Review | The Future Bodes Bright for Bôa

On Friday, September 13, a 1,200-person theater nestled on Hollywood Boulevard was at full capacity. The billboard, in bold black letters, read BÔA. 

The band formed in 1993 as an indie alternative band in Paul Rodgers’s (Bad Company) upstairs home studio. The British group Bôa grew to produce two albums over the decade while gaining traction in the U.K. and Japan. Despite their successes, they never quite graced American marquees. In the early 2000s, after the release of their second and last album Get There, the musicians disbanded, pursuing their own careers respectively.

Fast-forward to 2022: Their single “Duvet” goes viral across social media platforms. With a new generation suddenly trying to unravel their story, members Jasmine Rodgers (lead vocals), Alex Caird (bass), and Lee Sullivan (drums) reunite. 

I’ll admit it — along with most of the population, I discovered Bôa through social media. I’m not one of the cool outliers that discovered them through the Japanese Anime Serial Experiments Lain that used “Duvet” as their theme song in the late ’90s. 

Following my own personal “Duvet” awakening last year, I began doing my research out of sheer curiosity, listening to their album Twilight on repeat. When I saw Bôa was touring, not going was out of the question. 

Now back to the show night: The Fonda Theater was teeming with young fans, curiosity and excitement filling the venue. I wondered whether the audience would be just as interested in exploring Bôa’s tracks outside of “Duvet.” As the night went on, it became evident that the audience had done as much homework as I had. 

One thing about Bôa is clear — they aren’t going to try to make a Duvet Part II. This band is fully back in action and inspired to create, drawing lines outside the box.

For the first time in nearly 20 years, the group is gearing up for a new album release, Whiplash, which will fully debut on October 18. From the album, five singles have been released. 

During their set, they pulled from their entire discography, plucking tunes from each album, Whiplash included. The crowd responded enthusiastically to their new material as they jammed out “Walk with Me,” “Beautiful & Broken,” and “Strange Few.” I had the pleasure of revisiting “Welcome,” “Elephant,” and “Fool” from their Twilight album. I would have loved to see “Little Miss” on the setlist, which is also off Twilight and my second favorite Bôa song, so if any of you guys are reading this for next time … (*cough* *cough*).

Bôa’s onstage energy was potent. I had braced myself for a mellow farewell tour vibe, but instead was met with an electric stage chemistry between Rodgers, Caird, and Carlos Garcia (guitar). As if the crowd wasn’t stoked enough, seeing the group freely rocking out really gave you a glimpse of who they are and where their passion lies.

Bôa is in a very unique place. Their run having been cut short in the early 2000s, they sonically remain authentic to that era, evoking nostalgia that has time traveled two decades into the future. Anyone with a Cranberries-sized hole in their heart will be more than thrilled to discover this band. Between their melodic, angsty discography, complete with Rodgers’s unmistakable emotional and vocal range, topped with rich layers of instrumentation, they offer a listening experience that feels both fresh but familiar.

After my night at the Fonda, I walked down Hollywood Boulevard, the pale red stars waltzing under my feet. It’s magical — palm trees waving you by — the California dream, right? The night felt full of hope and something brewing beneath it. 

A few days later, a coworker struck up a conversation. “Have you seen any cool shows recently?” she asked. Without looking up from my work, I replied, “Hmm, oh yeah … I saw Bôa at the Fonda last weekend.” 

“Oh my god! I am so jealous,” she exclaimed. 

Finally — someone else that got it.  

“Aw man,” I looked up, raising my eyes to meet her smile. “They were so good.”