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Music

Photo credit Shaun Vadella

MANILA, PHILIPPINES — Six years after his last visit to the Philippines, David Archuleta is returning for a concert on September 14 at the New Frontier Theater.

In an announcement on his social pages, the American singer expressed his excitement about being able to sing his favorite hits from the Philippines in the upcoming “Playback Presents: The Best of David Archuleta.”

While he brought songs like “Afraid To Love,” “I’m Yours” and his recent single “Hell Together,” David also covered some iconic Original Pilipino Music (OPM) in his 2012 album “Forevermore,” some of which he teased during his announcement.

He invited his Filipino fans to the concert, saying “Come and just sing your heart out with me. I can’t wait to see all of my Pinoy Archies again.”

In 2018, he raised funds for the charity Mabuhay Deseret Foundation in a holiday benefit concert. David first became known in the seventh season of American Idol in 2008 which he battled out to the finals against his namesake, grand winner David Cook.

Tickets for “The Best of David Archuleta Live in Manila” are now available here and at TicketNet outlets nationwide.

MANILA, PHILIPPINES — On July 20, The New Hue, an independent community focused on championing local music and fostering a vibrant space for OPM, held its highly anticipated third Video Music Awards at The Astbury in Poblacion, Makati. The event saw a vibrant gathering of artists, producers, music labels, writers, and directors come together to celebrate the diverse talents of the Original Pinoy Music scene.

Driven by a mission to elevate and amplify the voice of OPM, The New Hue has established itself as a driving force in the industry with a foundation of inclusivity, authenticity, and community-building as their well-built core values upon which they celebrate OPM. Through initiatives like the annual Video Music Awards, the community aims to recognize and reward Filipino musicians’ exceptional artistry, talent, innovation, and contributions stretching across different genres.

“The OPM is alive!” exclaimed Kenaniah.

The night began with a black carpet arrival, where artists and industry figures strut down to pose for photos. Among the notable figures graced the event were Sponge Cola, Kean Cipriano, Adie, Unique Salonga, Zild, Cup of Joe, Janine Tenoso, Hoest, Ana Declaro, Alex Bruce, and many more. The night was surely a vibrant display of honoring the diversity and talent within the OPM scene. Mix Fenix took center stage as the charismatic host, guiding the audience through an evening of musical excellence.

This year’s VMA started with a “Pre-show” to give the house party vibe the music component it needs to hype up everyone in attendance as early as 4 PM. The floor was dominated by upcoming acts Jikamarie, Julia Q, Gello Marquez, and Ryannah J.

The main show kicked off with an incredible performance from the rock band Kjwan, setting the tone for the night’s lively celebration. Other acts that had made it to the stage included Maki, Angela Ken, Nhiko Sabiniano, Pappel, ALYSON, Manila Bombsquad, Duane of Mango Room, MRLD, and Illest Morena, who further showcased the depth, diversity, and ability of music to connect people.

Community supporters served as award presenters in honoring this year’s winners. Ena Mori, Razorback, Nina Sandejas, Vydd, Aia de Leon, Kenaniah, Bullet Dumas, and Jayda all presented the Cube to its rightful owners. Entities such as Herschel Philippines, Corona, The Archives Booth, UIC, JBMusic, MP Canlas, Mangoroom, JCMedia, Astbury, The Media Mint, and media alliance Magic 89.9 helped make the event possible.

The ecosystem of music supporters across the country played a pivotal role in determining the winners, who were crowned through a combination of public votes, community endorsements, and media alliances. This approach firmly establishes the VMA as a “community-based award,” earned not merely by streams but through recognition from fellow artists and industry colleagues. The votes reflect not just the numbers but the artist’s overall dedication and hard work throughout the period, honoring their commitment to their craft.

Among the big winners were:

• Male DJ of the Year: John Odin

• Female DJ of the Year: Dara Carmina

• Male Artist of the Year: Juan Karlos

• Female Artist of the Year: Denise Julia

• Group Artist of the Year: Cup of Joe

• Hiphop Artist of The Year: Al James

• Indie Artist of The Year: Illest Morena

• New Artist of The Year: Dilaw

• Bassist of The Year: Diego Manzano

• Guitarist of the Year: Vie dela Rosa and Leon Altomonte

• Drummer of the Year: Tim Marquez

• Keyboardist of the Year: Pat Lasaten

• Vocalist of the Year: Unique Salonga

• Song of the Year: Ere by Juan Karlos

• Music Video of the Year: Panahon by Unique Salonga

“It’s not about being the best. It’s about trying your best,” Tim Marquez of One Click Straight mentioned during his acceptance speech after being recognized as Dummer of the Year.

The gathering also served as an avenue for break for the artists in attendance. You see artists performing for artists. The exchange of energy is totally different. It’s not your usual music festival. Artists were given the chance to connect with one another.

The event’s success underscores OPM’s continuously growing momentum and recognition. The New Hue stays true to its advocacy of creating a lively, diverse, and inclusive environment, shining a spotlight on incredible talents that continue to emerge from our local music community, and providing space where the rich sounds and stories of Pinoy music can thrive.

Watch out for the micro site to be launched soon to see everything that took place during the VMA 2024.

MANILA, PHILIPPINES — Immerse into the enchanting melodies of traditional Korean musical instruments in a special concert event, The Forest Music Band Dung Dda Koong, on August 18, 3:00 pm, at the Tanghalang Ignacio B. Gimenez (CCP Blackbox Theater).

Ideal for children over three years old, this delightful interactive play is open to all ages and free for the public.

To reserve seats, visit bit.ly/ForestMusicBandRegistration.

The Forest Music Band Dung Dda Koong insert1

The Cultural Center of the Philippines, in partnership with the Korean Cultural Center of the Philippines and the Namwon National Gugak Center, presents the interactive performance revolving around six animal friends preparing for Tiger’s birthday party. It is under the stage management of Kim Ki Young.

The interactive play follows a whimsical birthday party in the middle of the woods. The Tiger, the celebrant, falls into a pit. By hosting a spectacular performance of Korean folk music, five wooden creatures come to the rescue.

Sharing lessons on friendship and harboring a community through the arts is the band Dung Dda Koong of the Forest. Director Jang Ji Yeon is the fluffy Rabbit plucking the haegum (a string instrument resembling a vertical fiddle with two strings).

Stepping into the role of the friendly Bear, Lee Sena plays the ajaeng (a large Korean bowed zither having seven strings). Yun Yi Na performs with the gayageum (a plucked zither with 12 strings) as the Oriole and Yang Yujin is the Wolf pulling the strings of the geomungo (a traditional plucked zither with both bridges and frets). For the showstopping pansori, Yu Taegyeom takes the stage as the celebrant Tiger with Lee Jisuk as the concerned Fox.

The Forest Music Band Dung Dda Koong transforms the performance into a magical opportunity to introduce the four traditional Korean string instruments, as well as the pansori, the South Korean operatic form of storytelling usually accompanied by rhythmic drums.

A Korean nursery rhyme experience, The Forest Music Band, Dung Dda Koong feeds the younger generation’s curiosity for the Korean arts and culture, ultimately curating an experience invaluable to their artistic development. Instead of watching from the cushioned seats outside the stage, children are encouraged to participate in the play by singing along to the pansori and folk songs.

The Forest Music Band Dung Dda Koong insert2

Celebrating the 75 years of partnership between Korea and the Philippines, the event aims to introduce the elegance of Korean music to Filipino people.

For the latest updates, follow the official CCP, KCC, and NNGC social media pages on Facebook, X, Instagram, and TikTok. Visit the CCP website to explore the latest news in the arts and culture scene.

MANILA, PHILIPPINES — Bringing listeners to the pulse of Pinoy Hip-hop, Spotify introduces “KALYE Mixtape” — a music playlist curated by tastemakers of street culture. This initiative is part of KALYE X, Spotify’s year long program aimed at championing Pinoy Hip-hop through collaborations with fans, artists, and the community.

KALYE Mixtape is more than a playlist; it reflects the vibrancy of the Filipino street culture. Chesca Tan, Lead Editor at Spotify Philippines, shared, “The Pinoy Hip-hop community is deeply passionate about the craft that they do — and we’re all about making sure that they are well represented across our playlist ecosystem and that their art is recognized and respected.”

From hip-hop and street icons to the music producers behind the genre’s hits, KALYE Mixtape offers more than just music. Listeners get a glimpse into the curators’ personalities — reflecting the best of Pinoy hip-hop and culture.

Filipino rapper Waiian expressed that beyond sharing his personal hip-hop favorites, his curation aims to showcase hip-hop and R&B artists such as JID, Yasiin Bey, U-Pistol. “KALYE Mixtape helps me spotlight other talented people who deserve the center stage,” he added.

Music producers NJ, Yung Bawal, and BRGR unfold their musical journeys through their curations. NJ, the mastermind behind Filipinos’ hottest hip-hop hits, offered a playlist that showcases his most significant works, including songs from Hev Abi’s “Kung Alam Mo Lang” as well as Illest Morena’s “Munchies.”

Showcasing their influences, audio engineer and producer Yung Bawal’s KALYE Mixtape featured Ankhten Brown’s “Enner Da Jamal,” one of the tracks that helped him discover his trademark sound. BRGR, producer and longtime collaborator of O SIDE MAFIA, recounted the inspiration behind his KALYE Mixtape, “My mixtape reflects the tracks that influenced and inspired me to create the hit songs.” A highlight from his playlist is his produced song, O SIDE Mafia’s “20 DEEP,” boasting over 24 million streams on Spotify.

KALYE Mixtape offers listeners a diverse experience on the best of Pinoy street culture. Hit play on Spotify’s KALYE Mixtape. Also, stay tuned for KALYE X Wish Bus, featuring local hip-hop acts performing and showcasing their hits on the streets of Manila this August through September.

BACOLOD, PHILIPPINES — Women know shame. It’s a legacy passed down through the ages, a silent inheritance from those who endured suffering without the freedom to voice it or faced judgment for daring to speak out. While shame is taught, female rage — an often suppressed emotional response to systemic injustice and personal trauma — is not. Society expects women to be perpetually forgiving and understanding, as if anger is alien to our experience. But how can we truly release pain if we’re not allowed to feel our anger? Ilonggo and Bisaya artist UBVSTE steps into the spotlight with her debut single, “Imagine,” to defy this norm.

“Imagine” is a sultry and scathingly honest anthem born from the ashes of a tumultuous relationship. The song was inspired by UBVSTE’s personal experience from four years ago. “I found out that my partner at that time had been cheating on me since the start of the relationship and had gotten another girl pregnant,” she recalled. “Instead of owning up to it when he got caught, he proceeded to deny it to clear his name and to try and save our relationship. I’d always felt it in my gut that something was wrong, but I thought I had such a deep, trusting connection with him that I chose to defend him despite all the evidence being presented in front of me.”

For UBVSTE, the year 2020 was not only marked by the global upheaval of the pandemic but also by this personal crisis. According to her, the breakup was a whirlwind of delusion and manipulation, exacerbated by the close-knit nature of her hometown. “My ego was hurt — a lot. I think very highly of myself at times, and for me to put myself in that situation and allow myself to stay in it, I felt so ashamed,” she shared.

UBVSTE channeled her longing for retribution and self-expression into her single, and admitted that the song was largely born out of spite. With a laugh, she said she wasn’t about to let her ex move on as if nothing happened.

Writing “Imagine” became a process of filtering through the chaos of her thoughts and emotions. “The lyrics finally came to me after I decided on a hook,” UBVSTE explained. “And because I couldn’t fully narrate everything in the lyrics, I channeled the rest through the melody and harmonies because I feel like that helps give the song depth. At least I can hopefully let the listeners feel the rage, delusion, and pain I went through.”

Even with all this said, “Imagine” doesn’t quite fit the typical mold of an angry breakup song. Instead, UBVSTE uses it to reflect on the what-ifs and could-have-beens, while also facing her ache and anger head-on. The song captures the complexity of human emotions, showing that they’re not just black and white. By letting herself explore this, UBVSTE found a kind of catharsis. She told adobo Magazine, “It honestly felt like such a good release; I was laugh-crying throughout the entire writing process.”

UBVSTE revealed that the production of the track was a collaborative effort spanning several years. Introduced to the beat by her current boyfriend, UBVSTE eventually became friends with the producer, Pizza Killer. However, it wasn’t until a year later that she began working on her debut single. “One night, I was hanging out with my best friend Sejo, also a musician based in Dumaguete who has always encouraged me to pursue my music. He started playing the beat, began freestyling, and gave me the idea for the ‘Imagine’ hook,” she disclosed. “We kept replaying the beat while I wrote my verses on my phone, finishing the chorus and bridge parts first. I remember going home really excited that night, thinking, ‘It’s finally happening! I’m finally singing about this traumatic experience.'”

The process of refining the song took three months, with UBVSTE adding harmonies and experimenting with different vocal styles. “I pride myself on having many voices, so I decided to add a sort of mocking voice vibe to the second verse, drawing inspiration from artists like Gwen Stefani or Doja Cat,” she elaborated. “I was hesitant at first, but I’m glad I did because many people have told me their favorite part is the second verse.”

After hearing the finished song for the first time, UBVSTE felt relieved and liberated, knowing she had confronted and expressed her past hurt through music. It marked a true moment of freedom for her. “There was definitely a lot of self-reflection and accountability in confronting my past self and decisions,” she acknowledged. “While being highly self-aware can sometimes lead to shame from our end of things, I wanted to embrace that vulnerability and share it with the world.”

The four-year gap between the events that inspired “Imagine” and its release was crucial to UBVSTE’s artistic growth. “The song just never came to me. There were times during those three years when I felt incredibly frustrated because I wanted to write about that event but couldn’t find the right words, beat, or style,” she said. “Ultimately, I had to trust the timing of my life. The delay gave me the space to shape ‘Imagine’ with a clearer perspective and a more authentic expression.”

UBVSTE views her art and voice as a way to reclaim space and assert women’s narratives, ensuring our stories are heard. Despite the raw emotion in “Imagine,” the singer-songwriter wasn’t afraid of judgment, having already processed her feelings. She hopes that her willingness to share her experiences helps others feel safe to do the same. “Women in the music industry are increasingly asserting their voices, transforming pain into powerful art, and proving that our vulnerabilities can be sources of strength and inspiration,” she added.

With “Imagine,” UBVSTE has delivered a debut that highlights her voice and, more crucially, celebrates female rage, resilience, and the impact of music. If there’s one thing this anthem of defiance makes clear, it’s that female rage — though often misunderstood — is valid and powerful. Imagine that.

Song cover art by Hyna Calderon. Photos by River Dimitri and Darla Mamuyac.

MANILA, PHILIPPINES — Filipino pop-rock icon The Itchyworms is celebrating the release of its own brand of craft beers with a music event that features some of their friends and favorites in the local music scene.

The Itchyworms: Beer o Pag-ibig? Official Launch promises to showcase the band’s refreshing mix of brew variants to the general public for the first time while enjoying the live performances of Ebe Dancel, Ciudad, Blaster, The Revisors, and The Itchyworms.

The Itchyworms launches craft beer insert

The event will take place at the 123Block on July 13 from 6 p.m. onwards. In addition to performances, there will be games, booths, and special on-ground activities prepared by its co-organizers, GNN Entertainment Productions and The Itchyworms themselves.

Inspired by the song “Beer” which topped several music charts when it was released and has become a drinking anthem moving Filipinos, The Itchyworms’ foray into the brewing scene dares to ask the familiar question: Bawat Patak. Anong Sarap. Ano ba talaga ‘ng mas gusto mo?

The two variants include BEER, a light and clean-tasting blonde ale with a balance of tropical fruit flavor and the right amount of maltiness, and PAG-IBIG, a hazy, cloudy, and flowery beer that is sweet and bitter at the same time.

The entrance fee to the event is PHP 999 for two people, and it includes a free six-pack of beer. Tickets are available here.

MANILA, PHILIPPINES — Whether it’s a catchy upbeat tune like “Happy” or a positively mellow song like “Just A Cloud Away,” the Despicable Me franchise has produced some of the most beloved music for animated films. The musical themes for the different characters are just as memorable, because in the world of Despicable Me, the music plays a vital role in interweaving the narrative with equal parts mischief and heart. 

Grammy Award-winning composer Heitor Pereira, the creative force behind the Despicable Me films’ iconic musical scores, adopts a character-centric approach to his compositions. “Believe it or not, I wait until every new character sings their melodies to me,” Heitor said. “I hear their music through the tones of their voices, the rhythm of their dialogue, their extreme personalities and how they interact with all the other characters in the story. When you write for one character, you have to think about all the others – it is how this melody can coexist and interact with the melodies of everybody else. Animation can be very intricate. My job is still to make it sound like the music was born along with it!”

His collaboration with Grammy Award-winner and Oscar® nominee Pharrell Williams has been instrumental in shaping the musical identity of the franchise. Williams’s original songs, including “Despicable Me,” “Happy,” and “Just A Cloud Away,” among many others, have become emblematic of the Despicable Me brand. 

“In the first movie, we worked very closely together,” Heitor said. “Hans Zimmer introduced me to him and asked me if I would do an arrangement of the girls’ theme. I put my heart into it, showed it to them the next morning and I got a gig and a new musical friend! He came to my studio many, many times, and we had a lot of fun. Since then, he writes his great songs and I write the score. Even though I write the new themes for the new characters, Pharrell’s original themes are still there – as I pointed out, the girls’ theme, or Gru’s theme, which we ended up collaborating on, and I wrote the Minions’ theme. But, like him, I come from pop music, so my love for songs never goes away. I just see the score as a massive song! In doing that, Pharrell is ever-present.”

Despicable Me 4 will feature a new original song from Pharrell, which reflects the double life that Gru leads in the film. “Gru is trying to live in peace in American suburbia, yet has to uproot his family to go on the run from his new enemies,” Pharrell said. “His family starts to catch on despite his efforts to hide the danger. The song is about struggling with keeping his identity as a secret agent despite wanting to be honest with his family.”

Pharrell’s partnership with Illumination and Heitor has enriched the Despicable Me franchise’s musical landscape. “Our goal is to connect with humans, building on themes and situations that resonate with most people,” Pharrell shared. “We try to do it vividly and harmoniously. I remain a student and learn so much from Heitor every time we collaborate. He is a genius composer, a creatively articulate guitar player, a shining Brazilian talent.”

Get ready to vibe to the catchy music of Despicable Me 4 now showing in cinemas INS2

In Despicable Me 4, Gru’s (Steve Carell) life is turned upside down with the arrival of his and Lucy’s (Kristen Wiig) new baby, expanding his role to a father of four and a dedicated AVL agent. While on a mission with the fan-favorite minions, Gru comes face to face with the villain Maxime Le Mal (Will Ferrell) and his femme fatale girlfriend Valentina (Sofia Vergara), and the family is forced to go on the run. 

Packed with non-stop action and filled with Illumination’s signature subversive humor, Despicable Me 4, is now showing in cinemas nationwide. #DespicableMe4PH

Get ready to vibe to the catchy music of Despicable Me 4 now showing in cinemas INS1

Follow Universal Pictures PH (FB)UniversalPicturesPH (IG) and UniversalPicsPH (TikTok) for the latest updates on “Despicable Me 4.”

MANILA, PHILIPPINES — K-Pop has undeniably cemented its status as a global phenomenon, with leading audio platform Spotify at the forefront of driving the genre, empowering artists to connect with a global audience and scaling their music across borders. Spotify’s flagship playlist for the genre, K-Pop ON! (온), has become a key destination for those new to the genre and veteran superfans alike, helping them discover new music while keeping up to date with K-Pop’s very best.

This year, Spotify commemorates a decade of the flagship playlist bringing K-Pop to the world and launched the first-ever Spotify K-Pop ON! (온) Singles. Headlined by artists ENHYPEN, SHOWNU X HYUNGWON (of MONSTA X), and STAYC, this milestone initiative was centered around the theme of “My First K-Pop Crush” and featured covers of songs by the sunbaes (industry seniors) who first sparked each band’s love of K-Pop. Much more than a nod to the very beginnings of every fan’s journey into the genre, the campaign was also a celebration of K-Pop across generations.

These Spotify Singles not only sparked enthusiasm among fans, but also rekindled appreciation for the iconic original tracks while continuing to spread the genre’s influence worldwide, even spanning beyond Asia and the US. To date, ENHYPEN’s cover of BTS’ “I NEED U,” SHOWNU X HYUNGWON’s rendition of 2PM’s “I Hate You” and STAYC’s version of TWICE’s “Fancy” have collectively amassed more than 35 million streams.

Fresh content to connect with fans and new listeners

Spotify ( My First Crush )

Following the release of the Spotify K-Pop ON! (온) Singles, the performing artists saw notable uplifts in Spotify streams on a global scale – underscoring the power of the Spotify Singles program in providing artists with opportunities to build and deepen connections with fans as they bring listeners fresh content.

In the week following the releases of the covers by ENHYPEN and STAYC, the groups’ overall Spotify streams saw a week-on-week increase of close to 25% and 40% respectively. Most notably, in just a week following the release of SHOWNU X HYUNGWON’s cover of “I Hate You,” the duo saw a staggering 490% increase in global streams and a 20-fold increase in Spotify streams in the Philippines.

Igniting the rediscovery of iconic tracks

Spotify ( My First Crush )

As ENHYPEN, SHOWNU X HYUNGWON, and STAYC gave fans a glimpse into their beginnings with K-Pop through their Spotify K-Pop ON! (온) Singles, their covers also reignited interest in the iconic original tracks – particularly those from earlier generations.

Highlighting the timeless appeal that music can have and the power of covers in bringing past hits back into the spotlight, SHOWNU X HYUNGWON’s rendition of “I Hate You” resulted in an uplift of more than 35% in Spotify streams for the original 2009 hit, in the week following the launch of the Spotify K-Pop ON! (온) Single. Spotify streams for BTS’ 2015 “I Need U” also grew in the week following the release of ENHYPEN’s version of the song, tracking a 135% increase.

Driving K-Pop beyond Asia and the US

Spotify ( My First Crush )

K-Pop has proven that music from anywhere in the world can transcend language and cultural barriers. Once again demonstrating the global appeal of the genre, markets beyond the US and Asia ranked amongst the top countries rediscovering the original versions of the Spotify K-Pop ON! (온) Singles.

In the week following the release of ENHYPEN’s cover, Brazil and Turkey were amongst the top markets that saw the highest percentage increase in streams for “I Need U” by BTS. Meanwhile Mexico, Canada and Brazil ranked amongst the top 10 markets rediscovering “I Hate You” by 2PM following the release of SHOWNU X HYUNGWON’s rendition of the track.    

A week after STAYC released their cover of TWICE’s “Fancy,” markets including Egypt, New Zealand, Hungary, the Czech Republic, Portugal, and Belgium saw the highest spikes in streams.

“We’re thrilled to witness how listeners worldwide have supported our first-ever Spotify K-Pop ON! (온) Singles,” shared Jungjoo Park, Head of Music Korea at Spotify. “At Spotify, our dedication to helping music travel the globe goes beyond showcasing talent. In addition to driving the growth of K-Pop by fueling music discovery, we’re also committed to helping artists foster deeper connections with fans and new listeners to build the appreciation of the genre.”

MANILA, PHILIPPINES — Rising Philippine pop groups ALAMAT and KAIA collaborated with the hit mobile multiplayer online battle arena (MOBA) game Mobile Legends: Bang Bang for the first time.

The collaboration involved the up-and-rising six-male idol group ALAMAT, who is now among the most streamed all-male local bands on Spotify, and KAIA, a promising five-member girl group, for Mobile Legends’ song of the summer.

With the track’s catchy lyrics, “Road to Mythic” motivates students to enjoy the warm, fun summer break by playing MLBB and reaching their Mythic status in-game. The song also aims to unite students and promote camaraderie among the community before they return to school.

Fans can now listen to “Road to Mythic” on various music platforms such as Facebook, YouTube, Spotify, Instagram, and TikTok.

Join the Road To Mythic Tayo Dance Challenge and win prizes

From now until June 25, fans can join the “Road to Mythic Tayo Dance” challenge to win prizes by uploading a TikTok video of them dancing to the song’s chorus. Entries must include the official hashtags #itsmorefuninMLBB and #RoadtoMythicTayo to qualify. The entries will be judged based on the views (50%), likes (20%), comments (20%), and style (10%).

ALAMAT and KAIA team up with Road to Mythic insert3

The top three entries will receive 50,000, 10,000, and 2,000 in-game diamonds, respectively.

Get to know more about Mobile Legends: Bang Bang Philippines through Facebook, YouTube, TikTok, and X (formerly known as Twitter).

LONDON, UK — PRETTYBIRD Director Joseph Wilson has debuted a rebellious cinematic anthem in the music video for The Irrepressibles’ new track “Yo Homo.” A punk rock track of queer defiance, “Yo Homo” is an explosive call to arms that is unashamedly proud and brimming with homosexual desire. 

As a London-based artist and drag performer himself, Joseph seized the energy of the lyrics and united performers from the alt-queer scene to celebrate their identities through dance and moshing in a rundown warehouse. The energetic choreography and fast-moving cinematography juxtaposed against the single location and minimalist wardrobe create an edgy and unexpected visual narrative.

Joseph commented, “’Yo Homo’ explores the rage of queer youth and the power of community. The song takes me back to my teens, when I would get drunk in skateparks and go wild in mosh pits at local rock shows. It’s the song I wish I knew when I was 16, and the song I listen to now with pride and sweet nostalgia.”

Joseph has been working with and documenting the eclectic East London queer scene for the past five years. His films, which share the message of amplifying marginalized voices in the LGBTQI+ community, have premiered on NOWNESS and iD, as well as Raindance Film Festival, BFI Flare: London LGBTQI+ Film Festival, Fringe! Queer Film & Art Festival, and The East End Film Festival. In 2021, Joseph was selected as one of the FLAMIN (Film London Artists Moving Image Network) artists in recognition of his film Isn’t It a Beautiful World which depicts, through lip syncing, the stories of Queer performers. The film also screened at the LFF Festival and won the prestigious CIRCA x DAZED Class of 2021, announced by Marina Abramović.

Recent work includes directing the Amazon Prime x TikTok LGBT+ Modern Love Stories, and music videos for Patrick Wolf “Nowhere Game” and Autoheart “Juggernaut.”

CREDITS:

The Irrepressibles ‘Yo Homo’
Directed by Joseph Wilson

Production Company: PRETTYBIRD
EP: Juliette Larthe
Head of Production: Fiona Bamford-Phillips
EP/Producer: Chris Murdoch
Production Manager: Lottie Lindsay-Beavan
Directors Rep: Claire Stubbs / Mouthpiece

1st AD: Sam Barnham
Runner: Augustine Onoriode

DOP: Anibal Castano
Gaffer: David Witchell

Spark: Sonny Mihajlovic

Stylist: Fancy Shews!
Stylist’s Assistant: Loren James Wood

Choreographer: Courtney Deyn

Dancers: Oliver Rumaizen, Wet Mess, Bola Olagunju, Naissa Bjorn, Jayla OConnell

Edit: Joseph Wilson
Grade: Anibal Castano
Graphics: Amie Nowlan

BTS: Genevieve Reeves

Video Commissioner: Daniel Harding @ Zinglyng 

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