Making sense of the buzz and the chatter at All Of The Noise 2026

How do you support original Pilipino music and the music community in the Philippines? 

This is the question that has driven The Rest Is Noise PH (TRIN PH) and its yearly staging of All Of The Noise (AOTN) for the past four years. A music showcase and conference event that taps not just emerging and established Manila-based acts but also regional Filipino artists and international musicians, AOTN marked its latest edition with an expanded three-day event featuring a multi-format program that reflected the organizers’ focus on community-building, cross-cultural collaborations, and artist visibility. Aside from the live music showcases, attendees got to sit in at industry conferences and join in on collaborative creative sessions held across three venues in the metro: The Astbury and Sari-Sari, both in Makati, on April 17 and 19, and 123 Block in Mandaluyong City on April 18. 

AOTN 2026 was co-presented by the Center for International Trade Expositions and Missions’ CREATEPhilippines, The Orchard, ONErpm, Symphonic Distribution, Jack Daniel’s Philippines, Guevarra’s, and Spotify.

Nearly 30 artists from different genres participated in the event’s musical showcase, starting with singer/songwriter/violinist Muri, the first artist highlighted in CREATEPhilippines’ Creative Features series, opening AOTN 2026’s welcome party, along with Angela Ken and JAO. The local acts that played during the three nights included BP Valenzuela, Fitterkarma, SOS, Ourselves the Elves, Elijah Canlas, DJ Love (Davao), VVINK, Playertwo, fern., August Wahh, School Girl Classic (Cebu), Delinquent Society (Davao), Alyson, Novocrane, Amateurish (Baguio), Carousel Casualties, Magiliw Street, and kyleaux. Also part of the lineup were New Zealand’s Phoebe Rings, Indonesia’s Grrrl Gang, Arash Buana, and Gavendri, Singapore’s Shye and Pines, and Taiwan’s Heng Jones.

Because of its impressive lineup, AOTN 2026 received more than 2,000 guests—a mix of university students, young professionals, young music fans, artists, and creative workers—across its 3-day celebration. With every live performance and conference session packed with listeners, the event affirmed the organizers’ belief that OPM is essential, not only in the country’s communal creative scene but also as a cultural export. 

Another program that drew music aficionados was Echoes of the Noise, a series of film showings featuring documentaries on Filipino and Asian sound histories and narratives. Held on April 19 at The Astbury Basement, it started with Elephant Gym: More Real Than Dreams, which tracks the Taiwanese jazz fusion band Elephant Gym’s more than a decade-long journey. The screening was followed by a talkback session with band member Tell Chang. Next on the roster were OPM-focused features Rosas: The Song and The Journey and This is Hannah + Gabi, each with its own director’s talkback sessions.

TRIN further ensured cross-cultural interactions with AOTN 2026’s Music Creatives Program Studio Sessions, which facilitated songwriting, production, and original music collaborations between Filipino and international artists. Spotify, the event’s official music partner, led the Spotify for Artists Masterclass as a practical session for artists and stakeholders. Held on the morning of April 17, it introduced musicians to the global platform’s tools and offered insights on how they can further strengthen their presence on Spotify, based on audience behavior and streaming trends.

Serious issues, spirited discussions

A highlight of AOTN 2026 is the return of its conference program Cut Through The Noise, where different players from the music ecosystem conducted presentations and panel discussions to address the evolving needs of the local and regional music sectors. These sessions were held at The Astbury on the afternoons of April 17 and 19.

The topics ranged from comprehensive themes, such as “The potential, trends, and opportunities in the Southeast Asian music scene” and “How labels grow without losing trust, taste, and cultural capital,” to more OPM-specific subjects like “What the music community in Baguio City tells us about decentralization, crossover, and cultural sustainability” and “Dissecting Diary ng Panget Original Soundtrack: A poptimist’s dream.” While each session tackled topical issues covered by their respective themes, some of the common threads yielded by all of the discussions are the growing influence of the Southeast Asian region—that includes the Philippines, of course—both as a source of emerging artists and music trends and as a viable market for foreign acts looking to expand their audience; how authenticity remains crucial in music, not just in terms of an artist’s creative output but also in how they market themselves and connect with their audiences; and the role community plays in ensuring the sustainability of any music scene. 

The discussion on “The role of private and public sectors in developing a more sustainable Filipino industry” was particularly lively. It introduced to attendees the Philippine Creative Industries Development Act (PCIDA), which is the legislation that lapsed into law in 2022, aimed to promote and support the development of the country’s creative industries. In the 4 years since, there remains a lot to be done, not the least of which is the greater awareness of the legislation among creatives. 

The back and forth between the panelists underscored the need for a more organized private sector so that musicians and other creatives can enjoy the government funding and long-term support PCIDA promises. That is because the primary resource used is taxpayers’ money. Thus, proposals would require vetting and lobbying. 

The consensus during the discussion was that there is a lot to be done to build a multi-sectoral system that will ensure the OPM industry’s sustainability. All the speakers also agree that the number of moving parts affecting the process makes the work even more complicated. They particularly raised how private organizations remain in competition with each other and how a change in government administration often resulted in changed priorities, despite having proper precedents set in place. 

While there were no clear solutions proposed, except for a panelist jokingly offering an anarchic suggestion of tearing down the whole industry and rebuilding it better, a more involved music-loving public who will continue to drive conversations and change can do a lot to get the work organized and rolling. 

The success of AOTN 2026 is a fitting marker for TRIN’s first decade. It’s also a positive signifier of the depth of love Filipinos have for music and their willingness to ensure it remains a valued cultural cornerstone. With the event rooted in care, context, and community, it’s an initiative that resonates with CREATEPhilippines’ objective to uplift the country’s creative industries, not the least of which is its music sector. 

As CREATEPhilippines gears up for the first Manila International Performing Arts Market (MIPAM) and the Sonik Music Conference and Festival, to be held in September 2026, it continues to support Filipino creatives across various sectors through capacity-building projects that empower them to become global talents and significant drivers of the Philippines’ economic growth. 

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