It’s hard to believe that SB19 wasn’t already through their music. But before the sold-out arenas and chart milestones, the quintet endured their trainee years, which, for any aspiring idol, is a period of immense pressure and ambition, and sometimes these two things are at odds with each other. 

After debuting in 2018 with “Tilaluha,” the members Josh Cullen Santos, John Paulo “Pablo” Nase, Stellvester “Stell” Ajero, Felip Jhon “Ken” Suson, and Justin de Dios spent months in stagnation before their “Go Up” dance practice video exploded online in 2019 and transformed them into one of the most visible acts in Filipino pop music. At the time, the boys were concerned with sustaining virality, and agreed with their company heads to be more active on social media. “Sa industry dito, hindi pwede maging complacent,” Pablo told CNN Philippines Life in February 2020. “Kung gusto mo [na] may marating ka, kailangang ‘pag may nagawa ka, pag-igihan mo pa more than ang ginawa mo before.” Just a month later, the pandemic forced nearly every artist’s live shows to come to a halt indefinitely. 

But SB19’s online reach kept growing. By early 2020, the group had become a mainstay on the Billboard Social 50 chart, which is evidence that their fanbase had already expanded far beyond the Philippines. And throughout the early 2020s, they released hit after hit: 2021’s “MAPA,” “Bazinga,” and 2023’s “GENTO” are only some. Six years later, SB19 is one of the biggest acts leading the P-pop wave, with one live album, two studio albums, three EPs, multiple hit singles, and 1.8 million monthly Spotify listeners to their name. As the group reaches new heights, it now looks to uplift its peers in the industry and a whole generation of emerging talent in the country. “It all started with a crazy idea,” Josh previously told reporters when the group announced its own company, 1Z Entertainment, in 2023.

During their trainee days, the members would joke about building “our own company, our own pacing, our own management.” Wishful thinking evolved into a larger ambition: creating opportunities not just for SB19, but for Filipino artists navigating an industry still figuring out how to support acts with global aspirations. In April 2026, Pablo became the president of the label.

Going Their Own Way

While breaking free from restrictions seems to be enough reason to start one’s own entertainment company, SB19’s efforts in self-management are more of an exercise in responsibility and ownership of their work. The seeds of autonomy were already sown in their early days as a group, with Pablo writing the lyrics and Stell working on the choreography. “[Starting 1Z Entertainment] has always been about protecting our creative freedom and having full control over our direction as artists,” the group says. 

“We wanted to make decisions that truly reflect who we are, without limitations, which led us to take ownership of our careers.” Launching 1Z Entertainment meant becoming more involved in every layer of their work: production, strategy, scheduling, branding, and long-term planning. It also demanded a different kind of discipline. Aside from being performers carrying out ideas developed by others, SB19’s members are now also decision-makers balancing the needs of a business with the demands of artistry. 

“It has changed the way we operate by making us more intentional, disciplined, and hands-on with every aspect of our work,” they explain. “It has also given us the opportunity to set a new standard and pave the way for both current and future Filipino artists on how to navigate the industry on their own terms. We see it not just as a business move, but as a responsibility to help shape a more artist-driven landscape in the Philippines.”

SB19’s decision to build 1Z Entertainment also reflects a broader transformation in how artists in the Philippines and abroad now think about longevity and control. For decades, mainstream success in the local entertainment industry often depended on fitting into existing systems shaped by big, established entertainment companies. Artists were expected to adapt to structures that prioritized visibility and commercial viability, even if it sometimes came at the expense of creative independence.

But the rise of digital platforms has gradually shifted that balance. Artists today are no longer entirely dependent on traditional gatekeepers to build audiences, organize communities, or sustain careers. They’re learning how to use music production software on their laptops, releasing the music on streaming platforms, and promoting it relentlessly on social media.

SB19 emerged during this transitional moment, when online spaces began allowing Filipino acts to cultivate highly engaged fanbases capable of mobilizing support globally. Their success demonstrated that a local group could build international momentum through direct engagement, consistency, and a strong sense of identity rather than relying solely on institutional backing. After all, it only took a fan posting their dance practice video on X (then called Twitter) for SB19 to go viral overnight. The dream of a thriving music industry has long been dreamed by the group. In 2020, Pablo told CNN Philippines Life, “Gusto ko po kasi katulad sa Korea, maging sobrang progressive ang arts and culture dito sa Philippines kasi sa totoo lang po, sobrang daming Filipinos na talented talaga na hindi nabibigyan ng opportunities.”

Autonomy comes with obvious advantages. The members of SB19 say that self-management allows them to “clearly manage and express the wants and needs of each member, both musically and creatively,” while giving them space to move at their own pace.

But the challenges are more complicated. “There are times when we have to balance different expectations and creative opinions within the group,” the group admits. “It can be challenging to make sure everyone feels heard while still moving forward efficiently.” Still, SB19 believes that compromise is a necessary part of the music-making process. Years spent together, as trainees and as artists building a career under relentless public attention, helped them better foster communication and accountability in their dynamic.

“We always find a way to compromise by focusing on one shared goal and mission as a group, and that sense of unity helps us stay grounded and mentally steady,” the group says. “We have been together for a long time, and that shared journey has built trust, understanding, and accountability among us,” Justin says. “Building our own company, 1Z Entertainment, has also strengthened that support system because we rely on each other not just as artists but as partners.”

Read the rest of the story in the P-pop Special issue of Rolling Stone Philippines, available soon on newsstands and for pre-order SariSari Shopping.

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