Vispop 5.0

In my column on May 11, 2013, I wrote, “If properly managed and well-promoted, Vispop may overtake the conservative, if not traditional Cebu Pop of the Cebu Arts Foundation Inc.” Fast forward to 2017, it is undeniable that Vispop has impacted not only the Cebu music scene, but also gotten the attention of non-Bisaya speaking listeners.

Vispop’s Class of 2017 has woman power written all over it, with five out of six featuring females as vocalists. The only male-oriented entry is “Unsa Ning Tamaa” written by Rj Ensalada and performed by Refrain. I’m sure that arranger Jad Bantug had Jamiroquai as inspiration with sprinkling of pop punk, alternative hip hop and acid jazz. Surprisingly, the Bisaya lyrics perfectly fit the tune.

Jeremy Sarmiento’s “Kurog Ko” is interpreted by Jetz Tacsanan tells of girl falling madly in love with a guy (“Kay nagtuo jud ka nga gwapo kaayo ka, Ginasayun-sayonan ra nimo ang akong gugma...” in the style reminiscent of Jacky Chang’s “Pero Atik Ra”). Listening to the song, I had a rather odd feeling that this must have been originally written with Tagalog lyrics.

“Hulagway” by Dexter Latosa and Bingbing C Veloso and performed by Veloso experiments with jazz. It is again about a girl in love (“Hala ka uy, makalilisang ang abi-abi mo, Di masabot ang pitik ning dughan ko...”) and Veloso oozes with the artsy class of Amy Winehouse and the sexiness of Vernie Varga. Latosa’s smooth guitar playing enhances the beauty of this ditty.

Jerika Teodorico, a familiar name having produced the Vispop hits “Labyu, Langga” and “Baklay”, this time around has Davelyn Cuenco as interpreter, “Kun Di Man Gani Kita,” still about love (“Hinay-hinay, anam-anam, Ang akoang pagpangandam. Sa kadaghang mahimo nga mahitabo, Kung di man gani kita”.) The piano accompaniment has a Beatle feel (“Let It Be”) and if given electric guitar treatment could be a rock ballad. Cuenco’s Binisaya delivery is laudable.

“Siya Ra Tawn Ang Nahigugma” written and performed by Winset Jacot and Jane Abaday takes a gloomy view of love (“Di ko mosugot maabtan pa kini’g ugma, Nga sa amo’ng duha,Siya ra taw’n ang nahigugma...”). The song is bluesy, soulful and raw, made more meaningful with the added element of the organ keyboards.

The gem of the crop this year is “Kung Ki Pa Ko Buang” with its quirky arrangement by Jad Bantug and fun lyrics (“Kung di pa lang ko buang, Tingali og naka bana na ko, Kung di pa lang ko buang, Duna ko’y siguradong trabaho...”) This unconventional tune also has a radio-friendly appeal.

Vispop 5.0 has allowed the artists and the arrangers to stretch their creativity beyond the usual, and surely it will alienate a number of fans to the competition. On the other hand, it has dispelled the notion that there is a formula for a Vispop song and that is good.