In 2026, genre is at its most malleable. At the forefront of this music upheaval are younger Filipino acts pushing the possibilities of sound, supported by seasoned artists to create spaces where music can last longer than a viral moment.
But pushing alone can’t always affect change. Several musicians speak of their personal experiences of being othered, of genres being boxed off by class and geography, and surviving largely through stubbornness. Some of those conditions remain to this day. What has changed is how artists talk about community.
Hailing from all over the country, these artists below speak on what needs to change in the industry and what they’re anticipating in 2026, from evolving R&B to underground dance floors, local musicians focus on sustainability and shared progress.
R&B Stepping Up
R&B continues to widen in approach and audience as younger artists treat the genre as a flexible art form. R&B musician Stef Aranas sees it moving across lyrical themes and production styles.
“I think R&B will be even more diverse and expansive in 2026. With such a malleable genre, there’s so much room to play,” she says.
This shape-shifting has already led to new offshoots, according to singer-songwriter and producer Alisson Shore. He cites the Y2K-influenced wave, which blends early-2000s R&B melodies with modern production, called Y2KRNB. Together, his outlook reflects a scene focused on discovery, giving more room to shaping their sound.
“I’m seeing these experiments (the Y2KRNB) to flourish with new subgenres to be born until the end of 2026. But by 2027 it will hit a brick wall,” he adds. “Much like how Vaporwave hit the mainstream scene but didn’t hold that well.”
Rock To the Next Level
Rock, a genre that’s known to be highly adept, continues stretching past boundaries. Bands today freely draw from punk, blues, electronic, folk, and pop influences rather than returning to old formulas. Rock in 2026 moves through experimentation, small venues, and scenes that encourage risk.
“We see Filipino rock music heading towards a sonic landscape that is more indefinable,” blues rock band Bita and the Botflies says. “An amalgamation of genres and influences, a hybrid of nostalgic sounds and modern Filipino sentiments.”
The urge to incorporate rock into other genres is also strong in younger acts. Alternative rock solo act aunt robert points toward growing overlaps with electronic music.
“I believe that there will definitely continue to be a crossover between electronic music and rock,” she says. “Incorporating rock elements from past decades into the evolving electronic music of our era and vice versa.”
Care About the Dance
The rise of dance music in the 2020s comes with deeper conversations about culture, credit, and respect. Genres like budots and club-rooted styles from the Visayas and Mindanao, once on the fringes, are now reaching wider audiences.
“What excites me most is that budots is becoming more accepted and understood,” pioneering budots producer DJ Love says. “There’s noticeably less judgment now, especially as people encounter its energy, humor, and emotional honesty in different settings.” Budots has gone beyond novelty, and dance music connoisseurs are accepting it as a form of expression with its signature leg motion and charming production techniques.
Alongside the recent resurgence of dance music comes the need for learning the historical context of the word “rave.” Pette Shabu points to the importance of knowing where scenes, especially in dance music, come from. She offers caution and care to those who wish to dip their toes into the dance music scene.
“People always need a history lesson,” Pette Shabu says. “Respect comes with knowing things and not actually deciding for something they don’t know, which becomes the loudest noise. A common thing for a business is to gentrify or steal ideas from the people who actually push and innovate.”
All Eyes on VisMin
Across the country, attention continues to shift toward Visayas and Mindanao. Artists from these regions have spent years developing scenes without Manila’s resources or media focus.
“Cebuano artists in general are hella underrated, it’s actually disappointing,” Cebuano pop artist IIICCCYYY says. “I feel like everybody should always be keeping an ear out for us.”
In cities where venues, funding, and industry connections remain limited, growth often happens through community effort. KC Salazar of KRNA describes how important it is to drive their scene forward.
Salazar says, “In a country where the creative class is left mostly to fend for itself, and in a city like Cagayan de Oro, where basic infrastructure for music barely exists, sincerity becomes a strategy. The only strategy for us is to stay real and grow in whatever cracks of space exist.”
Playing in places like Bacolod and Tokyo, Japan, organizing local gigs, and building regional networks now shape how VisMin artists reach new audiences.
“If [playing more shows] inspires more bands from our region to step out, experiment, and take up space, then that’s the real win. If we can do it, [other artists from VisMin] can too.” Salazar says.
