CEBU, PHILIPPINES — Fête de la Musique in Cebu is a unique gathering that music fans across the province look forward to every June, and this year’s edition was perhaps its biggest yet, with more than 100 artists performing across 12 stages in Metro Cebu over two weekends.
But what defined this year’s edition wasn’t just the number of venues, performers, or days it spanned. It was also the diversity of genres it embraced — from staples like pop, R&B, rock and hip-hop to first-time additions such as classical music and a drag show to cap off Pride Month.
Even as Fête Cebu continues to grow in scale, the festival remains free of charge thanks to its sponsors, including the Arts Council of Cebu Foundation, the Embassy of France to the Philippines and Micronesia, M. Lhuillier Financial Services Inc., TuneCore Philippines, and its venue partners. That accessibility allows it to capture the spirit of Fête celebrations around the world, held every June to mark World Music Day, which originated in France.
– French Notes and Cebuano Voices –
Fête Cebu 2026 opened on June 18 with the two-hour classical music showcase “French Notes and Cebuano Voices” at Marco Polo Plaza Cebu, featuring acclaimed French pianist Maxime Zecchini, the University of Southern Philippines Foundation choral ensemble Huni Habagat, and the Cebu-based chamber orchestra Sforzando Ensemble.
Zecchini impressed the audience with a repertoire that included Edith Piaf’s iconic love song “La Vie en Rose” and music from Hayao Miyazaki’s “Howl’s Moving Castle.”
Huni Habagat, led by Nino James Banares, delivered harmonious interpretations of the French piece “Il Est Bel Et Bon” and the Filipino classic “Ang Dalaga sa Bukid,” while the Sforzando Ensemble performed selections from Rachmaninoff’s Symphony and a medley of Cebuano songs.
The concert concluded with all three acts joining forces for a rendition of the beloved Cebuano love song “Usahay,” composed by Gregorio Responso Labja.
Banares, who has served as Huni Habagat’s choir director since 2017, said the choir initially found learning the French pieces challenging, but the experience ultimately proved rewarding and made their Fête debut even more meaningful.
– Main Stage Weekend –
The FREEMAN attended the June 20 show of Fête Cebu’s Main Stage Weekend at Ayala Malls Central Bloc.
Wiji Kun performed songs from his latest album, “Fortune Cookie,” to a crowd that enthusiastically bobbed along to his pop-rock sound.
Victoria Leslie likewise captivated the audience with her soulful vocals and engaging stage presence as she performed her originals “Atras Abante” and her latest single, “Lose My Mind.” Leslie, who first performed at Fête last year, said she was glad to see listeners jamming along even to songs that have yet to be released.
Sugarkiss also performed several of her songs, including her newest single, “365 gone.” Between songs, she encouraged the audience to take note of the artists performing that day and explore more Cebuano music, saying the local scene has so much to offer.
Sansette brought breezy summer energy with songs such as “Sunny Cebu” while the crowd became increasingly hyped throughout the set. As the band performed their last song, “Lemon,” a portion of the audience formed a dancing circle, adding to the lively atmosphere.
A Fête Cebu regular, Sansette’s vocalist Gabrielle Villacarlos said they remain grateful for the opportunity to perform before audiences that embrace local music.
Zeke Abella closed the evening with his set that included “Truth Serum,” “I Don’t Know,” and “Baggages.” While his smooth R&B sound differs greatly from the comedic persona he is known for on social media, he still managed to squeeze in a few jokes between songs, even dubbing his set “Zeke de la Musique.”
The rest of the performers that day included Cebu Underground Movement, Cosmic Kid, Hollywood Folk Hogan, K A N A, and Kate Livewire.
– Pocket Stages –
The biggest highlight of this year’s Fête Cebu was its pocket stages on June 27, spread across 10 locations in Metro Cebu — eight in Cebu City and two in Mandaue City. Introduced last year, organizers clustered the stages more closely together this year to make them easier to access.
Three stages were located at Crossroads Cebu along Gov. M. Cuenco Avenue, with three more at Mango Square Mall, while the two Mandaue venues — Handuraw Pizza and Elinor Club — were situated directly across from each other.
The FREEMAN visited seven of the 10 pocket stages, watching a few festivalgoers hop from one venue to another to catch the artists they wanted to see.
Our first stop was the “From Here Hip-Hop and Pop Stage” at Crossroads, where rappers Daledo and Enrico Reems energized the crowd with fiery flows and hard-hitting verses.
Just downstairs was the “BAIHAUS Analog Stage.” True to its name, DJs spun vinyl records instead of the digital DJ setups more commonly found in clubs. Indie, alternative, and post-punk selections filled the air, with Maria Spada spinning a collection of vintage rock classics.
The third stop was at ATUA Midtown for “ATUAng Pride 2026,” which featured drag performers from the Haus of Rena1ssance.
From there, we walked to Mango Square Mall, beginning at the Cebu Making Space Indie Stage, where Kali Strumms served as the final act, filling the intimate yet crowded venue with their loud, guitar-driven rock sound. Just across was the “Sari-Sari Stage,” where budots music blasted through the speakers. At another point, a Michael Jackson impersonator made an appearance, drawing cheers from festivalgoers.
Outside the mall was Social Park Avenue’s Heavy Stage, where the Bethany band showcased a heavier, rock-oriented sound in contrast to their more pop-leaning project, The Qings. A handful of young concertgoers jumped along near the stage as the band closed its set.
We also briefly stopped by the Draft Punk Muzik Électronique Stage, where U.S.-based DJ Univerz spun an energetic electronic set.
The final stop brought us back to Crossroads for The Distillery Bass Stage, where the crowd turned up for berganmask + phb’s DJ set. The Bantayan-based duo blended hard-hitting bass music with budots and familiar throwback pop hits, keeping festivalgoers dancing throughout the night.
Having played at the Manila leg of Fête last year, the duo said they were thrilled to introduce their sound to audiences in their home province.
Just as Fête de la Musique in France serves as an opportunity for people to discover new music, the pocket stages held that Saturday helped define Fête Cebu as a festival that showcases the diversity of Cebu’s music scene. This is something Dexter Sy — who since 2022 has organized Fête Cebu through his record label Melt Records in partnership with Alliance Française de Cebu — said he intends to continue in future editions.
“We already have interest from other music communities who are interested in having their own stages, and we’ll definitely look to expand a bit more. But the concept of multiple stages together in one location will definitely stay because, in my opinion, it’s the defining Fête de la Musique experience that we want people to enjoy,” he said.
| Januar Junior Aguja / VAB
