COVER STORY:Joey Ayala: The consummate artist

MANILA, Philippines - It’s been a long, exhausting day at A Space Gallery. After finishing the last round of portrait shots, the production team starts to pack up and haul the studio gear for transport. Sharply dressed in a neo-ethnic ensemble, Joey Ayala joins the huddle and browses through the photos with beaming excitement. “Okay din pala katrabaho ang mga millennials,” the accomplished singer-songwriter quips, as if entrusting his latest project with a bunch of industry newbies is a risk worth taking.

But Joey has every right to be worried. The modern-day troubadour is set to headline his very own concert at the Music Museum on Sept. 16 — exactly 25 years after the official launch of his three landmark recordings “Panganay Ng Umaga,” “Magkabilaan,” and “Mga Awit ng Tanod-lupa” on the same venue, in one go. “Top of the world ’yung pakiramdam ko noon,” he fondly recalls. “Star-studded ’yung audience. Hindi ko akalain na andun si Nora Aunor, si Freddie Aguilar. Nagulat ako.” WEA-Universal Records, under the guidance of APO Hiking Society manager Butch Dans, gambled with Joey’s idea of simultaneously launching the reissue of his three underground releases, resulting in a game-changing concert that drew a full-house crowd.

More on ‘Mandiriwa’

Now at 61, Joey Ayala continues to defy trends with an upcoming concert that showcases the breadth and complexity of his body of work. Dubbed “Mandiriwa,” the star-studded show is Joey Ayala’s first in a very long time, a performance oeuvre that documents his journey as an artist searching for meaning and answers.

“It got me thinking: Ano kaya ang Filipino term for artist? Naghanap ako sa dictionary, wala,” the multi-awarded artist tells Supreme. “Very specific ’yung pintor, mananayaw pero walang generic term na artist. An artist is someone who works with images, with ideas, with the essence of things, with wisdom. I came up with my own localized definition. Pinaghalo ko yung mandirigma (warrior), pagdiriwang (celebration), at diwa (spirit). So for me, a Mandiriwa is someone who works with, fights with, and celebrates essence, ideas, thoughts, and spirituality.”

With Joey Ayala’s knack for blending indigenous music with contemporary forms, “Mandiriwa” not only gives us a clear picture of where he stands as a cultural worker, but also presents a distinct sensibility that “encourages a tribal attitude in modern man — an attitude of oneness with and respect for the world we live in,” to quote music critic Eric Caruncho. Expect to hear career-defining classics that gravitate on environmental and socio-political issues, poignant ballads that celebrate romanticism against a backdrop of social unrest, and compelling anthems that celebrate the rich history of Philippine tribal cultures, rearranged and given new life on a bigger stage.

Reunions and Collaborations

The concert also marks a reunion with Ang Bagong Lumad — the eclectic Davao-based band that he started in the ’80s with former Yano bassist Onie Badiang and critically acclaimed singer-songwriter Bayang Barrios.

“I’ll be working again with these two. We invested so much time in our youth learning the arrangements,” Joey Ayala points out. “We have very intricate vocal arrangements that up to now kung papakinggan mo, mahihiwagaan ka. Kahit ’yung mga nakapag-aral sa Conservatory ang comment nila: ang sipag mo naman. I’m proud of that particular piece of craftsmanship. Hindi klasikal ’yung aming mga boses, puro magagaspang. I was writing around unique textures, and not many people do that.”

Aside from the highly anticipated reunion with Ang Bagong Lumad, Joey Ayala is set to collaborate with a bunch of respected local music acts whose boundary-pushing creativity he admires the most. “There’s the challenge of integrating guests who belong to different generations: Bullet Dumas, Dong Abay, Gloc9, and Juan Miguel Severo. So the task itself of working with younger people who are into spoken-word, folk-punk or wood metal, and hip-hop adds excitement to the show.” Joey Ayala expressed enthusiasm on working with frequent collaborator Bullet Dumas, whom he considers as the artist to watch out for this year. “Si Bullet, anak ko daw yun. He’s a genius. I can’t wait to hear his debut album.”   

Alter Native

It’s convenient to anoint Joey Ayala as the father of Filipino independent music, having recorded albums in makeshift studios without intervention and influence of a major music conglomerate. Development Education Media Services Foundation (DEMS), a non-government organization based in Davao, produced limited copies of Joey Ayala’s “Ang Panganay Ng Umaga” in cassette tapes. “Magkabilaan,” his follow-up release, was also produced and distributed independently. Both albums found its way to obscure retail shops in Metro Manila where it gained underground recognition, thanks to its subversive content and socially aware lyrics. Despite incorporating DIY attitude on his work, the Mindanaoan artist isn’t keen on being associated with the term “indie,” even dismissing it as passé and subjective.

“Wala naman talagang independent. You’re always doing something with somebody else,” says Joey Ayala. “I depend on so many things. I depend on my bandmates, family support, peace and order at home. Hindi ko masyadong ma-gets. Siguro that’s an old word eh. It probably means na hindi ka hawak ng isang major recording company but that doesn’t mean you’re independent. It’s just changing definitions and changing landscapes. It depends on how you take it.”

Joey Ayala would rather use the term “alter native,” spelled as two words to emphasize its function as a call of action and not some sort of a buzzword invented by music journos. “Baguhin ang nakasanayan,” the folk troubadour translates in Filipino, somehow using the expression to create a music movement outside of established conventions and norms.

While not entertaining the idea of being part of the “indie crusade,” Joey Ayala takes pride in introducing indigenous forms of music to a modern Filipino audience, a distinction etched not just in history books, but in our collective consciousness. He recalls how his immersion with Bagobo tribe ended up as a wakeup call that led to the rediscovery of his musical roots.

“Natauhan ako kasi andami kong alam tungkol sa American at European music, wala pala akong alam tungkol sa music sa loob ng Pilipinas,” he shares. “So noong una kong marinig ’yung mga agong, ’yung mga kubing, sobrang na-inspire ako. Nasa harapan ko ’yung musician, nararamdaman ko ’yung vibration ng instrument, hindi siya recording, hind siya radio, hindi siya kuwento. Kaharap ko. So, nayanig ako with the reality of indigenous music.”

 Fueled by this sudden artistic surge, Joey Ayala makes it a point to record songs using a variety of ethnic instruments, and through this mélange of the primitive and modern, we get to hear classics that address important and pressing issues that affect society, nature and communities at large. “I feel responsible for this beauty,” he tells Supreme. “This has to be shared. It enriches people simply being heard.” Eyes closed, you can feel his sincerity. It’s like hearing the gospel of truth straight from a charismatic leader, minus the pretense and propaganda.