SB19 deserved to sell out the Philippine Arena, period
It must be frustrating to only be known for your growing pains. While it’s been seven years since they debuted under a K-pop-inspired training camp, P-pop group SB19 is still dismissed as copycats.
This, despite their fight to manage themselves, successfully establishing their own company 1Z Entertainment in 2023. This, despite being one of the few acts today to put out work that’s consistently, undeniably Filipino, even in—especially in—the face of global fame.
SB19—comprised of Pablo, Josh, Stell, Justin, and Ken—is among the artists laying the groundwork for the future of OPM. Anyone who thinks otherwise has not been paying attention.
This is most evident in their latest project, Simula at Wakas, their third and most fully realized EP. The rollout included an immersive experience detailing the creative processes behind the songs and music videos. And last weekend, the group kicked off their world tour—including stops in major US cities, Australia, and Asia—with a two-day concert in the Philippine Arena. Their debut in the world’s largest indoor arena was a long time coming, and a historic one at that: they’re the first Filipino act to sell out in under seven hours.
The EP’s focus single Dam set the tone for this era. Its music video is an ambitious, medieval short film, and its world extends to the tour. In a press conference ahead of the concert, the group said everything on the show was done with intention. “It’s very theatrical na paglabas mo ng concert, ibang tao ka na,” explained their leader Pablo. “Parang pumasok ka talaga sa mundo ng SB19.”
A grand set and enormous LED screens welcomed fans on that first night. Dozens of dancers in hooded robes flooded the stage, a Dam instrumental blasting through the speakers. As the beat dropped, five figures, previously indistinguishable, emerged. The show had begun.
Fittingly, SB19 starts with What?, a patriotic anthem about raising one’s flag. It’s a celebration not just of their heritage but also of their individualities, a cheeky F-you to critics and doubters. We’d soon realize that the show was to be divided into chapters, with cinematic interludes playing on screens to thunderous applause. Throughout the night, the show never dragged; their energy never dipped.
“We’ve been preparing for this tour for at least five months, from body conditioning to mindsetting,” Josh revealed during the pre-concert presscon. “It has been the biggest preparation we’ve ever had. For us, it’s not just a performance but an experience for the fans. Paano ba namin mabibigay sa kanila ‘yung best concert experience of their lives?”
It’s easy to see the mutual respect that the members and their fans have for each other. The fans call each other Kaps, short for “kapatid,” and while in line, they gave away keychains and photocards, all for free, all for the love of it. An airplane flew above the arena carrying a banner: “The world is yours, SB19.”
In exchange, SB19 mounted a world-class show that’s both authentic to the group and in service of the fans. It seems in the last few years, the group has shifted focus: Instead of trying to win over the whole world, they instead made their own, populated with people who would understand.
I have to admit: I am what their fanbase would call a “casual”—someone who gives their music a listen every so often, usually for my job. But in being part of this era, from the Dam music video drop to this kickoff concert, I saw a level of polish and world-building that very few of their peers attempt to dream of.
An easy standout during the show was Quit, an underrated track from the Simula at Wakas EP that the group has yet to perform live. Written by Ken (my bias!) as a plea to not lose himself under public scrutiny, its powerful chorus opens with, “Ah! Ayokong mamatay!”
Before the explosive final chorus, the songwriter faced the audience. “To those who feel like they’ve lost their purpose, to those who are broken,” Ken began, “this is our anthem.” That final scream was laced with seven years of history—of defeat, self-doubt, and then defiance.
The penultimate performance was Slmt, a thank-you to all fans. “Kayo ang simula at wakas,” the group declared. They bid goodbye and left the stage, but of course we all saw through it. Dam had yet to be performed.
Soon enough, the five men returned, donning the same outfits from the opening chapter. Dam was an explosive, memorable ender. A hooded figure lingered onstage afterwards. The show ended on a loop. Simula at wakas.
I left the arena reeling—SB19 never does anything halfheartedly. How fortunate I was to have witnessed artists of this caliber in my lifetime, and how grateful I became that they stood their ground and never cracked under criticism.
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The Simula at Wakas EP is out now via Sony Music Entertainment. For updates on the Simula at Wakas World Tour, follow @officialSB19.
