These days, we forget how much radio has shaped our culture since its creation. Its influence over music discovery, the emergence of genres, and the promotion of countless artists to the global stage is the reason behind the robust, global discography we now enjoy.
But as the digital landscape fosters a more democratic space for music discovery, radio is forced to find ways to adapt. For example, platforms like Spotify have taken the concept of radio’s curated playlists to a new level, offering personalized stations based on individual listening habits. How is radio supposed to compete with the accessibility that digital streaming platforms have to offer? What can radio provide that other media can’t?
One station that found its footing in this age is Wish 107.5 through its mobile broadcast studio, the Wish Bus. Their YouTube channel, launched in 2014, has over 15 million subscribers, providing a massive global audience to anyone who performs on its platform. On the bus, artists are able to immortalize a live performance for local and international audiences to rewatch on YouTube. While other stations offer video content and livestreams as well, none have reached crossover success like the Wish Bus videos.
The Complete Package
Even back when my band, Lola Amour, were independent artists, the opportunity to perform on the Wish Bus was a game-changer. My first time on the bus back in June 2019 was the biggest thing to happen to us at a time when we were attempting to make a name for ourselves.
Inside, I immediately noticed the six-camera setup. This wasn’t like the other radio shows we’ve performed in the past. I was a film student, so I knew they were using top notch gear to capture our performance; they would not only perfectly capture the best parts of our performance, but also our would-be mistakes — uploaded on the internet for the world to judge, in full HD. The stakes were high, but we needed what Wish had. We wanted a seat on the same platform as the artists we idolized like IV of Spades or Al James. As a band whose flagship product was live performance, reaching an audience using an algorithm that pushes for live music really helped put us on the radar — something traditional radio would struggle to provide without the right audience, gear, and expertise.
According to Wish’s DJ Ray Holiday, the channel’s success is owed to its technical quality. “Let’s face it, even the artists themselves, they upload their videos [online] but sometimes, you have to compare. It boils down to the quality,” he told me. “When digital started, a lot of our local artists tried making music with what they have — like [a] laptop — which is not really broadcast quality. You need good sound.”
This reminded me of our first Wishclusive video. While I sat in horror as I relived every mistake throughout that performance, I remember the band collectively deciding that we sounded good. That made everything okay because that was all we really needed. That’s why audiences come back to the Wish Bus — whether they’re tuning into the FM, watching on social media, or standing right outside the bus.
The model is so effective that Wish has expanded its channel to Wish USA and, more recently, Wish South Korea. But the Wish Bus doesn’t need to depend on these international channels to book international acts. There’s already a good number of international acts that have appeared on the show. “Ang tumatak sa’kin, the first foreign act: The legendary Rex Smith,” Holiday said. Other notable artists include Lauv, Seori, and even Dua Lipa in 2017.
Meryll Lopez, a Wish Bus administrator, says the Wish Bus offers a complete package, which sets them apart from other stations. “May venue na ‘yong Wish Bus, may studio na ‘yong Wish Bus, meron na rin silang hakot na fans. So parang all-in-one na pag nasa Wish Bus.”
As an artist myself, I would have to agree. The convenience of coming in, performing, and getting out all within a few hours is, in my opinion, unbeaten. All you have to do is wait a few weeks, and you have your professionally shot and recorded live performance on a channel with insane numbers.
And this service isn’t exclusive to big names. Wish boasts a segment dedicated entirely to independent artists called Uncharted. Acts who are just starting out have the opportunity to sign up to be guests on the bus. “Karamihan ng indie artists, walang aggregates. Meron kaming screening committee. Tapos ‘pag pumasa sila doon, i-schedule namin sila,” said Lopez. This wasn’t the case when I first got on the Wish Bus. It took years to get to the level we were at. We needed a distribution deal with a label to pull that off, but Wish started Uncharted in 2023; it took steps forward towards a more democratic platform of music discovery.
Even Buses Can’t Escape Their Roots (Pun Intended)
By no means is the Wish Bus model perfect. It has a strong presence on YouTube and social media, but it still competes with countless other non-radio channels that serve similar content without the logistical constraints of performing on a bus — meaning, it can’t accommodate larger ensembles, adding a physical limitation to the genres they can provide a platform for.
Services like Spotify, Apple Music, and YouTube offer users the ability to discover new artists through algorithms. These platforms give listeners more control over what they hear, which traditional radio — including Wish 107.5 — cannot replicate. When you’re on the Wish Bus, you have three primary audiences: the fans outside the bus, people tuned into the FM radio station, and the would-be audiences on their YouTube channel; only one is predominantly there for your sound or music. While Wish provides live performances, it still competes with the convenience and personalization that digital streaming offers.
Despite its challenges, the Wish Bus has always succeeded in its original goal set by its creator, Daniel Razon. “[‘Yong] real concept ni Kuya Daniel is ilapit [ang] artists sa tao. ‘Pag Wish Bus, sobrang intimate ng artist sa fans,” Lopez told me. I can attest to its value. At the very least, Wish has succeeded in creating an engaging and interactive experience, offering something traditional radio cannot; turning streets into stages, and bringing all kinds of live music to an online community of people who are looking for it.
Five years after my first-ever Wish performance, the bus still serves as a gateway into our music both online and offline. The parameters of how this radio station serves music to the public may have changed compared to its predecessors, but the goal remains as essential as ever — to serve music to the people.
