With ‘BINIFIED’, BINI Are Undoubtedly Ready For World Domination – Review

When BINI first announced their BINIFIED Year-End concert, I was honestly hoping for things to be different.

You see, when I watched their kick-off concert for their BINIverse World Tour in the Philippine Arena earlier this year, I found it to be a thoroughly enjoyable experience that cemented their influence on the entire Philippine music scene –– yet I still left wanting more from its shortcomings. The exquisite live numbers from BINI’s members surely made the show well worth the price of admission, but the abundance of technical issues and heavy-handed advertisements took away from my experience of the show as a fan.

Upon hearing the news that BINIfied was set to mark their grand return to Bulacan (just nine months after initially selling out the venue), I felt that there was a lot that could be done to deliver a better –– and bigger –– experience that could live up to their potential as rising global pop phenomenons, while showcasing the very best aspects of BINI that millions of Filipinos have fallen in love with. And to our benefit, BINIfied was exactly that and more.

It’s no secret that over the past year, BINI have gone above and beyond to reach new career heights, resulting in numerous milestones that have catapulted them to global stardom. Though along the way, it’s become clear that such achievements have opened the door for a number of critics and downright haters to mouth off against the group, spewing hateful rhetoric that often downplays their influence, or even diminishes the octet’s renowned status as the Nation’s Girl Group.

Yet what the BINIfied concert was in essence ultimately supersedes and overcomes all that negativity, rather putting all of its focus on being a massive celebration of all that they’ve accomplished in such a short amount of time. It’s a show that was put on not merely for members Aiah, Colet, Maloi, Gwen, Stacey, Mikha, Jhoanna, and Sheena, but it gave us what could be considered as one of BINI’s greatest live performances (and productions!) to date –– one that was truly meant for their devoted fanbase of BLOOMs. 

As early as 1:30 PM in the afternoon, the metaphorical flood gates surrounding the Philippine Arena were surrounded by an abundance of teal, given just how many fans were adorned in their best BINI-inspired outfits or even decked out in official merchandise. The overwhelming excitement and anticipation was felt across various areas around the venue, with fan-made banners and signs were being handed out by organized communities present like BLOOM Philippines, whilst others were even giving away free photocards and keychains. Even nearby the roads, various large-scale buses were plastered with the faces of BINI’s members as they roved around the concert venue’s grounds, while simultaneously blasting their plethora of hit songs as loud as they could –– to which fans responded by singing along to every lyric.

Once everyone began to make their way inside, the pre-show program continued building up the hype and anticipation of the tens of thousands in attendance with several interactive games (including dance-offs), random giveaways, and surprise performances from the newly unveiled trainees of Star Hunt Academy and rising P-pop trio DNA. Yet once the lights dimmed across the 99,000 square meter floor area of the arena, what emerged was an eruption of unintelligible screams, shrills, and shrieks, with the only sources of light coming from the sea of floral BINI lightsticks and multi-colored glowing wristbands that mirrored the flagship ABS-CBN colors. 

The opening number, “Shagidi”, was nothing short of explosive –– commencing the show with a massive, if laser-heavy, bang that got everyone’s energy soaring with such high spirits. Together with the corresponding run of electrifying hits like “Out Of My Head”, “Zero Pressure”, and “Cherry On Top”, this run of live performances was a seamless display of their intricate balance of delivering pitch-perfect live vocals and complex choreography that challenged their skills as performers. Despite the challenges of adapting such upbeat and infectious bangers in one straight sitting, it was something that highlighted the BINI members’ prowess as performers. 

Still, despite kicking off the show with all-English bangers, the new arrangement of their underrated hit single “Strings” was what stood out as an excellent display of their on-stage chemistry as a unit –– while its closing verse gave each member their cheeky moment to shine with their introduction. Following a brief greeting that addressed the crowd in attendance, the first half of the solo stage showcases from the group then commenced, beginning with Stacey’s empowering rendition of Demi Lovato’s “Confident.”

Coming out on stage with a floor-length cape and knee-high boots, Stacey channeled her inner superhero with her solo showcase –– giving audiences a display of her innate strength and powerful vocals, especially by the number’s dance-heavy outro. It was almost as if we were watching a Tate McRae concert of sorts, but undoubtedly executed with Stacey’s signature charm and finesse. The stage then transitioned into a sea of red, with the massive LED screen reflecting an ‘Arabian Nights’ theme fitting for Aiah’s entrance in a gorgeous kaftan, right as the opening notes to Christina Aguilera’s “Genie in a Bottle” began to play. With her star power and lower vocal register shining through, Aiah’s medley of Aguilera’s hits like “Genie in a Bottle” and “Fighter” gave audiences goosebumps in real time. 

Arguably one of the night’s biggest (and best) surprises though for me, came from BINI leader Jhoanna’s solo stage showcase, wherein she made a grand entrance on stage riding on a motorbike. Upon removing her helmet and tossing her hair, the entirety of the arena erupted into a frenzy –– which got even louder as soon as she started rapping along to a seamless medley of Ex Battalion’s “Pakinabang” and Gloc-9’s “Sumayaw Ka.” While it is often unexpected to see P-pop idols veer deeply into rap territory, Jhoanna looked right at home within the genre, considering how effortlessly she executed every bar with the rare sort of enunciation that made every lyric flow as clear as day. The highs didn’t stop there, as Gwen went ‘sobrang latina’ for an astounding rendition of Camila Cabello’s “Don’t Go Yet.” With her intense salsa skills and lush vocal performance, the stage was fully hers at that moment –– giving us the fuego that not even a large pyrotechnic machine could recreate.  

To slow down the momentum, the full group came back on stage to perform yet another underrated (and personally overlooked) hit-in-the-making with “Secrets”, transforming the massive venue into a sea of blue lights that waved across the members on stage. Abandoning the use of heavy choreography for this number, BINI’s members just allowed the sheer power of their vocals to shine for this number –– with their gorgeous harmonization and powerful belting taking charge of the performance. Continuing the synth-pop nature of the moment, the group then revisited one of their earlier B-sides, “Golden Arrow” from Born To Win, which then satisfied longtime fans and BLOOMs who have waited literal years for another live showcase of the track. 

What soon followed was the string of their breakout hit singles, “Karera” and “Salamin, Salamin” –– the latter of which was rearranged with surprising note changes that delighted audiences for the better. Though the inspirational “Karera” more or less stayed the same to its original rendition (which still, and arguably never will get old), it included a lengthy and well-done dance break that seamlessly transitioned to a harder-hitting version of the bubblegum pop single, “Salamin, Salamin.” As always, it’s a number that they killed –– though one has to surely give credit to the live band who breathed new life into an already beloved pop classic. 

Given the high-energy numbers that just took place, Maloi surprised audiences with a calming rendition of Simon & Garfunkel’s “Bridge Over Troubled Water”, performed alongside a live choir and complemented on the large LED screen with a stunning stained-glass artwork of the 23-year-old singer-songwriter herself. Though one might be complacent in believing that’s where her solo segment would end, she then switched gears by turning up the heat with a samba-infused performance of Stevie Wonder’s “Don’t You Worry ‘Bout A Thing” –– translated live in a stunning showgirl style. Just when we thought we had seen everything BINI and its members had to offer, Colet comes in with a rocking, jaw-dropping drum solo, which was set to the beat of Madonna and Justin Timberlake’s “4 Minutes.” That isn’t to say she didn’t channel her inner Madonna or Timberlake during the duration of the number, as she equally nailed the dance and vocal segments of her performance with ease. 

Emerging from a gilded cage soon after was Mikha, who tapped into her sultry side with a Burlesque-inspired rendition of Michael Bublé’s “Feeling Good.” Aside from demonstrating her gymnastic skills, the 22-year-old performer also highlighted her stunning alto vocals that shone even further with her sensual performance of “Sway” –– of which her undeniable charisma charmed audiences from all walks of life, while highlighting her versatility as an artist and performer. Yet last but not least, Sheena gave audiences a masterclass in performance with a cool, collected take on Mark Ronson and Bruno Mars’ classic hit, “Uptown Funk.” Nailing the right balance of swagger and fun, it marked a perfect addition for the concert’s party vibe at BINIfied. 

Of course, what good with a BINI concert be without performing any of their new material? The beloved girl group leaned into their soft R&B side with a stunning live debut of their track “Katabi” (which I personally found to be one of the best songs off their new album, FLAMES), before bringing back the bubbly, kilig factor with their string of performances to “First Luv” and “Sweet Tooth.” Especially with their performance of the latter, its potential to be a hit single shines even more upon witnessing it done live, given just how catchy its hooks and choreography are well after multiple listens. 

Following a brief break that had mascot versions of BINI come out on stage for an audience karaoke with “Na Na Na,” each of the group’s eight members surprised fans by appearing across all sections of the massive arena to perform their chart-topping hit, “Pantropiko.” As they waved, interacted, and danced alongside their fanbase of BLOOMs, the collective joy that was felt around the venue had everyone in unison, even well until they made their way back on the stage to finish the number together.

“Philippine Arena, give us your energy!” belted Jhoanna on stage, right before the final notes of “Pantropiko” made a flawless segue into the beachy-bop “Bikini” –– another sleeper hit off their latest record. Having seen just how irresistibly fun “Bikini” was done in the live setting, don’t be surprised to see this becoming a fan-favorite for the foreseeable future.

Capping off the night in a more sentimental note, BINI then returned, floating off large and intricate butterfly rigs to perform “Paruparo”, though the audience’s thrill and excitement with its novelty soon transformed into concern upon seeing Colet and Sheena’s butterfly rig almost turn over. Yet in the face of such challenges, they still navigated the situation with grace and continued performing the track as the professionals that they are. Eventually, they went back on stage to finish the night with a heartfelt and emotional performance of “Infinity” –– a track that is dedicated to their fanbase of BLOOMs –– making it the perfect ending note to all that had transpired throughout the night.

Upon seeing the lights in the arena turn back on, I noticed that several attendees nearby were wiping the tears off their eyes, while others were turning to each other, talking about how much they enjoyed this show. I couldn’t fault them in any way, because I had come to realize that I actually agreed with everything that was being felt and said about BINIfied. In many ways, this was the show that reignited the flame within me as a BLOOM.

Even after coming off the post-concert highs, I’ve come to realize that BINIfied is very much the natural and necessary culmination of the hopes I had envisioned from the beginning. What I had hoped to be something bigger, tighter, and more heartfelt than their previous Philippine Arena outing has eventually blossomed into a concert that was, in every sense, created for their fanbase of BLOOMs. 

Every choice made throughout the night — from the sequence of its skipless setlist, to the staging, to the careful handling of pacing and production — echoed a truth that became impossible to ignore: BINI and their team listened. They listened to every note of feedback, every plea for refinement, and every desire for a show that honored both their craft and their supporters. In return, they delivered a spectacle that not only corrected the errors of the past, but it (eventually!) rose triumphantly above them.

BINIfied stood as a grand year-end celebration of everything BINI has achieved in this monumental chapter of their career. More importantly, it served as a reminder of what they have always been capable of from the very beginning, which is bringing Filipino music closer to the world through unrelenting passion, discipline, and a deep understanding of the community that fuels them. In giving BLOOMs a show that was as intimate as it was extravagant, BINI reaffirmed their place at the forefront of P-pop –– an act whose growth is not accidental, but intentional, thoughtful, and still built on genuine connection.

And perhaps that’s what makes BINIfied arguably their most essential live performance to date. For not only did it celebrate how far they’ve come, but it set the perfect precedent for what we –– and soon, international audiences –– can expect when they hit the stage at Coachella 2026. Because if this is what they’re capable of doing here in the Philippine Arena, then it’s surely clear they’re more than ready and fully poised for global domination.

Listen to BINI’s latest album, FLAMES, in its entirety below: