Lola Amour are back—and they want you to groove through the chaos.
Following the massive success of ‘Raining in Manila’ and their recent cross-cultural collab ‘Maria’ with Australian artist Oliver Cronin, the Filipino indie-pop-funk band have dropped a new track, ‘Dance With My Mistakes.’ Produced by Hyuk Shin (EXO, SHINee, Justin Bieber), the single marks an exciting new chapter in the band’s evolving sound, while staying true to the infectious energy fans love them for.
Funky, feel-good, and unapologetically human, ‘Dance With My Mistakes’ finds Lola Amour embracing imperfection and turning it into a dancefloor-worthy celebration. The track is available now on all streaming platforms.
“We’ve always wanted to write a song about accepting your flaws, but this one came together with a certain lightness and fun we didn’t expect,” the band shared. “It’s about messing up—but dancing through it anyway.”
And they really mean dancing. The band has incorporated a bit of choreography for this release, teasing performances that might just get the audience moving too. Naturally, we couldn’t resist chatting with them about the story (and the moves) behind the new track.
Hey Guys! ‘Dance With My Mistakes’ has a very fitting title—what’s the biggest “mistake” you’ve ever made as a band that turned out to be a blessing in disguise?
David Yuhico: One of the biggest mistakes we did, which was a blessing was delaying the album. There were reasons why we delayed the album. It was because 'Raining In Manila' was popping off. But, there were so many eyes on us and also another blessing we got was our music taste changed. The album was written in two phases, and when we wrote, we were like "I don't really like some of this stuff, let's go for a new direction". So the album became better because of that and there were more eyes on us.
With that mistake, we got to tour around and have fun with 'Raining In Manila', we got to do our first overseas show in places like Singapore and Macau.
You worked with Hyuk Shin on this track, a producer with an incredible résumé. What was the most unexpected piece of advice or technique he introduced to your music?
David Yuhico: There was a lot we learned during the process, but one of the biggest things was this: keep it simple. At first, when we started playing, I was like, "Oh no, do I need to go all out here?" But Hyuk Shin just said, "Calm down. Chill. Just play it simple." And honestly? It sounded so much better.
Beyond that, it was about making space for everyone on the track. Instead of throwing in every single idea like we used to—like, "Oh, you have something? Let’s add it!"—we learned to choose the ideas that really worked well together.
What made it special was that everyone still got to try things out. Shin and Curly were great at welcoming ideas and then picking out the best ones. They had a real instinct for knowing what clicked and what didn’t. And if you were stuck, they’d help spark something—they’d drop a seed of an idea to get you going.
One of the most important parts? The talking at the beginning. We’d spend the first hour just sitting down and aligning on the story, the emotion, and what we wanted from the song. That really helped everyone lock into the same vision—not just lyrically, but in the mood, the arrangement, the whole feel of the record.
Pio Dumayas: And then they started asking about personal experiences, you know? Just getting everyone to really understand what the song was going to be about. So it wasn’t just about writing lyrics—it was about making sure we were all on the same page, even when it came to the mood, the chords, the arrangement. Talking—communication—is key, basically.
With all these international moments—NIKI, Crash Adams, Chanyeol, HONNE—how does it feel to see global artists engaging with your work? Does it add pressure, or is it just pure motivation?
Raffy Perez: I think at least personally, I see it as pure motivation. It's honest. Obviously, it's an incredible honour that we're even recognized by artists these huge. So getting to see that level of recognition for our music is pretty wild. Maybe I don't feel the pressure, simply because we are really proud of our music. So for them to recognize us in that level make us go "we can do more. We can do much more". It actually opens a lot of opportunities for us, as well as a band.
David Yuhico: The thing about the pressure I really don't think we feel it because the pressure is divided by seven (members) and the joy is multiplied by seven. We don't really feel the pressure but when we see it it's like "Oh my god!". The celebrations are even bigger.
The single seems to reflect a more refined, evolving sound. Was there ever a moment in the studio where you thought, “This is the new Lola Amour”?
David Yuhico: When we were setting up in Malaysia—just trying to make sure all the instruments worked—we started jamming. It was just me, Raffy, and Manu at first, and then a few others started playing along. We ended up jamming to some Motown, and I remember thinking, "We’d never usually do this in a jam". But it felt so good. That was all Manu—that’s what he brought to the table.
Pio Dumayas: For context, Manu is our bassist, and he is, you know, he's new, this is his first songwriting, first body of work. Our genre changed because the writers change. Ray who was our old bassist, he used to focus more on the sounds—like the hard part of the songwriting process. But now that it’s shifted, it feels completely different, and yet it still sounds like us.
Catch the full video interview with them over on our Instagram!