In 2005, the world was in a state of flux. Technological innovations — like the iPod Nano and YouTube — were subtly shaping our lives. The music we consumed reflected this steadily accelerating pace, where anything and everything could coexist. On the charts, arena-rock anthems sat next to dancefloor heaters, and mainstream pop stood beside music that bent genres and rules. The days of comfortably staying in our offline echo chambers were fading, as the 2005 era of digitalization challenged what was acceptable, fashionable, and deserving of our time and space.
20 years later, these songs have become time capsules of a generation, carrying memories of angst, heartbreak, and partying until sunrise. Remember headbanging to Bamboo’s rhythmic drumming in “Hallelujah,” or downing a fat bottle of Red Horse while belting out Itchyworms’ “Beer” at the karaoke? 6cyclemind’s “Sandalan” was the ultimate coming-of-age anthem, while songs like Missing Filemon’s “Sinesine” brought awareness to Bisaya rock scenes. On the global airwaves, dance music saw recognition with Madonna’s “Hung Up” and Daft Punk’s “One More Time,” while artists like Fall Out Boy and Princess Superstar embodied the emo and indie sleaze aesthetic that defined an era.
As we celebrate these tracks turning 20 in 2025, we revisit their enduring legacies — and why they remain to be reliable music staples we continue to love over and over again.
Bamboo, ‘Hallelujah’
The release of Bamboo‘s “Hallelujah,” was a moment you just had to be there for. The song opens with guitar lines that sound like a call to arms, with a groovy bassline that can transform a battle arena into a dancefloor. Bamboo Mañalac’s angsty vocals cut through the recording like a fiery sermon from the preacher of his own rock ‘n’ roll religion.
“Hallelujah” didn’t just boast a powerful hook, it also packed a mix of unorthodox elements that set it apart from the hard rock and grunge music that was prevalent at the time. From a rap verse that tap-dances over a freestyle drum solo, to Nathan Azarcon’s driving, distorted bassline that anchors the entire operatic rock masterpiece, the track demands your full attention. It’s a song that delivers the full package, leaving no doubt why it remains a standout in Bamboo’s discography. —Elijah Pareño
Madonna, ‘Hung Up’
While singer-songwriter Madonna was developing scripts for two musicals in 2004, she told her writers that the songs should sound like “ABBA on drugs.” According to reports, they didn’t quite deliver on the brief, but this was the fuel Madonna needed to complete her seminal album Confessions On A Dancefloor, released in 2005. Its lead single “Hung Up” contains a glittery arpeggio synth sample of ABBA’s 1979 disco number “Gimme! Gimme! Gimme! (A Man After Midnight),” layered with a hefty, thumping kick drum that drives anticipation like an ecstasy come-up (“Time goes by so slowly for those who wait / No time to hesitate”). —Sai Versailles
Pedicab, ‘Dito Tayo sa Dilim’
“Dito Tayo Sa Dilim” marked the beginning of a new era in rock music in 2005, with Pedicab leading the charge in this seismic shift. The track opens with Raimund Marasigan’s fuzzy synthesizer, laid with Jason Caballa’s angular guitars and Diego Mapa’s intrusive vocal approach, which urges listeners to get off their seat and dance in the chaos. An exemplary dance-punk tune, the single fused the digital and the tangible, and offered a glimpse into the future in 2005. The single was just one of many tracks on their debut album, Tugish Takish, that followed a similar groove. —Elijah Pareño
Daft Punk, ‘One More Time’
Even after 20 years, Daft Punk’s “One More Time” is still undeniably, unflinchingly, and irresistibly catchy. A pinnacle work of 2000s French touch, “One More Time” illustrates how a minimalist production approach can still manage to sound big, groovy, and funky. This is partly achieved by the horn samples of “More Spell On You” by Liberian singer-songwriter Eddie Johns, which were isolated, pitched down, and looped to create a sustained, anthemic melody. This is a masterful example of how “music got me feeling so free,” as its lyrics suggest. —Sai Versailles
Itchyworms, ‘Beer’
The intro guitar line in Itchyworms’ seminal drinking anthem, “Beer,” signals a moment where everyone in the room sings in unison, “Nais ‘kong magpakalasing,” like it was the Sunday choir. The song takes listeners on a journey through an internal dilemma: choosing between loved ones, or the beer in hand. Ultimately, it’s a track born out of love for both.
A karaoke staple, “Beer” has soundtracked many legendary drunk moments, with its sing-along charm and emotional resonance. The song’s magic lies in its duality; its pop sensibilities make it a KTV bar favorite, while Jazz Nicolas’ soaring high notes and Chino Singson’s roaring guitar distortion elevate it to arena-rock status. It’s a timeless anthem that cements its place as a crowd favorite for generations. —Elijah Pareño
Rivermaya, ‘You’ll Be Safe Here’
Rivermaya’s “You’ll Be Safe Here” was originally written as the ending theme song for the TV show Spirits, a supernatural teen drama that ran on ABS-CBN between 2004 and 2005. The song quintessentially embodies hugot, touching on themes of hope, protection, and yearning. It uses symphonic instrumentals — like thunderous cymbals and soaring violin strings — to envelope you in its warmth, grounding listeners with intricate rock elements like a steady drum beat and soft guitar. This balance of the delicate and powerfully harmonic makes “You’ll Be Safe Here” an unforgettable Filipino tune, tapping into primal instincts of sentimentality.
In 2005 and 2006, the band won the “Favorite Artist Philippines” category at the MTV Asia Awards. In 2006, the band performed “You’ll Be Safe Here” in Bangkok, being the only Filipino performers of the night. —Sai Versailles
Urbandub, ‘First of Summer’
Cebu City’s Urbandub defined teenage life in 2005 with “First of Summer.” The song opens with one of the most iconic basslines of all time, followed by the explosive rhythm that captured the band’s signature “big sound,” blending pop-punk elements like melodic whiny vocals with metal guitar shredding. The song is a hallmark track signalling the beginning of summer; it feels like a party, with the band screaming and shouting as if the night will never end. Urbandub broke into the mainstream with the song and it was the perfect anthem to call for another night of mayhem alongside the band. —Elijah Pareño
Gary Valenciano, ‘How Did You Know’
The official theme song of the Filipino romantic drama All My Life is definitely still a hit among titas belting out hits on a karaoke machine. Pop legend Gary Valenciano knew what he was doing when he dropped his rendition “How Did You Know,” originally composed by songwriter Cecile Azarcon. A heartfelt ballad that captures the quiet wonder of unexpected love, Valenciano’s emotive voice anchors the song, and its gentle yet powerful melody — accompanied by cinematic, orchestral strings — always pulls at the heartstrings, even 20 years after the song’s release. —Mel Wang
Mariah Carey, ‘We Belong Together’
Yes, our New York girl Mariah Carey can do more than Christmas songs, and she’s good at it. “We Belong Together” is a prime example of her power beyond the holiday season. The track marked her major comeback after a career slump following the release of Glitter (2001) and Charmbracelet (2002). However, Emancipation of Mimi (2005) reminded everyone why she’s the queen of vocal range and emotional depth. The song’s sparse production puts Mariah’s voice front and center, as she belts out a raw, emotional plea for love lost. —Mel Wang
Cueshe, ‘Stay’
The post-grunge sound took over Metro Manila in the year 2005, and Cueshe was one of the groups that embraced “pogi rock,” for better or worse.
But “Stay” proved the detractors wrong, featuring an iconic opening chorus line that is sure to stick with new and old listeners alike (“So, if you’d still go, I’ll under… stand …!”). With all the hair gel, long-sleeve shirts, and unbuttoned polos against the setting of an old building, “Stay” served one clear purpose: to inspire people to rush to their significant other in a life-or-death moment. With anthemic guitars and the dual vocals from one of the scene’s most photogenic bands, Cueshe’s nonchalant image perfectly matched the sound they were going for in “Stay,” and we’re all here for it. —Elijah Pareño
Plain White T’s, ‘Hey There Delilah’
Hopefully, Delilah figured things out after she moved to New York City. “Hey There Delilah” had a chokehold on the airwaves back in the mid-2000s, and for good reason. The song’s simplicity is its strength. It’s essentially just a soft guitar, a quiet melody, and lead singer Tom Higgenson’s earnest vocals. But the song continues to resonate because it taps into the universal feeling of longing. Even if you’re not the Delilah in question, the song captures the bittersweet tug of long distance relationships. —Mel Wang
Join the Club, ‘Nobela’
Valenzuela-based quartet Join the Club created a song that perfectly encapsulates the sentiment of “don’t leave.” The wailing guitars lead into the intro vocals of “Nobela,” signaling an emotional journey from start to finish with Biboy Renia’s yearning vocal delivery, which feels like the anxious anticipation of a lover waiting for the door to open. The band paces the song beautifully, reflecting the ups and downs of a fluctuating relationship; it’s not just the acoustic guitars or the drowned out guitar feedback that make this song so emotional, but it’s also the way the lyrics stick with you, no matter the song’s tender pace (“Sa isang marikit na alaala’y / Pangitaing kay ganda / Sana nga’y pagbigyan na ng tadhana / Bawat sandali na lang”). —Elijah Pareño
6cyclemind, ‘Sandalan’
What a quintessential high school song. Released by Filipino rock band 6cyclemind, “Sandalan” quickly became an anthem for adolescent teens growing up in the Philippines. Ney Dimaculangan’s heartfelt “Sige lang!” and the song’s steady guitar riff set a nostalgic tone that is sure to capture the attention of listeners today. With its simple acoustic arrangement and soft percussion, “Sandalan” feels reassuring, capturing that sense of always having someone by your side. For many, the track captured us during our moments of growth, struggles, and friendship, making it a song any person could relate to, no matter how young or old. —Mel Wang
Nujabes, ‘Luv (Sic.) Part 3’
If you’re not familiar with Japanese hip-hop artist Nujabes, it’s likely you’ve heard his songs in some hipster cafe, being the perfect concoction of smooth jazz and hip-hop to sip your morning coffee to. His track “Luv (Sic.) Part 3,” from his second album Modal Soul, captures the rise of DJing in Japan as artists experimented with turntablism with hip-hop’s traditionally more instrumental compositions: A steady down beat and mellow piano melody, followed by vinyl scratches and subtle resonant strings. This airy atmosphere, set against Nujabes’ decisive rap delivery, invites listeners into melancholic, yet soothing contemplation. Modal Soul was Nujabes’ last album of his lifetime, passing away in 2010 from a traffic collision. —Sai Versailles
Eggboy, ‘Wag Magalala’
Crackling with feedback, dorky melodies, and a charmingly lo-fi aesthetic, these are the perfect descriptors for Diego Mapa’s beloved side project, Eggboy. In “Wag Magalala,” Eggboy cranks up the distortion and taps into the nerdy desire to hang out with friends. Mapa has masterfully encapsulated the indie-rock protagonist trope, embodying a demeanor akin to a Scott Pilgrim character, though Eggboy predates Scott Pilgrim by a full decade.
In “Wag Magalala,” Mapa pens a heartfelt letter to his mom, assuring her not to worry as he heads out to meet his friends. It’s a song that transcends generations, proving that lo-fi production can be forgiven — and even celebrated — when it results in a track this catchy. —Elijah Pareño
Kaskade, ‘Everything (Big Room Mix)’
Dance music is an interesting place to see how deep we are into a recession. And in 2005, ignorance was bliss and the vibes were still immaculate. Take “Everything (Big Room Mix)” by Chicago DJ and producer Kaskade, which struck the perfect balance between relaxing by the pool and grooving in the beach club — an ethereal sound that captures the Ibiza brand of house, which made its way to the Philippines with parties like Big Fish in Manila, and in clubs like Epic in Boracay (arguably the country’s version of Ibiza, once upon a time). As the 2008 financial crisis inched closer, this soulful ambience was slowly replaced with debaucherous, festival-ready bangers by the likes of Avicii’s “Levels,” or Zedd’s “Clarity,” signalling a wildly hedonistic era that was, really, a mask for weird times ahead. —Sai Versailles
Gorillaz, ‘Feel Good Inc.’
Most people may recognize British band Gorillaz’s “Feel Good Inc.” from Apple’s iPod ad back in 2005, but this track is so much more than a commercial jingle. The eerie grooves of the song’s bassline, combined with the detached vocals of Damon Albarn (or 2-D’s, for the lore fans) creates an unsettling atmosphere that somehow remains irresistibly danceable. It’s a perfect blend of dark and infectious, and fans of a certain generation can definitely sing the whole song by heart, starting from the first breathy “Feel good.” —Mel Wang
Black Eyed Peas, ‘My Humps’
“My Humps” was also a defining moment in dance-pop music. The Black Eyed Peas hit is a permanent fixture of every party playlist, mixing funky synths and minimalist drum chops with Fergie’s unapologetically tongue-in-cheek verses. Nothing about “My Humps” is subtle; it’s sexy, cocky, and catchy — the three main ingredients of a classic party anthem. —Mel Wang
Princess Superstar, ‘Perfect’
Despite its stripped-down production, Princess Superstar’s 2005 “Perfect” combines the most obnoxious parts of indie sleaze to deliver something deliciously braggadocious; even the lyrics are as crunchy as it sounds (“Get lost, we gettin‘ lots a rocks / While bitches Botox, I blow cocks”). In 2006, “Perfect” was remixed with Dutch musician Mason’s electroclash tune “Exceeder,” which found new life in early 2024 as part of the 2023 film soundtrack of Saltburn. Charli XCX’s 2024 Grammy-winning hit “Von dutch” also pays homage to “Perfect (Exceeder)” by utilizing a similarly stuttering synth. —Sai Versailles
Crazy Frog, ‘Axel F’
“Axel F” by Crazy Frog is a hyperactive earworm with a zany vocal melody that is difficult to take seriously. But this frivolousness is what made it the global summer hit of 2005. Released in the same year as the launch of YouTube, “Axel F” pioneered a breed of virality that we not only take for granted today, but has also been remixed in the same way many of our favorite memes have. “Axel F” was first the theme song of the 1984 film Beverly Hills Cop, starring Eddie Murphy, and was later reworked by German music groups Techno Cop (1992) and Murphy Brown and Captain Hollywood (2003). Even South Korean singer-songwriter Psy took a stab at it in 2002 with his trashy bop, “Champion.” —Sai Versailles
Cascada, ‘Everytime We Touch’
Cascada’s “Everytime We Touch” embodies the Eurodance sound that took the world by storm in the 2000s. Aside from taking German trance’s melodic build up-breakdown anthem template, Eurodance replaced trance’s blistering, acid basslines with more accessibility: euphoric vocals, maximalist staccato synths, and other pop sensibilities that allowed “Everytime We Touch” to sustain its position in the charts for 25 weeks straight. The track also borrows the chorus of Maggie Reilly’s 1992 single of the same name, which is the more folksy, soft rock counterpart of Cascada’s club hit. —Sai Versailles
Fall Out Boy, ‘Sugar, We’re Goin Down’
For anyone who went through an angsty emo phase in high school, “Sugar, We’re Goin Down” was basically the soundtrack of your inner turmoil. Pop punk band Fall Out Boy’s 2005 hit features its iconic shreddy guitar intro, with lead singer Patrick Stump’s killer lyrics (“Wishing to be the friction in your jeans”) still hitting different 20 years later. This emotional rawness is what made early Fall Out Boy so definitive of its time. —Mel Wang
Sheila and the Insects, ‘Maude’
“Maude” by Sheila and the Insects marked the revival of a post-punk in the Visayas and Mindanao regions, with the band leading the charge in this burgeoning scene. As the lead single of their album Flowerfish, the song dramatizes the story of a fading relationship, blending strong accents and piercing guitars to create a hauntingly beautiful alternative-rock track — the kind that can bring you to tears.
In stark contrast to the machismo-driven rock music of the time, Sheila and the Insects offered something entirely different. Maude stands as evidence of their ability to craft an emotional rollercoaster, one that listeners from Cebu City were more than willing to ride. It’s a testament to the band’s unique voice and their ability to resonate deeply with their audience. —Elijah Pareño
Missing Filemon, ‘Sinesine’
Cebu City’s Missing Filemon masterfully navigates the theme of love in a cinematic way. The quartet cemented their status as one of the premier classic rock bands in the Bisaya rock (or “BisRock”) scene, setting the standard for others to follow.
In their 2005 lead single “Sinesine,” the band prioritizes build-up over explosive choruses, crafting a narrative that unfolds gradually. By the time the song reaches its five-minute mark, you’re left with an irresistible urge to hit replay and relive the story you’ve fallen in love with all over again. When a song like this triumphs over works by seasoned veterans like Noel Cabangon and Mike Hanopol at the FAMAS Awards, you know it’s destined for greatness. —Elijah Pareño
Orange and Lemons, ‘Hanggang Kailan (Umuwi Ka Na Baby)’
In the aftermath of the Oasis versus Blur debate, Britpop culture crossed the other side of the pond and found its way into the Philippine music scene, manifesting as an indie pop band from Bulacan. Orange and Lemons captured hearts with their heartfelt plea for a significant other to come home. It’s a timeless trope that, in their hands, felt fresh and deeply resonant.
Serenaded by Mcoy Fundales’ emotive vocals and elevated by Clem Castro’s jangly guitars, “Hanggang Kailan” masterfully dramatizes the longing for a loved one’s return. The song struck a universal chord among artists and listeners alike, inspiring them to fall to their knees and echo its poignant refrain: “Umuwi ka na, baby.” It’s a testament to the enduring power of a well-crafted melody and a relatable message. —Elijah Pareño
Correction: A previous version of this article incorrectly referred to Tutti Caringal II as the vocalist of 6cyclemind’s “Sandalan.” Ney Dimaculangan was 6cyclemind’s vocalist from 2001 to 2011 — the period when “Sandalan” was released — with Caringal replacing him thereafter.
