If there was ever a year that crystallized SB19’s status not just as pop stars but as cultural leaders, 2025 was it. Over twelve months, the group achieved not a single breakthrough but a succession of milestones—each reinforcing their evolution from chart-toppers into global ambassadors of Filipino music.
At the heart of the year was motion, both literal and symbolic. SB19 spent much of 2025 on the road with their Simula at Wakas world tour, an expansive international trek mounted in support of their third EP of the same name. What began as a celebration of new music quickly became a declaration of scale, with sold-out shows across Asia, North America, the Middle East, Australia, and New Zealand. The tour’s Singapore stop, which drew the largest audience for a Filipino artist in the country, underscored its historic reach.
That sense of history sharpened back home. In May, SB19 became the first local act to stage and sell out two consecutive nights at the Philippine Arena. For an OPM group to command the country’s largest indoor venue twice over was long considered unthinkable. The achievement served as proof that P-pop had not only arrived but could thrive on the grandest stages.
Musically, 2025 was anchored by Simula at Wakas, an EP that highlighted SB19’s refusal to play it safe. Tracks such as “DAM” and “DUNGKA!” fused aggression, experimentation, and cultural texture, earning the group notable international chart placements. “DAM” entered Top 50 charts across Oceania and placed SB19 among the Top 50 K-pop artists—a rare crossover that blurred regional boundaries and challenged genre labels.
Collaboration also defined the year, most notably their project with Sarah Geronimo. Released in July, “Umaaligid” debuted as both a single and a 10-minute music film tackling the dangers of disinformation. The partnership carried symbolic weight, bridging generations and platforms. Its debut at No. 4 on Billboard’s World Digital Song Sales chart confirmed that its message—and its reach—extended far beyond Philippine shores.
International stages continued to open. SB19 stood out as the only non-Taiwanese act at the HITO Music Awards and later shared the spotlight with major K-pop names at ACON 2025 in Taiwan, an event linked to the Asian Artist Awards. These appearances marked not novelty, but validation of P-pop’s growing presence in the broader Asian music landscape.
Awards followed in waves. SB19 emerged as one of the most decorated acts of the year, sweeping major categories at the P-Pop Music Awards, including Artist, Album, Song, and Music Video of the Year. They added multiple honors at the Awit Awards—spanning global collaboration, rap and hip-hop, visual artistry, and music video production—and were named Artist of the Year at the Filipino Music Awards. International recognition from Music Awards Japan and the ZeenFluential Awards further cemented their cross-border impact. Individual members also received citations, with Stell and Felip earning solo honors, while A’Tin was consistently recognized alongside the group.
Speaking of their fandom, 2025 also belonged to A’Tin. SB19’s supporters claimed victory at the Billboard Fan Army Face-Off, defeating Selena Gomez’s Selenators in the final round. The win reflected not only scale but organization, loyalty, and a shared discipline that mirrored the group’s own.
Beyond charts and trophies, SB19’s influence extended into culture and advocacy. As Youth and Sentro Rizal Ambassadors for the National Commission for Culture and the Arts, the group received the SUDI Award for shaping and exporting Filipino music and identity. Their work throughout the year demonstrated that global success and cultural responsibility can move in tandem.
Innovation rounded out the year. SB19 announced Fast Zone, billed as the country’s first “Fashion Concert,” scheduled for October in collaboration with designer Francis Libiran—a bold fusion of live performance and high fashion. As 2025 closed, they were also named among the headline acts for Bonifacio Global City’s New Year’s Eve countdown to 2026, a fitting capstone to a year defined by scale and visibility.