The recent RAAA concert, headlined by the stellar quartet of Rob Daniel, Amiel Sol, Adie, and Arthur Nery, was, by all accounts, an undeniable success. These four men represent the very pinnacle of contemporary OPM, boasting a staggering collective total of billions of streams. Their music defines the sound of today, and their chemistry, framed by the charming “campus crush” concept, proved why they are some of the country’s most sought-after singer-songwriters. The energy was palpable: fans cheered, screamed, and sang along, fully immersed in the experience.
All Photos from RAAA Concert are from VIVA Live, Inc. Facebook
The line-up of musical guests was equally impressive, threading a beautiful needle between established brilliance and rising stars. The nostalgia-inducing performances by Johnoy Danao (“Ikaw at Ako”) and Barbie Almalbis (“Umagang kay Ganda”) were heartwarming moments. Jolianne’s collaboration with Arthur Nery and, of course, the powerhouse moment of Moira Dela Torre joining Adie for their hit “Umpisa” underscored the musical weight of the night.
Yet, amidst this celebration of Filipino musical talent, a peculiar segment of the show brought the evening—and my overall assessment—to an abrupt halt. A portion of the concert was dedicated to a live, real-life content skit featuring prominent TikTok creators and influencers: Zeke, Malupiton, Sassa Gurl, and Kween Yasmin.
To be fair, the act achieved its immediate goal: it brought the house down with laughter. But as the roar subsided, a crucial question lingered, clouding the air like stadium haze: Is this truly the path forward for our live music experience?
My astonishment isn’t rooted in a critique of the content creators themselves; their impact and comedic timing are evident. However, their inclusion raises deeply uncomfortable questions about the integrity and focus of a musical concert headlined by four generational artists.
Were these influencers leveraged for mere promotional purposes, ensuring an even fuller house through their massive social media reach? Were they utilized as a digital-era-necessity to generate highly shareable, viral moments?
We must ask ourselves: Are we now so far past the days where the musicality and singular artistry of the headliners were enough to carry an entire show?
The RAAA boys’ music is, objectively, superb. It is sophisticated, emotionally resonant, and has rightly earned its place atop the charts. These artists deserve a stage where the focus is relentlessly on their craft—on the intricate harmonies, the powerful songwriting, and the vulnerability of their performance.
Instead, a significant segment of their “golden moment”—a night that should have been a pure, unadulterated showcase of their music—was essentially ceded to an outside, non-musical element. It felt like a subtle, yet profound, theft of the spotlight.
What are we truly achieving with this push to merge influencer content with musical performance? If the intent is to capture a new, younger audience, is the trade-off worth diluting the very essence of a concert? Shouldn’t the power of Rob Daniel, Amiel Sol, Adie, and Arthur Nery’s music be the only magnet needed?
The concert was, overall, good. Watching the four performers was absolutely entertaining. But this new trend leaves a nagging doubt: Are we to expect more content creators hijacking the concert art form in the coming days? Is this calculated move the new, inescapable trend? And is this truly how the Filipino audience will consume and experience live music moving forward—as a hybrid event where musical genius must share the stage with a viral skit?
The RAAA concert was a commercial and artistic triumph for its musicians, but the intrusion of pure content creation raises a firm challenge to producers and artists alike: Let the music stand on its own. It is more than enough.
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