CEBU, Philippines - The Bisaya music scene has been on a roll the past year – releasing content left and right and actually getting the recognition it deserves inside and outside the country.

In what can only be called a milestone, Bisaya song writing campaign Vispop is facing the wave that it inherently started all those years ago: change.

Now on its fifth staging, Vispop – under the cooperative of artists and musicians ArtistKo and backed by FILSCAP – has managed to pick six finalists out of more than 350 entries after 10 straight hours of screening and arduous production.

This year, Vispop has a lot of champions in their roster what with having contestants who are already groundbreaking in their own right, starting off with “Hulagway” written by Cagayan de Oro-based musician Dexter Latosa and songwriter Ma. Rhodora “Bingbing” Veloso, both of whom are members of the Filipino jazz-blues band Karumata Repablik.

“Kung Di Man Gani Kita” is written by Vispop 2.0 grand winner and consistent finalist, Jerika Teodorico.

“Kung Di Pa Lang Ko Buang” is by theatre and film actress Chai Fonacier who is also the vocalist of Cebuano trip hop band Womb.

“Siya Ra Tawn Ang Nahigugma” is an entry by Cagayan de Oro based singers: MOR 91.9 radio personality Jane Abaday, and Viva artist Winset Jacot who is popularly known as the singer-songwriter of “Gugma Pa More.”

“Kurog Ko” is written by Jeremy Sarmiento, the voice coach and choir director who has lent a hand in the creation of the The Voice Philippines Season 1 album and writer of the viral Bisaya song “Pag-Sure Uy.”

And last but not the least, the only arguably novice in the field is a 21-year-old education graduate from Cebu Normal University. RJ Ensalada makes his songwriting debut through “Unsa Ning Tamaa.” The senior high teacher is the brother of Ronald Ensalada, writer of the Bisaya song “Sa Akong Heart.”

Their tagline this year, #LevelUpVispop, is so much more than a hashtag for integrated following. Vispop 5.0’s tracklist is a tad more sophisticated despite discussing the proverbial themes of fear, frustration, anger, confusion, joy, and love. Some listeners have found the change a bit drastic, their ears unaccustomed to the beauty of dynamics.

True to #LevelUpVispop, the songs have shifted from simple to intricate, and relatable to profound. Production is at par, and improvement has transcended to the lyric videos of the songs as well.

Vispop music director, Kadasig movement co-founder, and renowned music producer Jude Gitamondoc says that the shift also poses as a challenge not only to Bisaya songwriters but also for Vispop listeners.

“The future of Vispop lies on the hands of the songwriters. If they give us lousy music then we can only produce what they give us,” Gitamondoc explains during a press conference yesterday at Rico’s Lechon Axis-Escario.

“It just turns out that year after year the songwriters are getting better and are giving us better music,” he adds.

Gitamondoc reiterates that the winning formula are the songwriters and competitors themselves.

“You cannot box music into certain categories. The moment you think that there’s a winning formula for Vispop and bang, another group of songs sound different from last year,” says Insoy Niñal, Vispop project director and frontman of the band Missing Filemon.

He says that Vispop’s mission is to reciprocate the quality of music given to them by participants through giving their all in production and marketing.

“Bati man gud kung atong tipirun,” Niñal quips.

He also revealed that songs which didn’t make it to the top six this year have been produced the best they can through the Kadasig initiative – a movement that aims to uplift Bisaya music complementing that of Vispop’s mission and making up for the months outside of Vispop season.

Since the past year, ArtistKo has experimented on explicitly selling music for a healthier industry. This year, ArtistKo general manager and Vispop developmental business manager Ian Zafra revealed different packages to promote both the music as a product and Vispop as a show.

“This is our fifth year, it’s a milestone so as much as possible we want to make this special,” Zafra says, after explaining a profitable system which involves digital Vispop albums, t-shirts, reserved seats, and summer workshops.

Notably, the Vispop 5.0 finals night on July 29 is delayed a month compared to it’s usual end of June schedule. The celebration this year will be in line with the Linggo Ng Musikang Pilipino in accordance with Presidential Proclamation No. 933 which was signed under the Aquino administration.

“Hopefully this will become a regular thing. We are saying nga dili ra kita-kita diri and we are aligning Vispop with OPM itself,” Gitamondoc offers.

“By opening the doors, we are inviting everyone to experience Vispop as a community, and participate in this exchanging of ideas and seeing it as more than just artists putting out their work,” Gitamondoc explains.

Now that support for Vispop both in recognition and finances have come a long way since day one, the challenge for Vispop this year is to refuse any fixed ideas about Bisaya music.

Having managed to upgrade the image of Bisaya music from baduy to fresh and creative, the calvary is now set to challenge Vispop fans into receiving Vispop in its entirety from all ends of the musical spectrum.

The Vispop 5.0 finals night will be held at the SM Seaside City Sky Hall A on July 29. Special guests like veteran band Smooth Friction, Swedish national Caloy Juapo, and Iping Amores of The Ambassadors will be performing for the night alongside yet-to-be revealed acts.

“Before, we tailored Vispop for the Cebuanos and the Bisaya but now, we want everyone to enjoy our artistry without the barriers of music and culture,” Gitamondoc says. (FREEMAN)