From showman to songwriter: Darren Espanto ushers in a new era
In a scene dominated by artists of the singer-songwriter mold and algorithm-inspired virality, Darren Espanto stands out as one of the few remaining old-school showmen—charismatic solo performers in the same vein of Gary Valenciano or Sarah Geronimo—who can sing, dance, and command the stage with equal ease and prowess.
With his vocal agility and precision, Espanto can tackle technically demanding songs live and on the spot. Combined with his dynamic choreography and natural instinct for groove, he brings everything together into a well-rounded package—one that showcases not only his skill but also his remarkable stamina.
But if there’s one thing still missing in his career, it’s arguably a strong body of original material he can truly call his own. With refreshing self-awareness, he admitted that this element had eluded him for most of his early career—largely because he didn’t actively pursue it. He had worries and doubts: What if the people didn’t like the songs? That question lingered in the back of his mind.
Doubts and worries
As such, Espanto felt he was better off singing covers at corporate events, mall shows, and other engagements he was invited to. “I felt like people would enjoy it more if the songs are immediately relatable,” he said at a press conference.
It was a belief that stuck with him for quite a while. The last time he released a full studio album was in 2017, with the deluxe version of “Be with Me” and the holiday record “D’s Christmas.” In the years that followed, he busied himself with gigs, television appearances, and a host of special projects, including the Philippine recording of “A Whole New World” for the local promotion of Disney’s live-action “Aladdin.”
Amid all these commitments, the idea of creating new music didn’t even cross his mind. He was perfectly content with performing on shows like “ASAP,” and had also developed a newfound love for hosting on “It’s Showtime.”
But with the release of his new album, “Ikaw Pa Rin”—his first in eight years and just in time for his 11th year in the industry—Espanto ushers in what he calls “a new era,” marked by growth and a deeper understanding of what it means to be a music artist. One key lesson he’s learned: “You should be making your own songs.”
He attributes this much-needed shift in perspective to the guidance of longtime mentors like record label head Jonathan Manalo, Regine Velasquez, and Sarah Geronimo—his coach on “The Voice Kids Philippines,” where he competed as a precocious 13-year-old. Geronimo, in particular, encouraged him to put out music consistently while staying true to his creative instincts. Now 24, Espanto plans to make a conscious effort to include more original material in his live performances.
13 songs
Now, with “Ikaw Pa Rin,” he finally has more original material he can proudly bring to the stage.
While he has dabbled in songwriting before, the new album features the most original tracks Espanto has ever written for a single project. Of 13 songs on the tracklist, five were self-penned:
He sings of letting go in the sultry “Bibitaw Na”; of desperation in the slow-burn, rock-tinged “Hanggang Kailan”; of broken promises woven through the subtle electrobeats of “Ilang Beses”; of devotion in the gentle, piano-driven “Iyo”; and of taking chances in “Paano Kung Tayo Na Lang?”—an emotive, classic-style torch song he co-wrote and performed with Angela Ken.
There’s no singular thread that ties his compositions together thematically, but each one reflects his ongoing exploration of emotional landscapes and sources of inspiration—personal experiences, stories from friends, and memorable moments from film and television.
“It’s a way for me to explore my musicality,” said Espanto, whose earlier songwriting efforts include the 2019 inspirational ballad on empathy and mental health, “Sasagipin Kita.”
The album plays to Espanto’s strengths as a balladeer, but there’s also a clear effort to expand his sonic range, bringing in synthpop textures and danceable beats. These new flourishes are most evident in his collaborations with DJ M.O.D., like the funky, dance-driven title track “Ikaw Pa Rin” and the retro-groove-laced “ANNAB.” Meanwhile, the unmistakable snaps and cadence of “‘Di Makaramdam” hearken back to the infectious pop sensibilities of Thyro Alfaro’s work in the early 2010s—albeit delivered this time with more refined, polished production.
Together, these elements highlight Espanto’s increasingly hands-on approach to his work and willingness to step out of his comfort zone. “I’m more honest about what I want from my team. Back then, I just said yes to the demos given to me,” he said.
Espanto had been listening to the songs long before the album dropped on streaming platforms last July 4. He couldn’t be prouder of the fruits of his risk-taking. He loved what he heard, and in putting out original material, that was already half the battle won. “If only my plays counted towards my stream count!” he joked, laughing.
But now comes the hard part: singing these songs over and over again without any guarantees. But it’s a challenge Espanto readily embraces—with the goal of one day headlining a show where he doesn’t have to rely on covering other artists’ songs. “You have to love your own music,” he said. “Just sing them and let your music be heard.”
