Filipino-British alternative rock artist beabadoobee returned to Manila on August 12 and 13, performing at the New Frontier Theater in Cubao, Quezon City. It was her second time in the city after her debut Philippine performance in 2022. Both nights of this year’s performance sold out, an impressive feat for weekday concerts. Many of her fans — mostly high school and college-aged listeners — adjusted class schedules, braved traffic, or cut work entirely to see one of the most prominent names in today’s alternative rock scene.
Looking back to 2022, beabadoobee’s Beatopia tour stop in Manila arrived during the post-pandemic boom, when alternative culture was crossing further into the mainstream. Her first homecoming drew a young audience decked out in crocheted cat hats, arm and leg warmers, dangling carabiner trinkets, and fake freckles that mirrored her own look. The crowd’s style bordered on cosplay. The show, however, fell short of expectations. The stage design was nonexistent, her setlist was solid but lacked energy, and the audience, despite being one of the youngest I had seen for an alternative rock show, was disengaged.
The 2022 performance had its strengths. beabadoobee’s voice was steady and her guitarist Jacob Bugden delivered standout moments, but the atmosphere was flat. The crowd’s minimal movement, the absence of a mosh pit, and the overuse of cell phones created a lukewarm experience for what should have been a landmark homecoming.
Fast forward to 2025, and the mood could not be more different. This time, the crowd felt less like a streetstyle photography set and more like a gathering of dedicated fans. The fashion choices reflected the sonic shift in Beabadoobee’s latest album, This Is How Tomorrow Moves. Gone were the flashy, heavily accessorized looks of 2022. In their place was a mix of a modest early 2000s grunge, folk-inspired goth, and coquette aesthetics — styles that fit the album’s stripped-down, Americana folk-inflected mood. Influences from bands like Pinegrove and Free Cake for Every Creature were apparent not just in her music, but in the way fans presented themselves.
Homecoming Redux
As with most Live Nation Philippines productions, the show started exactly on time. The lights dimmed, atmospheric electronics filled the theater, and the band took the stage before beabadoobee emerged to enthusiastic cheers. It was the first of the two nights performing for her Manila audience, and from the first few notes, it was clear this show would be different from her first appearance three years ago.
Talking with friends who had also seen her last visit, we shared the same skepticism: could she truly turn things around? By the end of the night, the answer was clear. This time, beabadoobee delivered one of the most satisfying live performances of the year.
Her setlist balanced deep cuts, fan favorites, and recent releases. Highlights included the Pavement tribute “I Wish I Was Stephen Malkmus,” early hits like “Apple Cider,” and new singles “Take A Bite” and “Ever Seen,” which showcased her growth as a songwriter. Midway through the set, she surprised the crowd with a flawless cover of Apo Hiking Society’s “Panalangin,” sung entirely in Filipino. The rendition drew one of the loudest cheers of the evening. The last stretch of the concert was an unbroken run of high-energy tracks: “Beaches,” “Care,” “Apple Cider,” “She Plays Bass,” and “Cologne.” This sequence created a sustained momentum that the audience fully embraced, with fans singing along word for word and finally moving with the music.
We are so Back
The post-show moments added a personal touch. beabadoobee’s grandmother and other family members made their way onstage briefly, where the crowd chanted “lola!” as fans took photos bathed in the warm stage lights. The scene had the unmistakable glow of an aftershow high, something that was sorely missing from her 2022 performance. The contrast between her two Manila concerts could not be starker. Where 2022 felt like an event held together more by image than energy, 2025 was driven by musical connection, confident performance, and a receptive audience. The new songs translated seamlessly to a live setting, and her stage presence carried a relaxed assurance that made her earlier set feel distant in comparison.
beabadoobee has found a way to merge her identity as an international artist with her roots as a Filipino performer without leaning on forced sentimentality. The crowd interaction felt natural, the “I love the food” moments were lighthearted, and there was no sense of overplayed cultural pride. It was simply a strong, heartfelt show.
In 2022, her Manila concert left me questioning whether she could deliver a memorable live experience in her home country. In 2025, she not only met those expectations but exceeded them. This Is How Tomorrow Moves in Manila was proof of her evolution; she has evolved into a performer who can command a room and hold it until the very last note. It is not an exaggeration to say that this was her best Manila performance yet. beabadoobee’s second homecoming will be remembered not for fashion trends or viral moments, but for the music itself. It was an evening where the artist and audience finally met at the same energy level, creating a show worth talking about long after the house lights came up.
