Beabadoobee Reminds Us About The Ways We’ve Grown With 2025 Manila Concert — Review

Beabadoobee‘s highly anticipated return to Manila was so nice, you gotta watch it twice.

As all roads lead to Cubao, the center of the universe — high schoolers, college kids, and even young adults rushed to New Frontier Theater for what felt like an extension of Cubao Expo, a place filled with a bit of angst and frequented by appreciators of the alternative and indie rock scene.

While it did bring the realization that I’m no longer part of the demographic young enough to feel more carefree in life and falling in love, much like in her earlier songs, I now find myself in a period where love and understanding comes more with maturity and experience.

It has been over three years years since her last visit to the country for her Beatopia tour in 2022. Born Beatrice Kristi Laus, Bea has now added more creative pursuits under her belt, with the release of her third studio album, This Is How Tomorrow Moves, in August 2024.

The intimate setting offered a limited space but also enough for audiences to rock out and scream at the top of their lungs. Coming from a first-time Beabadoobee concertgoer who unfortunately missed her visit back in 2022, I came to the show leaving room for anything. Truth be told, there was more to appreciate in how the show’s setlist carries from her most recent album, while also highlighting tracks from the the Iloilo-born artist’s previous eras.

As someone who first listened to her music during her stripped-down, indie rock beginnings, it’s safe to say that her growth is ever so present in what I experienced in her two sold-out shows.

Bea kicked off the show leaving no crumbs, and felt like a “Welcome back, kababayan” (Welcome back, fellow Filipino) moment, with the opener “California” proving that the the stage was for her to claim. The crowd erupted for a night that echoes how much she has evolved as an artist, starting out doing covers online to embracing who she is as an artist and what she is capable of. Immediately pulling the crowd from the chatters among strangers, reunions among friends, and even hints of excitement from the ones who came alone, the opening was truly just the beginning.

As songs juggle between her different albums, I appreciate how there was room for fans who may have soft spots for particular albums and eras. I’d say her debut album, Fake It Flowers, was one of the albums that kept me sane during the COVID-19 pandemic and shaped what music at the time meant for me. Despite finding it difficult to cope with everything going on in my life during my early twenties, I was able to connect with and understand the beauty of art through music.

The songs smoothly transitioned from one another, and it only added to the journey of going through her experiences as an artist and individual. The crowd also added a level of excitement and energy that can only be matched with passionate fans who are there to experience something magical. Although I don’t necessarily believe in casuals or new fans not having the right to go to a concert of someone they don’t really listen to, I feel like a concert can be a great opportunity to further expand one’s palette, as being able to live in the moment (or maybe pull one’s phone to record the said moment) heightens the appreciation for an artist.

For those expecting a big-budget setup, the stage design was simple but effective: a large cloth served as a canvas for video projections, with a ladder and a tree placed in the background. Though the set pieces might have seemed random, the projections tied everything together, capturing the mood from one song to another. Rock-infused numbers came alive with flickers, while the spotlight centered more on Bea during the acoustic and more laid-back performances.

‘Meanwhile, cute and slow tracks like the TikTok-viral hit “Glue Song,” whose music video was shot in Iloilo, gave spaces in between for a breather from the songs you dance to. Bea casually interacted with the crowd, even shouting the mandatory “Mahal kita” (I love you), to loud cheers, of course. But small interactions like this brought a sense of connection but also perhaps her way of reaching to her Filipino roots and being truly at home.

A surprise song on the setlist was her cover of APO Hiking Society‘s “Panalangin,” with Jim Paredes himself joining her onstage on the second night. In an emotional moment, Bea grew teary-eyed as she experienced a once-in-a-lifetime performance, much like how we had the show all to ourselves.

But it was hearing “Coffee” live that felt like a truly heartwarming moment for those who have been listening to Bea through the years. This performance alone made me feel that a dream can turn into reality if you stay true to yourself and remain raw and honest, especially as an artist. This song was made for intimate, smaller crowds, yet a packed New Frontier Theater bore witness to a night filled with Bea’s growth and ever-evolving artistry at work.

The last few songs on the set list, like the fan favorites “Beaches” and “Apple Cider,” and “She Plays Bass,” were definitely a vibe that called for a mosh pit. Although that didn’t really happen in the VIP area. The rollercoaster ride of sorts between the songs showcase Bea’s versatility in being able to rock out while also being intimate and vulnerable with acoustic tracks.

The night concluded with the encore, featuring Bea performing “the way things go” and the very fitting “See you Soon.” It felt like a full-circle moment, ending the night with songs that perfectly encapsulate what a staple Beabadoobee track is: soft vocals paired with tender songwriting. Clocking in at around 90 minutes, it left me wanting more. Perhaps, it was how the transition and setlist was curated that made it such a smooth sailing adventure through Bea’s personal life and growth as an artist.

Both shows had a lively crowd and an energetic atmosphere, with the second night slightly edging out the first, mainly because it felt like a more complete performance, and Bea and her band had already adjusted from the first night. But experiencing Beabadoobee for the first time felt like a fever dream.

She was one of the artists I connected with during my college years. Like her, through her songs and evolution as a songwriter, I’ve gained a lot of experiences over the years. Now, in my mid-twenties, it feels nice to have this sense of connection with her that I know feels a bit delusional. But like they say, when there is delusion, there is hope.