Bini looks to have found the perfect balance
From stepping on the “Show It All” stage in 2024 to having the first solo concert by a Filipino group in the Philippine Arena the following year, Bini has amassed both domestic and international success in such a short period of time. Not to mention, they’re also set to become the first all-Filipina girl group to perform at Coachella 2026 on April 10 and 17 next year.
With no signs of slowing down, truly, the sky’s the limit for the nation’s girl group.
However, within the same time frame, fans have also observed a change in Bini’s discography—manifested in a sudden shift from the bubblegum pop sound in “Talaarawan” that catapulted them to nationwide acclaim, to an English-only “BINIverse” with heavy Western influences.
But where changes would normally be welcomed, the numbers don’t lie, especially when you compare the streaming numbers of the two EPs. Besides, their two latest releases, “First Luv” and “Shagidi,” also have views and streams far below what you would expect from a group with so many eyes and ears pointed at them.
How is there already a downtrend for a group that was just on the come-up? Are “Pantropiko,” “Salamin-Salamin,” and “Karera” simply irreplicable? Is it a matter of management jumping the gun on capturing a Western audience? Do they need more Filipino songs to strengthen their local fan base?
But, having listened to their upcoming album “Flames” during an exclusive listening party, fans shouldn’t have anything left to worry about. After all, it is both a return to form and a step in a new direction that both new and longtime fans of Bini can appreciate and look forward to.
Set to release on Nov. 20, “Flames” is a seven-track album that includes the already-released “First Luv,” “Shagidi,” and “Paruparo,” which they performed for the first time during the early-access listening party.
They also played three other unreleased tracks: “Katabi,” a slow-paced jam that’ll bring butterflies to the stomachs of anyone listening; “Bikini,” a high-energy track that exudes feminine confidence; and “Infinity,” an emotional letter from Bini that Mikha herself fought to have included in the final album. As for “Sweet Tooth,” any guess is as good as ours, and we’ll have to wait till the 20th.
As amazing as it would sound to have another “Pantropiko,” “Salamin-Salamin,” and “Karera,” art isn’t so easily reproduced that you can create hits on demand. Being artists themselves, change and maturity are to be expected from the members of Bini—and these will be noticeable in the music they put out. And on the topic of growing older, if Twice says it can be embarrassing to perform their cutesy concepts these days, who’s to say Bini doesn’t feel the same way?
Maybe their bubblegum pop era has passed, but the things that matter—relatable lyrics, heartfelt messages, and solid production to round it out—”Flames” has this, and more, and it’s high time we finally dropped the topic of Bini’s “downfall.”
