The Philippines’ first all-female idol group, MNL48 – a sister group of Japan’s AKB48 – has re-emerged after a long, pandemic-induced hiatus that forced their momentum to a standstill. On March 25, the group announced on their social media channels that they were returning with completely new members. Fresh faces such as Abby, Dian, Francese, Jan, Jem, Sela, and Sheki are stepping in for graduating members, marking a shift in the group’s evolving lineup.

Their comeback unfolded on April 26 during “Reboot and Rise 2025” at SM North EDSA in Quezon City. It was a strategic return, one meant to reignite a spark in the local scene that had gone dim without them.

For better or worse, MNL48 has always been a polarizing act in the P-pop ecosystem. Long before polished pop groups like SB19 and BINI entered the picture, MNL48 quietly laid the groundwork. When they introduced a rotating cast of idols bound by sister groups, the local industry didn’t know what to make of it. Their return is less of a nostalgic move and more of a return to form.

At the “Reboot and Rise 2025” event, they were joined by AKB48’s international sub-unit Quadlips – made up of one member each from Indonesia, Japan, Thailand and the Philippines – at the event, their upcoming collaboration further cements the group’s ties to the larger 48g network. 

“Together po with the new generation members, we [trained] hard and we have a lot of setlist na maipapakita rin namin,” said MNL48 member Klaire Presno during the event. “One thing that you should look forward to is the setlist na gagawin namin per generation.” 

MNL48 leader Jamie Alberto echoed the sentiment. “As the name [of the event] suggests, magre-restart po ulit ang MNL48 since, alam naman po nating lahat, na matagal po tayong nawala,” she said. “So, we are more than thrilled na parang to finally reboot and hopefully we’ll rise again.”

The New Era Awaits

Since debuting, MNL48 has dropped two mini-EPs and a handful of singles over seven years. Cult favorites like the bright-eyed “Pag-ibig Fortune Cookie” and the rock-leaning “Palusot Ko’y Maybe” helped build their niche. While the group never reached mainstream success at the level of BINI or SB19, they played an undeniable part in pioneering  idol pop in the Philippines. In contrast to the sleek mimicry of Korean trends dominating P-pop now, MNL48 combines Philippine pop sensibilities with Japanese kawaii culture, creating an identity that has been consistently and uniquely theirs. 

“As a group, we demonstrate to everyone that we do not perceive other groups as competitors,” Alberto said. “But rather as extended families.”

Idol culture, with all its quirks and contradictions, felt more rooted when MNL48 was active. The idea of a 48-member group constantly in flux — accepting new trainees, and losing seasoned ones — wasn’t just a novelty. It was structured and, for a while, it worked.

Now, the question isn’t just about whether MNL48 can stay relevant in a scene shaped by P-Pop polish, but whether they can stake out their own lane again. Early signs point to yes. The new lineup may be different, and the context around them has changed. But if anything, that might be what gives their comeback its edge. This isn’t MNL48’s first rodeo after all.