.

This genre-fluid talent is one reason P-Pop feels both familiar and fresh—it reflects the Filipino ability to embrace many styles while staying true to emotional depth.

SB19 members, for instance, don’t just sing—they write, compose, and rap their own verses. Their discography spans a wide range of genres—pop, hip-hop, R&B, disco/funk, EDM, reggaeton, rock, power ballads, acoustic ballads, and even soul—demonstrating an artistic versatility rarely seen in P-Pop.

At its core, OPM is about storytelling. From Freddie Aguilar’s “Anak” to Ben&Ben’s “Leaves”, OPM songs narrate real-life experiences of love, family, sacrifice, and resilience. These stories connect deeply because they reflect the struggles and joys of ordinary Filipinos.

P-Pop embraces this tradition of storytelling but adapts it for a new generation. SB19’s “Go Up” tells the group’s personal story of perseverance and chasing dreams, resonating with young Filipinos striving for success. Alamat, on the other hand, weaves cultural and historical narratives into their music—songs like “kasmala” highlight Filipino identity and colonial history while incorporating multiple Philippine languages, making their storytelling both personal and nationalistic.

Other groups echo this narrative tradition in their own ways. BINI’s “Golden Arrow” is an anthem of empowerment and resilience, encouraging listeners to keep pushing forward despite obstacles, while BGYO’s “The Light” delivers a message of hope and unity, reminding today’s generation that they have the power to overcome darkness together.

This ability to balance global pop aesthetics with Filipino storytelling ensures that P-Pop is not just another trend but a continuation of OPM’s narrative tradition.

One of the most beloved aspects of Filipino music culture is its communal nature. From karaoke sessions at family gatherings to large concert sing-alongs, OPM thrives because it is meant to be shared.

P-Pop extends this sense of community into its fandom culture. Concerts are filled with fan chants, synchronized lightsticks, and interactive performances. Online, P-Pop fandoms organize streaming parties, social media trends, and charity projects in the name of their idols. This mirrors the same communal spirit OPM has always fostered but adapts it to the digital age.

For Filipinos, music has always been about connection—between singer and listener, performer and fan, family and community. P-Pop amplifies this connection by creating a culture where fans are active participants in the music experience.

At first glance, P-Pop might look like an entirely new phenomenon—idols in coordinated outfits, synchronized dances, polished visuals. But at its core, it is deeply Filipino. The elements that define OPM—hugot, kilig, birit, versatility, storytelling, and communal connection—are all alive in P-Pop, reimagined for a global audience.

What makes P-Pop different is not that it abandons OPM’s traditions but that it elevates them. It pairs Filipino emotional depth with international-level production and performance. It transforms hugot into cinematic ballads, kilig into interactive fan experiences, birit into viral vocal showcases, versatility into genre-fluid artistry, and storytelling into music videos that resonate beyond borders.

P-Pop is not just a trend—it’s the next chapter of OPM, carrying the Filipino voice to international audiences without losing the essence of what makes it special.

P-Pop is proof that the Filipino love for music can evolve without losing its soul. It is OPM’s next chapter—one that proudly says: Filipino music belongs on the world stage.

P-Pop is proof that the Filipino love for music can evolve without losing its soul. It is OPM’s next chapter—one that proudly says: Filipino music belongs on the world stage.

PHOTO FROM SB19’S FACEBOOK PAGE

From the karaoke bars of Manila to the trending charts of YouTube and Spotify, Filipino music continues to evolve while staying true to its heart. OPM taught us to love hugot, kilig, birit, versatility, and storytelling. P-Pop carries these traditions into a new era, blending them with global performance culture.

In the end, whether it’s OPM or P-Pop, the essence is the same: music that speaks to the Filipino soul and connects people through shared emotions. The stage may be bigger now, but the heartbeat remains uniquely Filipino.