In the last decade or so, it’s an undisputed fact that Filipino music has broken barriers and crossed oceans. Once largely confined within the archipelago, the sound of OPM is something that now echoes various sold-out concert halls, theatres, and even arenas across North America, the Middle East, and beyond.
From seasoned icons like Gary Valenciano and Regine Velasquez-Alcasid to contemporary stars like SB19, Filipino artists are now captivating global audiences with their unique blend of heart, rhythm, and authenticity.
This surge of Filipino talent making it to the international stage is not accidental. While the internet and streaming platforms have undoubtedly played a pivotal role in widening the reach of local music, much of the heavy lifting is being done by people behind the scenes — industry veterans, event producers, and promoters who believe in Filipino artistry and invest in their global journeys.
Among the key figures turning these visions into reality is Anna Puno, the founder and president of Starmedia Entertainment. Since its establishment in 2004, Starmedia has become a cornerstone of OPM’s expansion abroad, tirelessly building platforms for Filipino performers to connect with diasporic communities and new international markets.
Yet before there was Starmedia, there was Maximedia — a trailblazing company co-founded by Anna Puno and her brother in the 1980s and 1990s. At a time when concert production in the Philippines was still in its infancy, Maximedia led the charge by bringing both foreign acts to the local stage and exporting Filipino artists abroad.
Their early success included staging large-scale shows for Martin Nievera, Regine Velasquez, and Lea Salonga, among others. They even broke new ground in the U.S. by booking venues like Cow Palace and UCLA’s Pauley Pavilion — venues previously untapped by Filipino concert producers.
But following her brother’s untimely passing, Anna Puno took the helm and launched Starmedia Entertainment. With a renewed vision and a steadfast commitment to Filipino music, she carried forward the legacy of Maximedia and began building a brand synonymous with bold, high-caliber productions.
Running a concert production company that stages international shows is no small feat. It requires not just an understanding of music and talent, but a comprehensive grasp of marketing, logistics, and international audience behavior.
“Before I bring an artist to the U.S., I make sure they can perform here first,” Puno explains. Local ticket sales and audience reception are the first indicators of an artist’s potential success abroad. “If they can’t sell out a small venue in Manila, it’s unlikely they’ll sell abroad.”
However, an artist’s success in the Philippines doesn’t always guarantee the same overseas. This is where meticulous market research comes in. Starmedia often collaborates with local producers abroad who maintain databases of potential concertgoers. Casinos, another major stakeholder, conduct their own surveys to gauge interest before approving a show.
The process of market analysis doesn’t stop in Manila, because producers in the U.S. and other markets conduct local research to assess interest. This includes data from prior ticket sales, community engagement, and even surveys run by event venues and casinos– all of which are done to ensure whether or not an audience would show up to each show.
Puno also notes how Starmedia’s approach to artist selection is both analytical and intuitive. But first, the process begins with measuring local reception. “Usually, before I bring it on tour, I do the concert here first,” she shares. “If it gets sold out, that’s a good sign. But that doesn’t always translate abroad.”
“You can’t just assume a hit in the Philippines will be a hit in Toronto or Dubai,” Puno warns. “It’s all about knowing your audience.”
Still, there are also artists who defy expectations — such as the Kings of P-pop, SB19.. When Starmedia first took SB19 abroad, the group was still on the rise. “They weren’t a huge act yet, but we believed in them,” says Puno. Today, SB19 has become one of the company’s most successful international acts, with their forthcoming concerts breaking records and selling out in minutes.
In their years of operation, one of Starmedia’s strongest competitive advantages is its ability to tailor productions to each market’s unique demographic. “For many Filipinos abroad, attending a concert is a luxury,” says Puno. “They work hard. Before buying a ticket, they really ask: Is it worth it?” That’s why Starmedia focuses on crafting high-value, concept-driven shows — ones that feel worth the investment for the overseas Filipino worker who may only see one concert a year.
“In the Middle East, our audience is mostly OFWs. They want ‘masa’ acts — mainstream, relatable, often nostalgic. Bands like Rivermaya and Dilaw do well there,” Puno explains. “But that won’t necessarily work in the U.S.”
In North America, the Filipino diaspora tends to be older and more diverse. This affects everything from artist selection to venue choice. “Canada, for example, loves younger artists. But casinos in the U.S. prefer acts that appeal to an older crowd,” says Puno.
This localized approach is one reason for Starmedia’s enduring success. Instead of applying a one-size-fits-all strategy, they use ground-level insights to determine how best to stage each show — an approach that significantly reduces risk and increases engagement.
Beyond the spreadsheets and marketing plans, Puno emphasizes the human side of the business. She fosters close, almost familial relationships with the artists she works with. “When I go on tour, I’m with the artists every step of the way. We travel together, eat together, spend a month on the road together,” she says. “That kind of relationship makes everything smoother.”
These relationships also make it easier to take creative and financial risks. As she notes the example of bringing Vice Ganda to the U.S. right after the pandemic, Puno recognizes how it was quite a gamble for all parties involved. “Vice was nervous. Sabi niya [He said], ‘What if people don’t want to go out?’ Pero I told him, let’s try. People are hungry for entertainment after being locked down.” The bet paid off — the shows were sold out.
While the world continues to open up to more diverse musical voices, Starmedia is committed to ensuring Filipino artists are part of that global chorus.
“I believe in Filipino talent,” Puno says. “But more than that, I believe in giving them the stage they deserve — wherever in the world that may be.”
“I feel that Starmedia will still continue to produce concept shows, and to continue doing what we’re doing right now,” she notes. “I’m more into doing Filipino concerts, rather than foreign ones. Because for me, my expertise is more of really bringing Filipinos abroad, sending them out. And for me, that’s actually the bigger risk, because it’s taking a chance on all these artists.”
“But oftentimes, it’s always worth all the effort,” she concludes.
For over two decades, Starmedia Entertainment has been more than just a production company. It’s been a cultural bridge, a launchpad, and a symbol of what’s possible when belief meets strategy. In the ever-evolving music industry, it is this blend of passion and precision that will continue to carry OPM beyond borders — taking Filipino talent to more places within the global stage.
