In the global landscape of pop culture, the Philippines has always marched to the beat of what’s next.
Whether it’s the early embrace of K-pop idols, the surprising rise of alt rock in Manila, or even with the viral traction of Western pop stars before they dominate charts everywhere else, it’s almost as if Filipino audiences are born with an innate sixth sense for spotting musical trends, even before the rest of the world can catch a glimpse.
Perhaps it’s because Filipinos are more than just avid listeners, for they’ve become recognized worldwide for their deep-rooted love of music, which has led to their reputation as cultural curators, trend accelerators, and devoted tastemakers. Whether it’s in bustling Manila malls or mobile screens in far-flung provinces, music itself plays everywhere — leading this archipelago of superfans to become touted as one of the most vital “trigger markets” in the world.
Though the term itself is quite broad, the role of a “trigger market” such as the Philippines works in shaping potential trends before they begin to gain traction in major Western markets such as the U.S. or the U.K. Given its significance in tracking what could become the next big thing, markets like the Philippines have caught the eye of several global music executives, with an artist or a release’s early success serving as a data-rich signal that often dictates promotional spend, tour routing, and release strategies.
According to Spotify’s Global Head of Editorial, Sulinna Ong, Manila is one of the key markets where new releases commonly gain early traction, often preceding spikes in North America or Europe. And the main takeaway from that? For the global music industry, Manila isn’t just a testing ground for new sounds or artists — it has become a trend generator of its own.
Some would wonder as to what factors make Manila such a powerful trigger market, but it could easily be traced to the Philippines’ very own demographics. Given the country’s median age of just 25.7 years and having the majority of the population (approximately 65%) be under the age of 35, there’s no doubt that the Philippines thrives on a youth-driven ecosystem. Because based on the online habits of most Filipinos, these digital natives are fluent in the language of memes, virality, and global pop.
Such high engagement, paired with the country’s English fluency and openness to foreign music, has turned the Philippines into one of the most musically attuned markets in Southeast Asia — and as a global testing ground for music’s next wave.
Looking at the country’s history with foreign music, no genre better exemplifies the Philippines’ trigger market role than K-pop. Long before BTS and BLACKPINK began to appear on numerous Western programs and festival stages, millions of Filipino fans were dancing to the beats of Wonder Girls, Big Bang, Super Junior, and 2NE1 (particularly with Sandara Park).
By the early 2010s, big Manila venues were hosting K-pop super shows, with fan bases sprouting across cities, and local radio stations were featuring a plethora of Korean tracks in heavy rotation, even before many of these groups had even cracked Billboard’s international charts. Even to this day, K-pop continues to be a mainstay in the Philippines’ music charts, proving the long-standing influence and loyalty of its fan base.
Now, major concert promoters and agencies now consistently place Manila as a key stop in Asian tour legs, often just before or after Seoul and Tokyo. Such a decision comes not because of the passionate or devout fan engagement, but also from a highly effective business standpoint, because when an artist catches fire in the Philippines, the data usually points to a global breakout not far behind.
Though beyond the early success of K-pop in the Philippine market, Filipino audiences have also found themselves attuned to various Western acts of various genres, such as The 1975, Lauv, LANY, or even pop superstars like Dua Lipa. Long before Lipa was a household name worldwide, her track “Be the One” quietly climbed local radio charts in the Philippines. The 2015 single, while only modestly charting in her native UK at first, became a regular fixture on Filipino stations and playlists, which was further amplified by Lipa’s active promotional appearances in the country in 2017.
Soon enough, Filipino audiences began to embrace her global breakout single, “New Rules” (which peaked at No. 6 on the original Philippine Hot 100 in November 2017), which soon paved the way for Western audiences to take note, as the track soon began to chart in the United States and Canada by the middle of 2018 onwards.
Yet even as her global profile rose with hits like “IDGAF,” “One Kiss,” “Don’t Start Now,” and “Levitating,” Lipa still remained deeply connected to her Filipino fans, often integrating the Philippines into early-stage promotional strategies for her later albums, dropping exclusive content, staging social media campaigns, and even launching fan interactions designed specifically for the local market.
However, Lipa’s early success in the region is not an isolated case, given the immense popularity of fellow pop superstar Sabrina Carpenter in the Philippines. The blonde bombshell first engaged in a series of promotional activities in Manila back in 2018, playing acoustic shows at malls in Taguig and Quezon City, guesting on popular programs on radio stations such as 99.5 PLAY FM, and even appearing on the noontime variety show ASAP alongside rapper Shanti Dope.
While her music had found a home with Filipino audiences as early as then, what soon became one of the most vivid modern examples of the Philippines’ power as a trigger market came in the form of a TikTok dance for her 2022 single, “Nonsense.” Though the infectious pop single received a warm critical response, its virality hadn’t quite clicked — until a dance challenge sparked by Filipino content creator Niana Guerrero exploded on TikTok.
Guerrero, known for her rhythm-driven choreography and millions-strong following, posted a version of the “Nonsense” dance that quickly swept through Filipino TikTok. As the dance trend grew, so did the song’s visibility, eventually leading to its debut on Billboard’s Philippine Songs chart in December of 2022. Soon enough, the rest of the world caught up with the trend, which saw the track reaching U.S. radio, and eventually garnering Carpenter’s second Billboard US Hot 100 entry later on in 2023.
Nevertheless, the Philippines’ power as a trigger market isn’t only limited to foreign artists, but it’s also evident in creating stars of its own local talents. In recent years, an abundance of local tracks such as Zack Tabudlo’s “Pano,” Sunkissed Lola’s “Pasilyo,” SB19’s “Gento,” and even BINI’s string of hits like “Pantropiko” and “Salamin, Salamin” have dominated domestic streaming charts and social feeds.
Particularly with the cases of the latter two examples, the reception for both SB19 and BINI’s music has sparked interest from international audiences, particularly in the U.S. and Latin American regions where fan translation efforts and subtitled content have expanded their reach. The popularity of both P-pop acts, given their role as the flag-bearers of the genre on the global stage, has allowed the Philippines to serve as a “trigger market” for its own homegrown talent. It shows that the Philippines doesn’t just embrace an international set of sounds — we remix it, build on it, and ultimately, export our own flavor to the world.
For any global music executives who are paying attention, the implications are more than clear, as the Philippines is no longer just a promising market — it’s a necessary one.
Streaming platforms like Spotify have adapted their editorial models to reflect this reality, curating SEA-specific playlists and testing new artist releases in Manila, just as how several of the world’s major labels have done with their talents. Social media campaigns are now frequently launched with Southeast Asian creators in mind, while major concert tours often schedule Southeast Asia not as a postscript, but as a launching pad.
It’s also worth noting that the economics of such endeavors also make sense. With lower marketing costs and highly engaged audiences, launching a campaign in Manila offers an efficient way to measure impact and refine promotional strategies before larger-scale rollouts in the rest of the world. As platforms compete for regional dominance, industry players increasingly rely on the Philippines for both insights and results.
As it is, A&R reps, marketers, and streaming platforms are paying closer attention to what’s trending in Manila. Music Matters, Asia’s leading music business conference, has consistently identified the Philippines as a growth hub for future strategy, with Spotify’s Kossy Ng saying it best: “Filipinos are some of the most engaged music consumers in the world.”
In a rapidly changing industry, Manila’s early buzz acts as a forecast of its own, transforming from a culturally rich but secondary market into an effective compass for the rest of the global music industry. The ripple effect is noticeable and undeniable, as Manila-first breakouts now often prompt expanded Southeast Asian rollouts, global fan engagement campaigns, and localized creative assets. Labels are learning to listen closely, especially as what performs in the Philippines today could have the potential to top the Global 200 tomorrow.
This is why major labels are expanding their on-the-ground operations in Manila. Universal Music Group, Sony Music Philippines, and Warner Music Philippines have all grown their artist development and A&R teams, actively scouting for the “next big thing” not just for local success, but also for export.
As we look forward, the term “trigger market” may even undersell what the Philippines is becoming. It’s not just triggering what’s next — it’s inevitably shaping what could fit the definition of “cool.” Whether it’s through TikTok challenges, streaming-first hits, or regional genre reinventions, Filipino audiences are writing their own chapter in the global pop music story.
With the data and reception that comes out of Manila, it hints at how the music itself moves — not just where it charts — and most importantly, it reminds the world’s music industry that trendsetting doesn’t begin and end in the populated streets of New York or in London. It often begins where the passion is loudest, the playlists are deepest, and the fandom is most fiercely felt, which is exactly what the Philippines has always been.
A version of this story originally appeared on Billboard Philippines’ August 2025 print issue.