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Live pop recordings from the Philippines hold a unique space in regional creative catalogues, capturing moments of connection that studio recordings often refine for broad, consistent distribution, and Ikaw Lamang (Live) exists as a distinct entry in that lineage of captured, unscripted performance. The assigned catalogue perspective that frames this entry centers the work’s formal and geographic attributes to situate it within the broader global landscape of pop sound, while honoring the specific cultural context that gives all works originating in the Philippines their distinct place in creative archives. Cataloguing practices for sound works have long evolved beyond simple sorting to center the context that shapes how a work is created, shared, and received, and for pop works that carry the “Live” designation, that context prioritizes the specific, one-time nature of the performance that was captured to create this recording.