Daily TribuneLeading the stellar roster of performers is Taiwanese indie-pop trio The Chairs, who returned to the Philippines for a highly anticipated headline set. The band is beloved for their sun-soaked, retro-inspired psych-pop sound and poetic lyricism
‘The Chairs.’
PHOTOGRAPHS COURTESY OF AOTN
The Rest Is Noise mounted the most expansive edition yet of All Of The Noise.
In celebration of its 10th anniversary, The Rest Is Noise (TRIN) mounted the most expansive edition yet of All Of The Noise (AOTN) — a two-day multi-format music and culture event that took place on 4 and 5 April at Astbury Makati.
Anchored by the spirit of discovery and cross-cultural collaboration, this year’s AOTN reflects TRIN’s growth from a local music collective to an influential force in Southeast Asia’s independent music scene. With a thoughtfully curated lineup of live performances, thought-provoking discussions and immersive exhibits, AOTN 2025 reaffirms its role as a platform for both emerging and established artists and creatives.
Leading the stellar roster of performers is Taiwanese indie-pop trio The Chairs, who returned to the Philippines for a highly anticipated headline set. The band is beloved for their sun-soaked, retro-inspired psych-pop sound and poetic lyricism.
Joining them on the main stage are standout acts from across Asia: Thai alt-pop band KIKI, Singaporean rapper San The Wordsmith, Indonesian experimental artist Logic Lost and a vibrant selection of homegrown talents including ena mori, Pedicab, Waiian, SOS and Mandaue Nights. The festival also marks the debut of Double Shy Music, a new project from Paul Yap (UDD) and Mario Consunji (Musical O).
AOTN’s strength lies not only in its music programming but also in its commitment to deepening conversations around the music ecosystem. Through Cut Through The Noise — its expanded conference program — it presented a full slate of music culture discussions, keynote panels and documentary screenings designed to foster learning and community-building.
Key topics included were “Bisdak! VisMin Music Community and Decentralizing OPM Narratives & Opportunities,” “Empowering Queer Visibility and Imagery in Pinoy Music,” “Brash Maximalism: Budots and the Global Future of Pinoy Electronic Music” and “Music Showcase & Creative Industry Development: A Career-Building Guide.”
Complementing these conversations were screenings of two critically lauded music documentaries: Budots: The Craze (2019) by Jay Rosas and Jingle Lang Ang Pahina (2012) by Chuck Escasa. Each were followed by talkback sessions with the filmmakers.
Another highlight of AOTN 2025 is Welcome to the Static, a solo exhibit by Karen De La Fuente, one of Manila’s most prolific music photographers. The exhibit captures a decade of live music through raw, intimate and arresting visuals that echo the energy of the local indie scene.
Founded in 2015, TRIN began as a series of independent gigs championing Filipino artists. Over the past decade, it has evolved into a key tastemaker and bridge-builder across regional music communities, co-founding the inter-Asian AXEAN Festival and exporting Filipino acts to global stages.
“As we celebrate 10 years of TRIN, we wanted to highlight what helped us reach this milestone in the first place — our community,” said MC Galang, co-founder and creative director of TRIN. “From Metro Manila to VisMin, Southeast Asia, and beyond, the journey has always been about shared passion, mutual respect and pushing boundaries together.”
As TRIN marks a decade of amplifying independent voices, AOTN 2025 serves as both a celebration of its roots and a powerful launchpad for what’s to come. From genre-defying sounds to critical cultural dialogue, this is more than a festival — it’s a movement.
