This article is in collaboration with IQOS.
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Change is a constant in nightlife culture, with music and partygoers slipping in and out of different trends, eras, and phases at a whirlwind speed. The Philippine nightlife scene is no different, and it is almost impossible to describe how it has evolved over the last few years, thanks to changing sounds, new venues, and a global pandemic shaping the way we party.
To give us a better perspective on how the sound and culture of nightlife has transformed over the last decade, seven of the country’s most prolific DJs who headlined the latest IQOS Curious X party at Bando sat down with Rolling Stone Philippines to speak on how they’ve navigated the scene’s ever-changing rhythms and how they’ve stayed curious and ahead of the beat.
Exploring New Sounds
For DJ STRODANO and his partner, video jockey (VJ) STRØ, there’s been a clear shift in how DJs are pushing the boundaries of genre within the scene. The audio-visual rave duo has spent the last few years playing high-profile events like &FRIENDS Festival and collaborating with major musical artists like M1ss Jade So.
STRØ, who was one of the first VJs on the local nightlife scene, has been instrumental in pushing visuals as a key part of how DJs present their sets. “Nobody was doing what I was doing, and I was getting a lot of heat for it,” said STRØ. “10 years later, and people still don’t understand what I do! But it’s a process, no? I think there’s definitely been a payoff, though, because I’ve left my mark on the scene. People are more interested in what a VJ does, and now this new generation of VJs can pattern their careers off of mine.”
STRODANO, pulling from his decade-worth of experience as a DJ, noted that DJs on the scene have become more open-minded about incorporating new genres into their sets. “Before, it would be DJs trying to fit in and be like, ‘Oh, EDM is big right now, so I need to sound more like EDM,'” said STRODANO. “Now it’s less about us playing the big popular stuff, and more about us playing what we authentically listen to.”
That same curiosity about genres has also spilled over into audiences and venues, according to DJs Arthur Tan and Tolo Marvelous. Tan, who has built his career spinning across the world, co-founding the DJ-centric label After the Noon Records, and formerly helming the Artists & Repertoire team at James Reid’s music label Careless, has seen firsthand how crowds have become more open to diverse sounds.
“There are a lot more genres of music to explore, and there are so many new pockets of the local nightlife scene for people to get curious about,” said Tan. “I myself am definitely more curious about new genres, especially Latin music from Brazil and the Dominican Republic. I’m glad that people are listening to songs outside of what the algorithm gives them on Spotify.”
For Marvelous, who’s performed across a wide range of venues and opened for major acts like Fatboy Slim, blurring genre lines has always been a part of the job. “Back in my day, venues weren’t willing to change their sounds,” said Marvelous. “Like, if one place played one type of music, that’s all that they’d do. But then the pandemic happened, and I guess we got tired of listening to the same things at home, so we needed to get curious about what else was out there that we could listen to.” Marvelous’ latest multi-genre release, Club Tools Volume Two, is a testament to that spirit of exploration, taking risks by blending sounds from Brazil club, Jersey club, and experimental edits.
New Personas
Beyond pushing sonic boundaries, DJs have also noted that being part of the scene today means crafting a distinct persona and presence. Pring has built his public identity from the ground up, starting as an MC and radio host on Magic 89.9 alongside his sister, Joyce Pring, before stepping behind the decks himself. “Before, most people just listened to music,” noted Pring. “They’d go to venues, they’d enjoy the music, and everything would end with the night. But now they’re more curious about the people behind the music. Now they need to know about the artist, their culture, their experiences, who they are as people.”
“I feel like artists now really need to think about what it means to be an artist,” continued Pring. “You need that persona now, not just for your fans but also for the partnerships you want to build, the deals you want to make. You need to be on all the time now.”
DJ Jazz Zamora echoed a similar statement on how DJs need to be constantly changing and improving in order to keep up with the scene. Zamora has used his background in choreography to craft upbeat, high-energy tracks, experimenting with dance music through live collaborations with Open House Records. “You kind of have to be curious in this industry,” said Zamora. “Otherwise… I don’t want to use the word ‘boring,’ but sometimes, if you hear yourself playing the exact same thing and you know the exact same time the bass drops, then what does that tell you?”
For DJ Euric Lumanog, who’s spent the last 17 years behind the decks, dance music has led him to founding and collaborating with some of the most popular clubs around Manila’s nightlife scene. But the DJ wouldn’t have gotten to where he is today without constantly exploring new sounds. “When I was young and starting out,” said Lumanog, “I really only stuck to hip-hop. But now, I love techno, and house, and K-pop, and EDM… I think we should always stay curious in this industry, you know? Like, there’s no monoculture now, so curiosity is everywhere.”
The past few decades have seen local nightlife culture be fueled by a drive for experimentation, one that’s helped foster a strong sense of community. “Back then, you couldn’t find your own group, because everything was super cliqueish,” said KATDJ, who started out playing small-time gigs and competitions and is now the senior resident DJ at The Palace Manila. “But now, there are so many DJs out there. There’s a group or collective or party for everyone now, and it’s great to see that the scene has a loose sense of structure now.”
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