For more than three decades now, Universal Records Philippines has boasted of one of the strongest and most iconic rosters of contract artists in all of OPM. Just take a quick glance at some of the names that have been or continue to be signed to the label: Gary Valenciano, Celeste Legaspi. Jose Mari Chan, the APO Hiking Society, Parokya Ni Edgar, Christian Bautista, Shanti Dope, Orange and Lemons, Gloc-9, Sponge Cola, Julie Anne San Jose, Silent Sanctuary, and so on. The commercial success, critical acclaim, and enduring influence of these artists is simply undeniable.

What’s also worth noting about the label is that it is one of the few major recording companies in the country that isn’t a local branch or imprint of an international conglomerate, unlike Sony Music Philippines or Warner Music Philippines (although the company was established in 1977 as WEA Records Philippines, a licensee/distributor of Warner Music, Elektra, and Atlantic Records releases in the country). Since 1992, Universal Records (or UR for short) has operated as a fully independent record label, and has built an impressive catalogue of releases and recordings by many of OPM’s biggest acts.

Kathleen Dy-Go took over as General Manager and then Managing Director of Universal Records in 2005 after the passing of her elder sister, the much-loved (and missed) Bella Dy-Tan. The earliest incarnation of the label was founded by their father, entrepreneur and philanthropist Dr. James Dy, a renowned pillar of the Philippine recording industry. As such, Dy-Go considers it to be “a family business,” one that she was exposed to at an early age as she watched her older siblings accompany artists to promote their latest releases on variety shows on TV, as well as witnessed occasional visits by music stars to their family home. “I kind of grew up in that environment,” she narrates, adding that she and her parents also loved to sing, and that she was a member of the glee club in her school.

Photographed by Kim Santos.

Taking the company’s reins after her older sister and mentor’s passing wasn’t easy, as Dy-Go recalls what she describes as “a heavy burden on my part to prove to everyone that [Universal Records] can still survive, and of course, continue the legacy.” Having been its Marketing Director prior to taking charge of the label entirely, her leadership took on a more creative approach. “I always want to think outside of the box, [of] concepts that have never been done,” she says.

Having anticipated the OPM band boom of the mid- to late-2000s, Universal Records signed the likes of the Itchyworms, Kamikazee, Sponge Cola, Orange and Lemons, and others, whose time with the label begat some of their most memorable hits to date (“Beer,” “Narda,” “Bitiw,” and “Hanggang Kailan,” respectively). In 2006, Dy-Go spearheaded one of the label’s most successful projects to date, the Kami nAPO Muna tribute album, which featured the aforementioned bands alongside Parokya Ni Edgar, Imago, Sandwich, The Dawn, and more, each doing their versions of classics by the APO Hiking Society. The compilation sold over 300,000 units, which, in the era of rampant CD piracy and before digital streaming, was a truly impressive number. “It was so successful that we had a volume two (Kami nAPO Muna Ulit) for that,” she shares.

Photographed by Kim Santos.

Dy-Go’s marketing-driven leadership led to her signing the rest of what she called the “big four” artists at the time — who, apart from Gary Valenciano who was already signed to the label, included Regine Velasquez, Ogie Alcasid, and Lani Misalucha. “I wanted [our roster] to have a balance [between] the not so high-end or high-end middle ground, and a little bit of the commercial, mass-based artists,” she explains. “So at that time, my main goal was to really ensure a lot of the big-name artists were with us.”

“What’s important for me is we were able to create superstars out of [our artists],” she continues, adding that she “wanted the trust of the people to come back to the label,” because according to her, there were naysayers and pessimists predicting its downfall after her predecessor passed on. To say that she succeeded is an understatement, and despite already having the most seminal names and recordings in the history of OPM in its catalogue, Universal Records continues to expand and develop its roster, guided by Dy-Go’s tasteful ear and keen marketing sense. For example, when R&B singers like Kyla were all the rage, she didn’t tell her team to find another Kyla. Instead, “I would always go for something that’s not there right now,” she affirms.

Photographed by Kim Santos.

“When hip-hop wasn’t that big [as it is today], I started acquiring artists like Shanti Dope,” she continues. “The first time I heard ‘Nadarang,’ I said, ‘Oh my God, let’s give him a contract right now.’ Because it’s not common. Why would you want to beat somebody that’s big already?”

In recent years, Universal Records has added the likes of singer-actor Donny Pangilinan, young P-pop girl group YGIG, singer-songwriter Brei, rapper Ramdiss, and dozens of others to its esteemed roster, and under Kathleen Dy-Go’s leadership and direction, more deserving talents and future superstars are sure to follow. Besides, two consecutive women have been largely responsible for the label’s success thus far.

“I think a woman has that [innate] instinct in dealing with the different [facets of] artistry in artists — their artistic craft, their artistic emotions, moods, etc.,” she says. “A woman should also have that characteristic of being very aggressive as well… the balls to do things, or to decide on things, or to try out new things.”

Photographed by Kim Santos. Art Direction by Nicole Almero. Styling by Geno Espidol of Curator Incorporated assisted by Jermainne Lagura. Produced by Mika Cruz.

On Kathleen: RAJO Laurel dress. LOVEROCKS earrings and bracelet. GIUSEPPE ZANOTTI sandals.