The stories behind Yeng Constantino’s songs

There was a time Yeng Constantino was just another young girl watching ASAP from her family’s living room — eyes wide, heart full of dreams, fangirling over her favorite performers on TV.

Fast forward nearly two decades, and that same girl has become one of the show’s most enduring and beloved artists. As ASAP celebrates its 30th year, Yeng marks 19 years of being part of the iconic Sunday variety show, an almost surreal reality for someone who once only dreamed of stepping onto that legendary stage.

“Sometimes, I zone out,” she shares. “I catch myself thinking, ‘Wow, I’m here. I’m standing beside the very artists I used to admire from afar.’” It’s a sentiment she never tires of expressing: gratitude, wonder and disbelief all rolled into one.

Growing up, Yeng never saw herself as someone destined for stardom. She wasn’t the type to play dress-up or pretend to be a celebrity. She was the barefoot kid, happiest playing outside while covered in dirt. And though the dream to be in showbiz quietly lived in her heart, she never really thought it would come true.

But it did.

She still vividly remembers her first ASAP production number, singing her original song “Hawak Kamay,” the same one that helped her win Pinoy Dream Academy in 2006. She was just 14 when she wrote it. Performing it on national television was a moment she’ll never forget.

“It felt like a dream. I was overwhelmed by the lights, the crowd, the applause and the presence of so many stars,” she recalls. “Everything happened so fast, it felt like a snap.”

Among her most memorable moments on the show was a duet with Sarah Geronimo, where they swapped hit songs: Sarah sang “Hawak Kamay” while Yeng performed “Forever’s Not Enough.” Nervous as ever, Yeng was comforted by Sarah’s warmth and genuine kindness.

Another highlight was singing alongside Erik Santos. Despite his seniority, Yeng says he never made her feel small. Instead, he showed humility and respect, making her feel like she belonged.

But it was sharing the stage with Asia’s Songbird, Regine Velasquez, that felt like floating in a musical dream. She’s also collaborated with other legends like Gary Valenciano and Martin Nievera. These are opportunities that still humble her.

Yet for Yeng, the magic of ASAP goes beyond the stage. What she treasures most are the moments off-camera, the laughter, conversations, and friendships formed behind the scenes. “It really feels like family,” she says.

Over time, songwriting has evolved for Yeng. It’s no longer just about raw emotion poured out in one sitting. These days, Yeng likens the process to nurturing a plant, slow, deliberate, and full of care.

“Every song is like a child,” she explains. “Some grow quickly, others take time. And some songs are just for me — they don’t need to be heard by the world.”

This maturity has shaped her current creative process. Thanks to mentors like Raymund Marasigan of OPM rock fame, Yeng learned that good songwriting isn’t measured by speed but by sincerity and growth.

This philosophy was evident in her latest single, “Babala.” Born out of pain and frustration, it was never meant to be released. With its punk-rock flair, it felt like too much of a departure from her usual sound. But her manager convinced her to share it, and the reception was overwhelmingly positive.

Yeng admits she can be a little stubborn when it comes to her music. “I once released ‘Jeepney Love Story’ without even telling my management,” she laughs.

Yeng’s also willing to learn and listen, traits that have allowed her to evolve both as an artist and a person.