This year, the landscape of music videos in the Philippines resounded with stunning works of visual storytelling.
In the music video for “Hinga,” singer-songwriter Pikoy fashions an entire dreamscape all by herself using a DIY setup. Animation and interpolation become magic tricks to blur the lines between reality and fiction in “Lahat Na!” by RB Slatt & LET BU. To the rhythm of “SZA” by JustRaw, Jkey and Chuya, the simple concept of hanging out in Cebu’s streets late at night turns into a commanding performance with the trio’s stylish confidence.
Supported by a record label or created independently with whatever was available, these and the many music videos released this year show the infinite ways a song can be birthed into its visual form through the technology and mediums at our fingertips. But the biggest story told throughout all these visual companions is that our music scene overflows with homegrown talents who put a fierce dedication into their crafts.
In no particular order, here are some of the best local music videos to come out this year:
FEIFEI feat. cØnstantine_, ‘grocery store’
Directed by Joe Barbacena, Morris Mueller
“grocery store” is charged up with the energy of a forcefield waiting to be activated. The music video is a fast-paced digital collage, precisely cut to the beat of a glittery song soaked in autotune and tingling sounds. It lets the viewer ride its currents, jumping through portals that lead to bowling alleys, grocery aisles, and parking lots. Internet fragments like memes and screen glitches also bleed into real-life footage of FEIFEI and cØnstantine_. Watching this is like turbo boosting through your favorite Mario Kart track, only fitting for this high-octane song.
Brickcity, ‘Salt & Pepper’
Directed by MV Isip, Denzel Joaquino
Co-director MV Isip described the music video for “Salt & Pepper” as a “love letter to the hardcore/punk scene” she was forged in, and the world of fashion filmmaking she finds herself in now. Watching it, one feels the care and attention put into its stylistic creation. In contrast to the track’s heaviness, Salt & Pepper begins softly with displays of affection between two lovers in an opulently dressed home. But what is sweet and tender melts into thin ice: tension rises, ropes coil, and a lavish feast is pieced together, like clues forming the answer to a whodunnit mystery. With such an elaborate set design and wardrobe, along with the haunting chemistry between the two leads, it’s a beautiful visual masterpiece about a corporeal devotion that doesn’t hold back.
kiyo feat. shortone, ‘Padayon’
Directed by Yukihiro Rubio
On World Ocean Day 2024, Plastic-Free Ambassador kiyo and shortone released the “Padayon” music video produced by the Ecowaste Coalition. Dancing through underwater tunnels aglow with fish and diving into glittering ocean waters, the duo shines a light on the creatures that thrive in Philippine seas — especially species threatened by plastic pollution. Showing the wonder and beauty of marine life to the tune of a good song, “Padayon” is a testament to how creativity can be used as a powerful tool in bringing awareness to advocacies and social issues.
Cheeky Things, ‘Bones’
Directed by Anthony Riann Limcangco
Cheeky Things’ debut music video shows what can be born from friendship and the relentless DIY spirit. Set in artist-run venue Sining Shelter, the band is captured in their natural element, goofy antics and all: hanging out over card games, striking poses deadpan under the eye of a CCTV camera, and performing to an imaginary crowd that actually captures the energy of their live sets. The music video is an endearing snapshot of Cheeky Things’ refreshing charisma and sound, along with the spaces and people that have become part of their journey as a beloved local act.
JustRaw, Jkey, Chuya, ‘SZA’
Directed by jaspersgrave
By concept, the video for “SZA” is simple: Bakeshopboyz’s JustRaw, Jkey, and Chuya walk through Cebu at night, hanging out on dimly lit sidewalks and in the white glow of a convenience store. Yet as they ooze with confidence, it’s their commanding presence that makes the video so compelling. The trio dons stylish all-black ensembles, styled in hair clips, silver chains, and furry leg warmers. With the camera angled up towards them they take control, giving it their full attention one second then swiping it away in the next. Pulsing with movement and rhythm in every frame, the rappers put up an effortlessly cool act that ultimately pulls you in.
BINI, ‘Cherry On Top’
Directed by Kerbs Balagtas
Within 24 hours of its release, the music video for “Cherry On Top” reached two million views. The P-pop group has made their breakthrough, and from here on out they’re only bound to blossom into more hearts. Set in a fictional place called “Cherry Town,” the girls radiate with a lovely flair in a wonderland of pastels and bright hues. Dancing atop a giant cake and strolling through the town’s dollhouse-like streets, they deliver a captivating performance, made even better with dreamy visual effects that are marshmallow-soft. It leaves you wanting more and you’ll definitely have it, for BINI’s sweet reign has only just begun.
Toots, ‘Jargon State’
Directed by Cola Salva Cruz, Nano Florentino
By the magic of animation, 3D shapes reminiscent of old video games meld with the handmade touches of paper matter, inventing a liminal world for “Jargon State” where a cloud of dread looms. A faceless body bleakly goes through the motions of a daily routine while stalked by a menacing masked figure. You can’t help but root for the humanoid, following the chase through desolate office cubicles, infinite hallways, and empty voids, bathing in a cathartic ignition of colors and shapes as the song climaxes with momentary conviction. Watching this video is an emotional ride, and such storytelling is perfect for a song that bares its fangs while asking the existential question: What does this mean to the machine?
Pikoy, ‘Bawat Hinga’
Directed by Pikoy
Hit play on “Bawat Hinga” and you fall into the rabbit hole of a dreamscape created by singer-songwriter Pikoy. Surrounding you with an alluring eccentricity, the video drifts through multiple doppelgängers of the musician, subjecting you to her spellcasting gaze through the haze of colored plastic or in the form of floating heads. It’s worth noting that Pikoy shot and edited this herself, creating a striking video only with her “usual selfie setup” and a plastic cover.
Player Two, ‘Let Me’
Directed by Ven Villariza, Wave P
There’s more than meets the eye in Player Two’s “Let Me.” The surrealism begins with deadpan humor as the group pulls cheeky performances for the camera, set against the backdrop of lush mountains and blue skies. Little by little, you start to notice things that don’t quite make sense: Ivo Impreso raps with a double of himself, Wave P rappels with a giant chain instead of a rope, and clouds move at supernatural speeds. The music video isn’t just visually appealing; it disarms you with subtle visual effects and precise transitions. Adding to the sorcery, it’s Player Two’s very own members at the helm of this work: Ven Villariza and Wave P as a director-editor tandem, with the former also the mastermind of visual effects, and Puhken as the director of photography and camera operator.
DJ Love, ‘Sabak Sa DJ Basuri’
Produced by DJ Love
Budots may have gained international recognition, but in the music video for DJ Love’s single “Sabak Sa DJ Basuri,” which was released along with his debut album Budots World (Reloaded), he points to the heart of the genre: the streets, the people, and the dance.
Budots and dancing are inseparable, and the DJ Love-produced video invites you to body roll and take it low through Camus Street in Davao. Whether it’s a park, a street, or a barangay hall front, he and the Camusgirls — a dance group started by DJ Love — turn any place into a dance floor. Showing different areas in their hometown, you feel the energy, noise, and grit that make budots what it is. Perhaps to distinguish “Sabak Sa DJ Basuri”’s release from DJ Love’s usual dance videos, it incorporates stop-motion animations that magnify the fluidity of budots dance moves. But overall, it stays true to the spirit of DJ Love and Camusgirls, making it a great tribute to the genre.
Gusimann: RB Slatt & LET BU, ‘LAHAT NA!’
Directed by Khel Zacarias
Taking viewers inside the barrel of a gun to a small sliver between speeding trains, LAHAT NA!” blurs the lines between reality and fiction. Gusimann members RB Slatt and LET BU are transported into a 3D subterranean world where they dwell in empty subway stations and running trains. Actual performance shots set in an underground pedestrian tunnel are interspersed seamlessly throughout animated sequences, allowing real life to bleed into the fantasy. Bringing the rappers to impossible places, animation and interpolation are cleverly used to play with the thin veil that separates what’s real and what isn’t.
kyleaux, k1ko, ‘gusto kita’
Directed by wan
Singer-rapper kyleaux slips into a daydream right as he queues “gusto kita” on his phone. Fluttering through malls and trains in a feathery state that one would only know by having a crush, he endearingly sweeps the city to find the girl of his imagination. This well-stylized video is colored with fleeting visual effects and laidback performance shots, making a charming portrayal of limerence — a perfect accompaniment to this sweet electronic collaboration by the two 25hearts members.
U-Pistol feat. SHNTI, ‘Wisteria’
Directed by Blair Duran and WAIIAN
“Wisteria” begins with a bang as partners in crime hold up a cafe in broad daylight. They steal valuables and a mysterious box from customers caught in the crossfire, all without forgetting to leave a tip for the cat food fund. It’s revealed that this feline-loving and strangely wholesome Bonnie and Clyde compromise a larger operation involving the mysterious box, entangling them with a band of goons who hunt them down. With an ensemble of interesting characters — U-Pistol and SHNTI themselves taking part in the act — the music video is an exercise in fun and lighthearted storytelling.
Zild, ‘I.N.A.S.’
Directed by Lunchbox Productions
Using a green screen in a music video might be a classic idea, but “I.N.A.S.” pulls this trick in a fresh way. It’s a feast for the eyes that holds the viewer’s gaze, fleshing out the playful nature of the song through dynamic colors and movement. Whether Zild sings to the camera or off to the side, dances by himself or with his band and some company, the video shows an interesting side to him: one that’s cool, less serious, more crazy, and altogether fun.
Sean Archer, ‘Patay’
Directed by Tristan Ortega
“Patay” is a comical portrayal of Sean Archer’s fatal attraction at the hands of a love interest who texts back. The musician sings his way to the afterlife: passing away on his living room floor in front of his panicked bandmates, he ends up at his own funeral, only to rise from the dead once he receives another message from “crush <3.” What makes this video a treat is how it uses images that are likely familiar to most. A palaspas hangs at the door of a sala that glows with daylight filtered through thin curtains. A parody of a wake sees guests grieving, playing card games, and partaking in coffee and peanuts all at once. These settings are used wonderfully as the background for a story about a heart-stopping crush, an experience that’s just as universal as the warmth of your family’s home or the emotional frenzy of a Filipino funeral.
