The rules for being ruleless

Gweneth Pablo

Is there a checklist needed to be considered “authentically alt”?

The alternative scene has always been built on resisting the mainstream. Yet nowadays, one of its loudest conversations isn’t about the music–it is about deciding who deserves to call themselves “alt”. And one of the main subjects of discussion is singer-songwriter Janine Berdin.

Currently known for her gut-wrenching Wish 107.5 performance of her song ‘What is I miss you for the rest of my life?’, Janine was first discovered in Showtime’s segment ‘Tawag ng Tanghalan,’ where she emerged as the Season Two Grand Champion. Soon after her triumph, she entered the music industry to write and release songs. Her discography was once dominated by pop and indie pop music, until her major shift in genre following the release of her alternative album ‘Lab songs ng mga tanga’.

What was marked as a milestone for her became the root of the backlash against her. 

From then on, she was accused of being a “fake alt” and an “industry plant” who only uses the genre for aesthetics and to become mainstream. What was once a genre that intentionally drifted from the norm is now being used to appeal to the general public. However, before deciding whether the criticism is justified, let us dive deeper into what exactly makes someone “alternative” in the first place. 

When we talk about alt, a few stereotypes come to mind. We think of grunge or emo clothing, black fabrics and piercings, loud music, and a certain type of vintage or retro vibes. It is easy to reduce one complex idea based on what we observe, but being an alt is so much more than what meets the eye. From the definition of the word itself, alternative means deviating from the norm. It is mainly staying outside commercial mainstream formulas—resisting generic pop instrumentals to give way to sequences that have never been heard before. 

Beyond resisting the mainstream, the alternative scene has played a significant role in the Philippine music landscape. One of its main contributions during the alternative boom of the 1990s was its promotion of local pride and cultural appreciation. According to Boomerang Media, many bands were able to incorporate Filipino elements into their music, which allowed everyone to embrace our own music and story. Back then, it gave the bands new ways to connect with their audience, and it contributed to the vibrant ecosystem and collaboration of the music scene in the country. 

They have always prided themselves on maintaining their nonconformist reputation and artistic independence, but ironically, beloved alternative bands like ‘Radiohead’, ‘Tame Impala’, as well as Filipino bands like ‘Parokya ni Edgar’ and ‘Eraserheads’ eventually became mainstream. Does it automatically erase their authenticity as alternative artists? 

In all fairness, the criticism towards Janine Berdin and any other artists trying to enter the alt scene is not entirely baseless. As the ‘minority group’ in the music industry, they have the right to point out when they feel like the genre they have long fought for is being used merely to capitalize on it, when that goes against the very essence of the alternative genre.

Moreover, having someone in the community who potentially is merely cosplaying to gather a wider audience may feel like an intrusion from someone who does not even know how the operations in the ‘underground’ work or how to deal with the realities that come with being an alt. Simply using the term risks making the genre more of a marketing label, rather than something that is built through years of experience, depth, and growth. 

This is the reason why they demand authenticity and are constantly calling out musicians like Janine Berdin. But what happens when “authentic” alternative artists start to become mainstream accidentally? Does authenticity disappear once an artist becomes successful? Do they need to resist accidental fame to prove that they are authentically alt?

While the protectiveness of the alt community is understandable, there is also a sobering reality to remaining ‘underground’. It often comes with financial instability, years of playing small gigs, modest streaming numbers, and limited opportunities. The indie alt band Any Name’s Okay, for instance, shared an interview with Billboard Philippines that if they had measured success solely through streams and metrics, they “would’ve stopped making music a long time ago.” Instead, they credit the community that has continued to listen, support, and grow alongside them as the reason they keep creating. 

However, they also recognize that music is not their primary source of income—a privilege not every alt artist has.

Thus, when an alternative artist gradually gains mainstream recognition, it is neither surprising nor realistic to expect them to reject the opportunities that come with success simply to prove they are “authentically alt”. If authenticity depends on remaining obscure or financially struggling, then perhaps we have mistaken hardship for sincerity. 

And this is precisely where the discourse surrounding Janine Berdin becomes more complicated. Janine already had a platform before shifting genres; however, her streams and viewership gradually declined, prompting her to explore a different musical direction. It is understandable why some people from the community see the shift as strategic, pointing out that she is only using the genre to gain a wider audience following the success of her revitalization through ‘Lab songs ng mga tanga’. However, it is only fair to consider the fact that artists naturally evolve as they refine their creative identity and navigate an ever-changing music industry. 

It is not their fault that audiences eventually grow weary as the music scene becomes oversaturated with the same formula. Thus, artists are often compelled to reinvent themselves and create something that distinguishes them from the rest. A change in sound does not entirely equate to exploitation simply because its reinvention led to success. Otherwise, we create a standard where artists are only considered authentic if they never change–or if they change without succeeding. 

So what does authenticity truly mean if not solely measured by obscurity, hardship, and popularity? Despite not being able to stay underground, one can still be considered alt when the artist’s intention is not merely to exploit the genre but to express themselves freely, something they were not able to do years before their genre shift. It is also reflected through their respect for what the alt community has long protected and recognizing that ‘alternative’ is more than an aesthetic or marketing label and that it is built on artistic freedom and willingness to challenge convention. 

Janine herself framed her reinvention in a similar light. She mentioned during an interview with Mega that as a kid, she wanted to follow the rules because back then, staying conventional felt safer than standing out. But now that she has entered the indie scene, she wanted to do her own thing–embracing the artistic freedom she once hesitated to pursue. 

Whether one agrees with her artistic direction or not, her explanation complicates the notion that every reinvention is a calculated attempt to capitalize on a genre. Sometimes, a change in sound is less about chasing trends than it is about finally finding a creative identity that feels authentic, not just for other people, but to the artist themselves. 

It is not bad to protect one’s culture, especially with a rich and complex genre like “alternative.” However, sometimes the line between protection and exclusion gradually blurs until one can be mistaken for the other. There is a stark difference between offering constructive criticism and explaining why members of the alt community are wary of artists who merely capitalize on the genre, and gatekeeping through rigid expectations of who deserves to belong. The alternative should always cater to those who wish to be free from the conventional rules of the music industry—this includes artists who choose to reinvent themselves. 

After all, a movement built on challenging conventions should be careful not to create conventions of its own.