OPM would not be the same without Jonathan Manalo.
The prolific ABS-CBN Music operations, content, and creative head has commemorated 8.4 billion streams across streaming platforms for the multiple chart-breaking hits he has produced, from BINI’s “Lagi” and KZ Tandingan’s iconic “Two Less Lonely People in the World” to Orange & Lemons’ “Pinoy Ako” and Erik Santos’ “Pagbigyang Muli.” His contributions to the Philippine music industry continue to shape the songs that remain on your everyday playlist.
In this new era of songwriting, Manalo has turned to bring his star-studded hits to the world of musical theater, as his music is set to be featured in the show Delia D., which has been running from April 25, and is set to close by June 8. The story itself follows the life of Delia D., played by Phi Palmos, and her challenges as a member of the LGBTQIA+ community and a drag queen who joins the biggest televised singing competition, to pursue her dream of being a world-famous singer.
On this note, Billboard Philippines caught up with Jonathan Manalo as Delia D. continues to run in theaters, speaking on all topics from his illustrious career to his work being brought to life in this new musical chapter.
Billboard Philippines: Congratulations on reaching 8.4 billion streams! How does it feel to be recognized as the most-streamed Filipino songwriter-producer, and to see your name alongside global icons?
Jonathan Manalo: I’ll always be deeply grateful. Of course, there’s a part of me that feels proud and tempted to boast — but more than anything, I’m reminded that all of this is a divine gift from God. It’s His grace, not mine. Looking back to my 13-year-old self, just starting out and having my first gospel song professionally recorded, I’m honestly in awe of how far I’ve come. And to be the only Filipino in the world’s top 150 — waving our flag on the global stage — is such an amazing and humbling feeling. I still can’t fully grasp it. All I can really say is thank You, Lord.
When you first began your journey in music, did you ever imagine you’d become one of the renowned producers in the world? What has the path looked like to get here?
Honestly, I never imagined I’d reach this level of success. The journey hasn’t been easy — the grind is real, and the hard work is tougher than people might think. Doing the work, paying the dues, showing up every single day — that’s what I committed to, even when I had no idea what the outcome would be.
No one can really predict where the path will lead, but what’s certain is you have to do what you need to do if you want to get somewhere. And now, seeing the milestones I’ve recently achieved, I’m just overwhelmed and grateful. It’s been a long road, but every step mattered.
As we celebrate 50 years of OPM, how would you describe the evolution of Filipino music through the lens of your career?
Having spent over two decades in the music industry — approaching a quarter of a century next year — I’ve had the privilege of witnessing the rich and dynamic evolution of OPM firsthand.
I’ve personally seen what I would consider two golden eras: the current one we’re in, and the first one in my lifetime, during the vibrant ’90s to early 2000s, when solo pop acts, rock bands, R&B, hip-hop, singer/songwriters and even novelty artists flourished side by side. It was a time of bold creativity and a flourishing local scene. Then came a more difficult chapter in the late 2000s, when piracy challenged the very foundation of our industry. In response, the mainstream leaned heavily on covers as a safer route. It was, admittedly, the period when I wrote the fewest original compositions and focused primarily on producing covers for other artists. The creative momentum dimmed, but it never died.
Today, I’m thrilled to say we are in a renaissance. OPM is very much alive, diverse, and globally aware than ever. There is a newfound freedom in expression, an openness to experimentation, and an undeniable surge of talent breaking barriers. The rise of P-Pop is particularly exhilarating — it’s a movement that’s placing Filipino music confidently on the global stage with both energy and purpose.
Beyond that, bands emerging from different regions of the Philippines are offering some of the freshest, most authentic local sounds we’ve ever heard. Even when sung in Filipino, their quality, musicality, and emotional resonance connect deeply with global music fans. It’s a beautiful reminder that our identity doesn’t need translation — it just needs truth and heart.
I’m simply grateful to have been given opportunities to contribute to the movement in my own way — working with artists across different genres, from rising talents to icons, and helping nurture those just starting out. Being part of their journey, from the ground up, has been one of the most rewarding parts of this path. The Philippines truly is a wellspring of musical brilliance, and it’s a blessing to witness and support that in any
capacity. These are incredibly promising times.
And I truly believe that the pioneers of OPM — those who paved the way — would be proud of the bold, passionate, and boundary-breaking generation we now have.
Delia D. is a milestone moment — not just for your career, but for OPM as a whole. Can you share how this project came to be and what it’s been like seeing your songs reinterpreted in a theatrical setting?
Yes, Delia D. is definitely a milestone in my career — and honestly, a dream fulfilled. To see my songs transformed into a full-blown stage musical is surreal in the best way. My first experience with musical storytelling was through the TV series Lyric & Beat, which was such a landmark project for me.
But a stage production is an entirely different realm, and I was very intentional about approaching it with fresh eyes and a new creative
vision. When I began developing Delia D., I worked closely with the brilliant Direk Dolly Dulu, who wrote the libretto. From the beginning, I told her clearly: I don’t want to repeat myself. This had to be something completely different from Lyric & Beat. I wanted Delia D. to have its own heartbeat, its own dramatic depth, and to explore the music in a way that could only be done on stage.
What excites me even more is what this means for the local theater scene. We’re witnessing a wave of bold, original Filipino musicals that can proudly stand shoulder to shoulder with Western productions. And the best part? Filipino audiences are showing up, embracing, and championing these stories as their own. It’s a thrilling time to be part of this cultural shift, and I’m beyond grateful that my music has been given the chance to live and breathe in such a powerful, theatrical way.
What was the process like in selecting which songs from your catalogue would be included in Delia D.? Were there specific tracks you knew had to be part of the story?
To be blunt, Gusto Ko Nang Bumitaw was actually the original title of the musical — so naturally, it was the very first song locked in from the start! But as things evolved creatively, with a few key tweaks here and there, Delia D. was born. Direk Dolly Dulu, who knows my discography almost by heart, took the lead in navigating my catalogue and crafted a concept inspired by the songs I already had. From there, we let the story take the driver’s seat.
It was always ‘story first’ — we mapped out the narrative, and then carefully selected songs that would serve each moment, scene by scene. If a particular sequence didn’t call for any of my existing songs, I didn’t force anything. We were very intentional about not making it feel pilit (forced) or unnatural. That’s actually how the opportunity to write new, original material specifically for the musical came about. So in the end, Delia D. became more than just a jukebox musical — it’s a hybrid, blending well-loved songs with fresh compositions, all in service of a story that stands on its own.
What do you hope audiences take away from the experience of watching your songs come to life on stage in a narrative format?
I really hope that Delia D. helps people connect with my songs on a deeper level. It’s one thing to hear my songs on the radio or playlisted on streaming, but seeing it woven into a character’s journey on stage? That’s a whole new experience.
I want the audience to feel like they’re watching parts of their own lives play out — moments of love, heartbreak, growth — all underscored by music that might already hold meaning for them. It’s incredibly humbling to think that my songs could serve as the soundtrack to someone’s personal story. More than anything, I hope this musical makes the music feel even more personal, like it’s speaking directly to them.
As you’ve reached remarkable heights in your career, what’s your next step? Are there any dream projects or collaborations still on your bucket list?
Honestly, when I take a moment to reflect on the milestones I’ve reached, it’s still surreal. If someone asked me to map out exactly how I got here, I wouldn’t have a clear answer. I didn’t follow a specific formula or blueprint. I simply dedicated myself wholeheartedly to the craft, pouring passion and perseverance into every note and lyric. The journey itself has been the reward.
I don’t always know where this path will lead me next, but time and again, the Lord has surprised me with opportunities beyond my imagination. So, while I may not have a detailed roadmap for the future, I remain open and excited for the unexpected chapters ahead, trusting that with continued dedication, more meaningful moments await.
The international music scene has always been open to everyone, and if it’s part of my destiny to step onto it, I welcome the opportunity with gratitude and humility. Above all, I would be incredibly proud to represent the Philippines on that stage, sharing our rich musical heritage with the world.