Technical Skill vs Artistic Identity: Why Some Artists Impress Us But Don’t Fully Move Us
Before anything else, a disclaimer: this is not a hate post against BINI. This is also not me invalidating their achievements, talent, training, or impact on PPop.
Because objectively speaking, they are talented. They worked hard. They trained for years. They helped push PPop further into mainstream consciousness. And as a Filipino, seeing them perform on international stages genuinely makes me proud.
But lately, I’ve been trying to verbalize why I personally still feel disconnected from them as artists despite acknowledging all of that.
And I think I finally figured it out.
It’s not about talent. It’s about artistic identity.
There’s a difference between artists who perform well and artists who make you feel something beyond the choreography, visuals, and polished execution.
Some artists step on stage like they are fighting for every second. You can feel the hunger. The obsession. The urgency. The joy of performing. The desire to express something. Even when imperfect, they leave an imprint because they feel alive onstage.
Meanwhile, there are artists who are technically excellent but somehow feel like they are simply completing a task.
That’s the disconnect I personally feel sometimes.
When I watch BINI perform, I see professionalism. I see discipline. I see synchronization and branding and clean execution. But I don’t always feel a strong artistic urgency behind the performances. Sometimes it feels like everything is already predetermined. The expressions, the arrangements, the formula, the “safe” image.
Before anyone says: “But they trained hard during the pandemic!”
Of course they did. 🙄 That’s literally part of being an idol. Every PPop and KPop group trains. No entertainment company will debut completely untrained artists.
Training is the baseline.
Artistic identity is the differentiator.
Also honestly, attending mandatory trainings to become artists or idols should not be treated as the sole basis for proving passion.
Training is expected. It is part of the job.
That alone does not automatically answer the deeper question: “Why are you truly doing this?”
If I were to ask them directly, what would their answer be?
Are they doing this because it was part of the reality show concept they came from?
Because they wanted financial stability and to help their families in the long run?
Because they wanted fame and opportunities?
Is there a deeper artistic and cultural purpose behind it all?
Do they genuinely want to elevate Filipino talent globally?
Do they see themselves helping shape the future of PPop and representing Filipino artistry beyond catchy bubblegum hits and commercial success?
Because eventually, audiences start looking beyond synchronization, visuals, and polished performances. People begin searching for conviction. Identity. Intent. A reason why these artists need to create and perform beyond the fact that they were trained to do so.
Maybe that’s what some of us are still waiting to feel more strongly from them.
What I keep looking for is that unmistakable feeling that the artists are not just performing because they need to, but because they genuinely love doing it. Because they have something to say creatively. Because they want to leave fingerprints on their art.
I think that’s why I found myself wanting more from their Coachella performances.
No, this is not me saying they flopped. They absolutely did not. The girls represented the Philippines on a massive international stage and that alone is already historic.
But as a viewer, I was personally looking for reinvention. A new arrangement. A different flavor. A moment that would make international audiences go: “Oh. THIS is who they are.”
Instead, the performances felt very similar to what we already usually see locally. Polished, rehearsed, familiar.
Again, that’s not automatically bad. Some fans love consistency and polish. Some fans connect with BINI precisely because they feel accessible, light, fun, comforting, and relatable.
But for me, I look for artists whose identities feel deeply embedded in their work.
Quite frankly, I think being heavily backed by a major network can sometimes contribute to this feeling.
Large entertainment systems are naturally designed to prioritize marketability, consistency, branding, repeatable success and public image safety.
The downside is that sometimes the rough edges (the very things that make artists distinct) get softened in favor of broader appeal.
So when people say: “Who are you to criticize them?”
Well, lemme tell ya. As an audience member who supports PPop and wants the industry to grow, I think constructive criticism should be allowed.
Critiquing art is not automatically hatred.
Wanting artists to evolve is not sabotage.
Expressing disconnection from an artist’s current creative direction is not “crab mentality.”
In fact, I think taking PPop seriously enough to critically discuss performances, artistry, identity, and evolution is a sign that people actually care about the industry becoming globally competitive.
Because eventually, technical skill alone will not sustain longevity.
At some point, audiences start looking for artistic voice, reinvention, individuality, emotional authenticity and creative risk-taking
Those things cannot be manufactured forever.
To some Blooms: Stop treating every constructive criticism as a personal attack against the girls. Not everyone who critiques BINI is a hater, insecure, “threatened,” or secretly trying to drag them down. Some of us genuinely WANT to connect with them more. Some of us WANT to continue supporting them. But audiences evolve. Standards evolve too.
If casual listeners and/or even non-fans say:
“Hey, we want to see more artistic identity, more reinvention, more flavor, more risk-taking…”
that shouldn’t automatically trigger online warfare.
Because ironically, the fandom itself sometimes pushes people away faster than the criticism does.
You cannot keep demanding that PPop be taken seriously globally while also refusing to allow serious discussions about artistry, stage identity, performance evolution, and creative growth.
No artist should want stagnancy. Especially not artists already operating on international stages.
Also, hear this:
Being surrounded only by people who endlessly praise everything you do is one of the fastest ways for art to stop evolving.
Not all criticism is hate. Sometimes it’s people saying: “We see the potential. We just know they can still become even greater.”
At the end of the day, this is just my perspective as someone who consumes performances critically and values artistic identity very heavily.
You can disagree. That’s completely fine.
But I think this is the real conversation worth having:
Technical skill can make people admire artists. But artistic identity is what makes people truly believe in them.

















