Since the early 1990s, Filipino hip-hop has adopted various styles of rap. From hard-boiled gangster rap by groups like Ghetto Dogs, Pamilia Dimagiba, and Shotsfired, to slice-of-life and introspective rap by artists like Gloc-9 and JSkeelz, the genre is one of the most diverse in the Philippines.
But the most popular variant is arguably love rap. Unlike the “gangster” and “macho” themes often associated with hip-hop, love rap was its complete opposite. The lighthearted piano loops were contrary to the intimidating darker production of horrorcore and abstract rap of the time. Keyboard synths were melodic and easygoing, and drums were four on the floor boom-bap style with gentle kick and snare combo. In the 2000s, with the advent of MTV and the internet, hearing your favorite love rap songs blasting from the large, buzzing speakers of a neighborhood computer rental shop was a sign of how accessible hip-hop was on your side of the Philippines.
One of the earliest examples of love rap, Salbakuta’s 2001 track “Stupid Love”, became a household favorite after premiering in rapper and actor Andrew E.’s movie of the same name. With Charlie Mack delivering an off-key chorus, and Mad Killah, Bendeatha, and Nasty Mac rapping about the pitfalls of love, “Stupid Love” inspired many to pursue hip-hop in a more affectionate and earnest way.
Following in the same vein, rap group Crazy as Pinoy released the boom-bap R&B-flavored crowd favorite “Panaginip” in 2004. Composed of rappers Crispin, Bassilyo, and Sisa, the trio became one of the most successful rap groups of their time, even performing alongside Francis Magalona on Eat Bulaga’s “RapPublic of the Philippines” segment. Outside of Metro Manila, artists like Maryland-based Gagong Rapper with “Kabet” (2004) — featuring its iconic piano loop — and Cebu’s Dice and K-9 (ft. @Hi-C) with “Itsumo” also exemplified the love rap trend, earning their stripes in the scene years before their hits took off.
Statistically, love rap songs amassed tens of millions of views on YouTube during this era — long before any major music streaming service had penetrated the market. YouTube became the primary platform for love rap to thrive, with its accessibility allowing the genre to reach a wide audience. The visual identity of love rap often included Windows slideshows of couples’ photos paired with fonts like the grungy and distressed Bleeding Cowboys and playful Comic Sans. This aesthetic became synonymous with the music, creating a unique cultural identity that resonated with a specific online audience.
The rise of FlipTop Battle League
However, by the 2010s, the rise of the “jejemon” subculture began to negatively impact the perception of love rap. Characterized by rainbow-colored snapback hats, shutter shades, basketball jerseys, and a highly stylized online syntax, jejemons became a status symbol often ridiculed by the general public. As this subculture grew, love rap became associated with it, often criticized for its poorly recorded music, unflattering vocal mixing, and dated visual branding.
Despite this, love rap’s influence on Filipino hip-hop remained undeniable during this time. Songs like “Patawarin Mo” by Floetics (2008) heavily emulated the singing style of Bone Thugs-n-Harmony, while songs like “Ang Ganda Mo” (2010) by the now-U.S.-based rapper Cue C followed suit, reproducing the falsetto singing that the group is known for. Other love rap highlights that were popular during the 2010s include “Paglisan” by Repablikan Syndicate, “Langit Lang” by Breezy Boys and Breezy Girls, and “DOTA o Ako” by Aikee featuring Vanessa — all touching the hearts of many young listeners.
Love Rap’s Decline and Resurgence
When FlipTop Battle League entered the mainstream in the 2010s, every rapper wanted to one-up each other by how lyrically dominant they were. Love rap would, later on, take a back seat. A much more lyrical and technical approach was prioritized by rap veterans like Stickfiggas’ Loonie, Lyrically Deranged Poets’ Abra, and Smugglaz of 187 Mobstaz released solo singles that showcased their lyrical acrobatic skill of multisyllabic rhymes and potent hooks on who is the best rapper in the world. Nothing was about love and feelings anymore.
Songs like “Tao Lang” (2013) by Loonie talk about what it means to become human under certain circumstances, “Nakakamiss” (2014) by Smugglaz, Dello, Curse One, and Flict-G talk about the nostalgia of living a simple life in the court, in the streets, and the household. “Cerberus” (2014) by Abra, Loonie, and Ron Henley is a boastful three-verse track that aggressively showcases the multisyllabic skill all three rappers specialize in.
Tastes have changed, yet love rap continues to become more popular than ever. With the WISH 107.5 Bus performances of “Panaginip” by Crazy as Pinoy and “Sa Gitna ng Ulan” by Breezy Boys and Smugglaz amassing millions of views alongside the 20th anniversary of “Itsumo,” the effect of R&B-influenced hip-hop still resonates, bringing back the innocent days of high school activities of waiting for friends. With the lasting influence that the movement has on the youth of Filipino listeners, it’s good to know that we still have a little love rap in all of us.
