Filipino pop group SB19 are characterized by their daring spirit — no challenge is too big or too arduous for the quintet to endure. Since debuting in 2018, the group have earned both international and local accolades, achieved historic firsts, and have helped bring P-pop beyond its borders.
SB19's journey began when members Pablo, Josh, Stell, Ken and Justin were recruited by a Korean company to create a Filipino group meant for the global spotlight. As with many K- and J-pop groups, SB19's trainee process was rigorous and filled with exhausting days that not only calibrated their technical abilities, but also the pace forward.
"Each one of us had a different perception back then and we used to dream quite differently about the artists we wanted to be in the future," Justin tells GRAMMY.com. "I think we're just still on the quest of achieving our dreams, and what we were thinking before, our goals, are still the same."
Though their success was not without setbacks, from a possible early dissolution to dealing with hostile remarks online. But those days are behind them, and the group are now celebrated for their razor-sharp vocal dexterity and genre-defying soundscape.
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A big part of SB19's prosperity is a result of their creative freedom, skillfully orchestrated by group leader Pablo. Over time, SB19 have developed a distinct artistic voice — one that found clarity with their first EP, Pagsibol (2021), and became even more vibrant with its sequel, Pagtatag! (2023). After a season of solo projects, the group finds its way back together with Simula At Wakas ("Start and End" in English). Out April 25, the group's third extended play is a return to form that brings the trilogy to a close while opening a new chapter.
With the release of Simula At Wakas already here, take a journey through five songs that trace SB19's story —– with insights from the members themselves.
The lyrics of "Go Up" — SB19's second single after their debut — manifest the group's determination to earn their place in the Filipino music industry. That strong-willed fire comes through over an energetic pop backdrop, with each section underscoring the song's message of persevering against all odds. "I walked with broken glasses, stuck beneath my feet, yeah!" they sing in the second verse, per an English translation. "All your doubts (Doubt) / Are my wings just like Garuda's (Ruda) / 'Cause I'm gonna go up!"
The track could have been SB19's final shot, as the quintet poured everything into a last-ditch effort to breakthrough. While initial reception was underwhelming, destiny intervened when a user on X (formerly Twitter) shared a video of the group's dance practice — a routine the members have said they rehearsed a thousand times. The clip went viral and ultimately saved their careers.
"We were on the verge of giving up," Josh shares. "We had this meeting and said, if this song did not make it, we would disband the group already." A few weeks after releasing their dance practice, "we were blowing up and surprised about the turnaround."
It is a watershed moment and one the group still considers crucial. Ken describes "Go Up," as a song that "keeps us grounded" because it is an anchor that reminds them of their roots: the countless hours of practice, and the obstacles that once threatened to bring them down. "I'm just happy whenever I hear 'Go Up' because I remember our trainee days," says Pablo, smiling. "We were just kids dreaming, very sincere about what we do, and not knowing what will happen tomorrow, or what to eat. [Laughs]. Those days were full of uncertainty, but we had each other and that's all we needed."
Though "MAPA" is an emotional and sonic departure from SB19's usual intensity, it is the shiniest jewel in their discography. The title of the song combines the syllables "MA" from mama (mother) and "PA" from papa (father) while also referencing the English word "map," conveying how SB19's parents have been the guiding map that has led their way.
Composed by Pablo, "MAPA" was created during the early, uncertain days of the pandemic to express the group's gratitude for their parents' unconditional love. "We are trying to achieve our goals and dreams, but most of the time, we tend to neglect the important things," he explains. "One very important thing for me is my family because I wouldn't be here right now if it weren't for them. They sacrificed a lot for me to be able to go through this path. I just want to reciprocate all the love that I have received from them through this music and through what we're doing right now."
The magic of "MAPA" lies in its poignant depth. As Ken explains, the importance of family gives the track even greater resonance — particularly for Filipinos living abroad. "They are working hard out there, and I think they miss their families back here," he says. "We see some Filipinos reacting to our videos, and they cry their hearts out just because of the song. They can relate to the lyrics."
Pablo adds that the first melodies are especially meaningful and "very real" to him, as they are inspired by a cherished memory of his grandmother. "My Lola is already gone, and she's in good hands, but I remember her singing those [melodies] to me when I was a kid, so it's very personal," he says. "If she was here, I'd want to give all the love back, but I can only thank her from the Philippines, the earth, but I know that she's in good hands."
From the beginning, SB19 encountered criticism — not just for their appearance, but also for allegedly lacking "their own identity" and copying K-pop groups. The quintet turned that rejection into fuel with the defiant "Bazinga," the third single from Pagsibol.
The title originates from the catchphrase "Bazinga!" popularized by Sheldon Cooper, the eccentric protagonist of "The Big Bang Theory" — one of Pablo's favorite series. But while Sheldon used it as an ironic punchline, Pablo redefined it as both defiance and proud self-affirmation. "Bazinga! Your hate's like gasolina / Yeah, I'm fire, I linger," the chorus erupts. "Dare you to turn up the heat, and I'll burn y'all 'til I die, yeah."
"When you're starting to get recognition, haters will definitely come and a lot of people will not really like what you are doing, so you cannot please everyone," says Justin of the song's temper. "We just wanted to show we won’t be affected by the negativities that they are giving, and we're just making fun of all the things they throw against us."
"Bazinga" topped Billboard's Hot Trending Songs chart for 26 weeks. As if by poetic justice, there was no better response to the pushback than turning it into success. "The whole composition of the music, it sounds like you're teasing someone and the whole messaging of the song really contributed to clapping back at the haters who have been putting us down," says Pablo.
"GENTO" is one of the most iconic tracks that captures SB19's ethos: a volcanic presence on stage and a fierce sound that remains true to its message. The song elevated the group's fame to another level; "I think 'Gento' is the one song that opened lots of doors for people to know who SB19 is," Pablo says.
Musically, "GENTO" — another Pablo composition, this time in collaboration with his brother Joshua Daniel Nase and Filipino Canadian producer Simon Servida — incorporates hip-hop elements, where a thumping bass drives the rhythm and highlights the group's diverse vocal tones. Ken notes that the song's pinnacle comes in the final section, when the sound of a flute breaks in and intensifies the weight of the melody. "That flute is not the kind of instrument that is commonly used by a lot of producers and modern hip-hop," he says. "I think that one instrument gives that punch, sexiness, and nasty kind of feeling to 'GENTO.'"
But beyond its hard-hitting production, SB19 used "GENTO" to mirror how they've risen and shaped their identity. That's not to say they're arrogant, but rather, it portrays their resolve. The word "GENTO" isn't chosen at random: it comes from the Caviteño dialect of Filipino, and it's a variation of ganito (or "like this" in English) while also referencing ginto, which means "gold."
The song was paired with high-octane choreography that sparked a viral TikTok trend — with many artists ranging from K-pop stars to professional dancers joining in. When asked about the secret to its popularity, Stell suggests it likely stems from the song's imposing nature. "Every time we perform it, it gives you a different aura you're not used to, but you like the feeling of doing it. That's the one reason why a lot of dancers and artists did the choreography, because of that powerful aura."
The group hadn’t anticipated such an explosive response. "If I'm going to be honest, I'm not sure or I don't know how it [happened]," Pablo admits with a laugh. "When we were on tour, we were shocked that 'GENTO' was going viral, and even the K-pop artists that we look up in terms of performance, they did 'GENTO.' It's a really, really proud moment for us.
SB19 opened the Simula At Wakas era with the release of "DAM," a song with an anthemic gravitas. This single is game-changing: it embodies their decision to take full control of their careers and reaffirms the artistic direction they wish to pursue.
"It's been a year since we started our own company [called 1Z Entertainment], and this comeback, 'DAM,' is the first and the biggest project that is really 100 percent controlled by us," says Justin, who also serves as the creative director of the group as well as other P-pop artists. "We really went all out and just did whatever we wanted and whatever we could."
Taking the word "pakiramdam," which translates to "feeling" in English, the track's heart — blending EDM, Celtic, and Filipino folk — palpites with the strength of those who refuse to surrender. And the music video, colossal in scale, is just as epic. The members of SB19 take on the roles of wizards and warriors, each confronting their own battles — a nod to their personal stories — which ultimately converge at the Tree of Life.
"We realized that this year, we're going to come back stronger, so we had these meetings and brainstormed to find the right ingredients to make it close to perfection," Josh explains. "I would not say it's perfect, but it's perfect to us because it's authentic. We had this ambitious idea that we had to go medieval, and it was not a common theme or concept in the Philippines because it was tough to pull off."
"DAM" is, in many ways, a new rebirth for a group that's never content with past achievements and will continue to set its sights higher and further.