From the Philippines to the rest of Asia: The Rest is Noise marks 10 years of all things music

The annual music festival, All of the Noise, recently celebrated its 10th anniversary, transforming The Astbury in Makati City into a vibrant hub for artists, industry professionals, and music lovers. This year's edition, curated by The Rest Is Noise (TRIN), went beyond just performances, offering a rich program of activities designed to build community and foster inclusivity within the Asian music scene.

The two-day event, held on April 4th and 5th, was a multi-sensory experience, featuring not only live music but also documentary screenings, insightful discussions, and a captivating photography exhibit. All of the Noise 2025 aimed to explore the diverse facets of music and its impact on culture and society.

Kicking off the festival were screenings of two compelling documentaries delving into Filipino music culture. Day one featured "Budots: The Craze," a film exploring the origins and cultural impact of Budots, a unique electronic music genre from Davao. Attendees were given a glimpse into the world of DJ Love, the pioneer behind this dance craze that has become an integral part of Filipino identity.

Day two shifted focus to "Jingle Lang Ang Pahina," a documentary revisiting Jingle Magazine, an influential independent music publication from the Philippines. This 'music bible' of its time, founded by Gilbert Guillermo, revolutionized music journalism and empowered aspiring musicians by teaching guitar chords to its readers. Director Chuck Escasa shared his vision for the documentary, aiming to capture the 'irreverent and cheesy' yet transcendent feel of the magazine from his youth.

Expanding on the themes introduced by the documentaries, "Cut through the Noise," the festival's conference program, provided a platform for industry experts to discuss critical topics in the local music scene. Day one's discussions highlighted the VisMin music community, exploring its history, growth, and ongoing efforts to expand beyond Metro Manila. Karl Lucente of Cebuano band Mandaue Nights contributed to this conversation, adding an artist's perspective.

Another key discussion on day one focused on building sustainable music careers. Industry leaders David Siow, Dylan Amirio, and Gino Rosales shared their expertise, guided by MC Galang, TRIN's co-founder. Day two's panels continued the insightful discourse, tackling topics like queer representation in Pinoy music. Singer Pixie Labrador, artist Pette Shabu, and musician Ed Croix emphasized the importance of authentic queer narratives and creating safe spaces for artistic growth.

The conference also explored the 'Budots' phenomenon further. Author Lex Celera, sound artist Jorge Juan B. Wieneke V, and "Budots: The Craze" director Jay Rosas discussed how this once-dismissed genre now represents regional identity, artistic freedom, and a decolonizing force challenging conventional notions of musical taste.

Adding a visual dimension to the festival, renowned music photographer Karen De La Fuente presented "Welcome to the Static," a photo exhibit showcasing her career capturing both local and international music acts. Her vibrant and dynamic shots of artists like Ben&Ben, Autotelic, Zild, Sandwich, and Japanese Breakfast offered a visual celebration of music's energy and artistry.

The heart of All of the Noise 2025 was undoubtedly the live music showcase. Artists from the Philippines, Taiwan, Indonesia, Singapore, and Thailand brought a diverse range of genres to The Astbury stage. Day one opened with Pixie Labrador's performance, sharing her experiences as a queer artist. The energy amplified with performances from cheeky things, Singaporean hip-hop artist San the Wordsmith, Cebu's Mandaue Nights, electronic rock band Pedicab, and synth-pop artist ena mori, culminating in a set by the newly-returned band SOS.

Day two continued the sonic journey with Bacolod's Novocrane, Cebu's IIICCCYYY, hip-hop artist Waiian, electronica project Double Shy (Paul Yap of UDD and Mario Consunji), Indonesian soloist Logic Lost, and experimental artist Obesedogma.777 with a Budots-infused set. Fashion Island and alternative rapper Pette Shabu further expanded the musical landscape, leading up to Taiwanese band The Chairs and Thai indie-pop band KIKI, who closed the festival.

All of the Noise 2025 successfully created a space where music transcended entertainment, becoming a catalyst for connection and advocacy. The festival's commitment to addressing social issues within the music industry, combined with its diverse program, solidified its role as more than just a celebration – it was a platform encouraging the audience to recognize and harness music as a powerful tool for change.