TEMPLAR'S PICK | Tatsulok by Bamboo

Amelia Mignonette Pereda

PUBMAT | Carlene Sarmiento

Artist: Bamboo 

Genre: Folk-rock, Protest Anthem 

Album: We Stand Alone Together 

Released: 2007 

Rating: 5/5

𝐓𝐚𝐭𝐬𝐮𝐥𝐨𝐤 𝐝𝐞𝐟𝐢𝐞𝐬 𝐭𝐡𝐞 𝐏𝐲𝐫𝐚𝐦𝐢𝐝 𝐨𝐟 𝐏𝐨𝐰𝐞𝐫 

"𝙃𝙞𝙣𝙙𝙞 𝙥𝙪𝙡𝙖’𝙩 𝙙𝙞𝙡𝙖𝙬 𝙩𝙪𝙣𝙖𝙮 𝙣𝙖 𝙢𝙖𝙜𝙠𝙖𝙡𝙖𝙗𝙖𝙣," 

In a time where political discourse in the Philippines is increasingly polarized—red versus yellow, left versus right—“Tatsulok” reminds us that the real battle is not between colors, but between classes. Written by Rom Dongeto and popularized by Bamboo, the song critiques the illusion of partisan conflict and exposes the deeper systemic inequality that keeps the masses at the bottom of the social pyramid.

The metaphor of the triangle, or “tatsulok,” is a powerful image of Philippine society: the elite, few perched at the top, while the majority struggle at the base. The song urges listeners to “baliktarin ang tatsulok”—to invert this hierarchy and dismantle the structures that perpetuate poverty, injustice, and exploitation.

"𝘼𝙩 𝙖𝙣𝙜 𝙥𝙖𝙡𝙖𝙨𝙮𝙤 𝙖𝙮 𝙣𝙖𝙨𝙖 𝙞𝙩𝙖𝙖𝙨,"

This lyric resonates deeply today as Filipinos grapple with rising inflation, inaccessible healthcare, and a widening wealth gap. The “palasyo” symbolizes not just literal government buildings, but also the concentration of privilege and decision-making power that remains untouched by the struggles of ordinary citizens.

The song’s historical roots trace back to the post-Marcos era, during the “Total War Policy” under ex-President Corazon Aquino’s regime, when the government clashed violently with insurgent groups like the New People’s Army. Yet its message remains timeless: the violence and unrest are symptoms of a deeper disease—economic disparity and political neglect.

"𝙆𝙖𝙮𝙖 𝙖𝙣𝙜 𝙡𝙖𝙗𝙖𝙣 𝙖𝙮 𝙣𝙖𝙨𝙖 𝙞𝙗𝙖𝙗𝙖,"

In today’s context, this line is a rallying cry for grassroots activism. It reminds us that real change does not come from the top down, but from the collective strength of the people. With recent controversies surrounding disinformation, red-tagging, and the suppression of press freedom, “Tatsulok” develops into more than a song—it becomes a call to awaken, organize, and resist.

The song’s folk-rock arrangement, paired with Bamboo’s impassioned vocals, amplifies its urgency. It does not just narrate injustice—it demands action. It challenges listeners to look beyond political theater and recognize the structural forces that keep the poor oppressed and the powerful untouchable.

“𝙏𝙖𝙩𝙨𝙪𝙡𝙤𝙠” is not merely a protest song—it is a blueprint for social awakening. It teaches us that the enemy is not a color, but a system. And that the solution lies not in choosing sides, but in flipping the entire structure.