Few Filipino acts have captured an entire nation quite like P-pop girl group BINI. In just a few years, the eight-piece has gone from promising rookies to a full-blown cultural force. Their impact is undeniable, earning them the moniker “Nation’s Girl Group” and a coveted spot at this year’s Coachella in California.
Aiah, Colet, Maloi, Gwen, Stacey, Mikha, Jhoanna, and Sheena have been on an upward trajectory since their formation as BINI in 2019 under ABS-CBN’s idol training program Star Hunt Academy. After debuting in 2021, the group has built a devoted following through a run of bright, meticulously crafted pop singles and relentless performances, eventually breaking into the mainstream with viral hits that cemented their status as one of the leaders of the P-pop wave.
Ahead of the release of their newest EP, Signals, on April 9 and their highly anticipated Coachella sets on April 10 and April 17, we’ve picked out BINI’s 25 best songs (so far) and ranked them.
With the introductory summery guitar chugs entering the fray of BINI’s earlier EDM dance-pop tracks, “No Fear” shows its age, with the girls still getting familiar with its verse-chorus-verse writing. Let’s say this was the group trying to hone their prowess in trading verses and landing powerful choruses, whether as a motivational dance track or a festival-ready EDM riser with a drop that borders on laughable. It’s dated, but it’s a first step nonetheless. —Elijah Pareño
Written by Jonathan Manalo and originally performed by The Itchyworms for Pinoy Big Brother: Teen Edition 1, this 2022 version pairs BINI with SB19 for a full-bodied ensemble moment. It plays like a “We Are the World”-style showcase, where everyone gets space to shine, and it’s best appreciated that way. The pop polish elevates it, but the song’s rock backbone, found in the use of guitars, keeps its original spirit intact. —Pie Gonzaga
In “Born to Win,” the track’s flute accents and dancehall-trap influences are paired with powerful vocals, but that doesn’t necessarily make for the strongest combination. This title track from their 2021 debut album shows how their sound palette could have stifled their beginnings, while also pointing to how their growth has been essential since the start. —Elijah Pareño
Now we’re back to a BINI that’s fierce, flexible in style, and driven by the power of using the Filipino language to get their point across. “Paruparo” brings together melodic prowess, vocal harmonies, and motivational lyricism. The group that has continued to rise since its pandemic-era beginnings. —Elijah Pareño
I’ll admit it: I was hesitant to include a song made to advertise corn chips, but “Super Crush” is an undeniable bop. Built on a fast-paced Jersey club beat, it leans into playfulness without losing control. My one qualm with the track is that while the hook lands, the chorus feels like it’s building up to something explosive, only to go nowhere. But branding exercise or not, “Super Crush” works as proof that a good pop song can come from anywhere. —Pie Gonzaga
“Parang may spark,” Aiah sings in unmistakable, effortless code-switching in “Kinikilig.” That charm is what put BINI on the map. Colet, Mikha, Maloi, and Sheena holding the rap fort is a treat, wrapped in a pop track driven by guitar licks, groovy bass lines, and a knack for turning the concept of kilig into sound. This still feels like a test run, but a good sign that even in 2021, BINI were already shaking off early hiccups. —Elijah Pareño
“Blink Twice” is one of BINI’s most globally successful tracks, having been co-produced by American musician Marqueze Parker (a.k.a. Leather Jacket), who has worked with international acts like Normani, Ciara, and Ariana Grande. Even with its hip-hop-leaning beat, it still carries BINI’s signature bubblegum sheen and even gets a little flirty. “Blink Twice” can feel a little repetitive in its lyrical content, but its chart runs in the U.K. and New Zealand, plus a performance on Good Day New York, speak to its global pull. —Pie Gonzaga
A lo-fi loop of a wedding theme plays before the synth line of “First Luv” is a welcome sign of what’s to come. Lines like “no one else but you” ride over a build that rides on a gentle bass line and soft orchestral textures. Despite its minimalist production and curious hi-hat touches, “First Luv” came at a time when the group wanted to fully embrace the Filipino-English dynamic from their all-English-heavy run throughout 2025. —Elijah Pareño
“Out Of My Head” is BINI in full dance-pop mode, an energetic jolt nestled within their 2025 EP BINIverse. The track highlights the group’s versatility, proving they can shift gears effortlessly and balance sleek production with charisma and control. —Pie Gonzaga
In one of BINI’s peaceful and more solemn cuts, “Katabi” reminds Blooms that pop doesn’t have to rely on bombastic hooks and dance numbers. Pop music could also go right into R&B textures, expanding the group’s foray into different genres. Almost everyone gets a moment, a testament to how a girl group works best when each member is locked in. The harmonies, paired with the high notes and vocal runs floating over an intimate, acoustic guitar-backed production, offer a welcome change of pace. —Elijah Pareño
One of two singles released ahead of the upcoming EP Signals, “Honey Honey” is all sweetness and sticky hooks. The repetition does some heavy lifting, such as in “Like honey, honey drippin’ for me” and “Who knew love could / who knew love could.” It’s light, earworm-y, and irresistibly charming without trying too hard. —Pie Gonzaga
“Shagidi” flips a childhood playground game into something almost club-ready, threading Afrobeats influences through its rhythm. Compared to BINI’s brighter, more effervescent dance tracks, this one is a little rough in the best way, grimy and percussive. The beat drives everything forward, giving the song a tactile energy. It’s playful in concept, but its execution leans tougher, expanding the group’s sonic palette in exciting ways. —Pie Gonzaga
In “Zero Pressure,” BINI channels ‘80s synth-pop, powered by an arpeggiated bassline and dramatic synth pads. There’s a sense of urgency baked into both its production and lyrics: “I got fire in my blood when I move / No, you won’t catch me holding out for a miracle” that reminds one of hits like TWICE’s “I Can’t Stop Me” and Dua Lipa’s “Physical.” —Pie Gonzaga
Drum n’ bass is one of the most unexpected turns BINI has taken in their production choices, I’ll admit. As their first all-English single, “Cherry on Top” was divisive, with all members stepping into a non-native language context. With bright, colorful production and an effective hook like “I’m the cherry on top” sung over and over, this was BINI stepping into bigger territory, and it makes sense why. —Elijah Pareño
“Diyan Ka Lang” leans into breezy ‘90s R&B-pop, effortless and emotional all at once. Its laid-back groove gives the vocals room to breathe, and the rap verse is a delightful surprise. There’s confidence in its restraint, and nothing feels overworked, even with the sizzling synths in the background. Here, BINI coasts on melody and mood, delivering a track that’s easy to return to again and again. —Pie Gonzaga
Among the stronger cuts from 2024’s Talaarawan, the track “Na Na Nandito Lang” shows BINI’s ease in pop writing. A line like “nandito lang ako” is simple, but not everyone can sell those lines in a snap. However, BINI has the formula locked in, with tight synergy and a clear understanding of each member’s vocal tone leading into a satisfying hook. Bubblegum pop with deeper synth lines and subs gives the song more oomph, easily outpacing their P-pop contemporaries. —Elijah Pareño
Co-written and co-produced by Flip Music’s Bojam De Belen, “I Feel Good” captures BINI in 2022, coming off Born to Win and inching toward a bigger stage. The hooks sound bigger, the ambitious production shines, and the group has shown their full potential with everyone singing. The ambition is clear: an expansive chorus, uplifting verses, and a chemistry that sticks fully into bubblegum energy. It’s polished for a group on the verge of something bigger, and it shows. —Elijah Pareño
Conceptually framed as the “first stages of first love,” “Unang Kilig” marks BINI’s official clapback after a stretch of global performances. By 2026, competition in P-pop had tightened, but this track reinforces why they carry the “Nation’s Girl Group” label. With Jeremy Glinoga working alongside Manalo and Rox Santos, the collaboration is immediate. Maloi and Aiah’s “Give me a sign!” lands with sweet confidence, pushing each member further into their own space to shine through its choruses. “Unang Kilig” arguably eclipses their more recent material, and all it needs is a power chorus, stacked harmonies, and a direct line to that universal feeling of love. —Elijah Pareño
The first verse of “Ang Huling Cha Cha” is deceptive. You think you’re getting another ‘90s R&B-pop throwback, maybe something in the vein of NewJeans. And sure, “cha cha” is in the title, but that doesn’t mean it’ll actually go there, right? When I first heard this song on the 2024 EP Talaarawan, I was surprised by the pre-chorus’ hard swerve into Cuban cha-cha-chá, before going into a chorus that fuses Latin dance with contemporary pop. “Ang Huling Cha Cha” is playful, impressively cohesive, and overall a delight to listen to. —Pie Gonzaga
The girl group delivers a defining snapshot of what 2021 BINI was. Around this time, the pandemic had everyone on lockdown, and “Na Na Na” was the light at the end of that tunnel. The single is sonically innocent, lyrically determined, and relentlessly catchy. It blends kitsch, camp, and the concept of collective girlhood into a technicolor pop framework that makes its four-minute runtime feel shorter than it is. This is an earworm built to last and a masterclass in pop songwriting. —Elijah Pareño
“Pantropiko” is pure, sun-soaked bliss, bubblegum pop at its brightest, layered with tropical house textures that feel straight out of our beaches’ turquoise shallows. In 2024, it was inescapable, with TikTok users following BINI’s choreography and dancing to its irresistible rhythm. But beyond virality, the track also captures the group at its most magnetic and playful. I simply cannot imagine a world where BINI didn’t release “Pantropiko.” —Pie Gonzaga
BINI’s “Karera” pairs a glittery, funk-tinged chorus with an important message. Co-written by hitmaker Nica del Rosario alongside members Colet, Mikha, and Stacey, the track is straightforward pop, catchy, and resonant. The song’s core idea about pacing yourself cuts through the shimmer, and it’s in tracks like this and “Kabataang Pinoy” that BINI captures the Filipino audience’s love for purposeful, inspiring music. —Pie Gonzaga
This cut from 2022’s Feel Good was a clear shift in sound and chemistry. It is special because we get to hear BINI sing in mid-tempo and deliver a highly emotional performance. With production cues that range from Glam-rock-leaning guitars and rising EDM synth lines, the song frames a story of longing and staying after a long day, pushing the track into a more careful, deliberate pacing. What adds to the beauty of the song is the entire group’s strength in vocal harmonies and runs, which culminate in a strong ending. —Elijah Pareño
There is no sensation like putting this song on repeat as you walk through campus thinking about your first serious gay crush. The track, produced by Manalo, is pulled straight out of ‘90s pop, addictive in both sound and subject. “Lagi nang umaawit / umaawit mula kusina hanggang sa sala” captures that giddy, all-consuming feeling, and also mirrors what the song does to you. The synth accents are nostalgic, and the track overall doesn’t fall short on vocal runs you can’t help but try to follow. The triumphant last chorus is the greatest part of all of this, embodying the high of falling in love — and don’t we all love a love song like this? If you have feelings you want to declare at the top of your lungs, BINI provides the perfect amplifier in “Lagi.” —Pie Gonzaga
“Oh, hello there, misteryoso!” lands with a wink and a smile — and it’s one of those pop culture moments where you had to be there. From there, the group moves through a run of tight, infectious verses that feel locked in from the start. Funky basslines and guitar licks hold everything together, while chants like “Ayaw maniwala, aye!” hit with a charmingly cheesy energy. No need to dress it up, and it’s time to cut to the chase: this is the definitive BINI track. A crowd favorite, a songwriter’s win, and a hook that has never left the consciousness of all poptimists alike. In under four minutes, it makes the case clear. BINI has rightfully earned the title of being the “Nation’s Girl Group” after releasing “Salamin, Salamin.” —Elijah Pareño
