“If the Edge’s dense, effects-laden guitar work seems overly familiar, it’s only because this album was such a key influence on the whole ‘rock of the ‘80s’ sound” (McCulley). “Without the Edge’s echoed, ringing guitar, U2 would have sounded like a traditional hard rock band, since the rhythm section and Bono treat each song as an anthem” (Erlewine).

“Bono’s viewpoint, still tantalizingly vague and wide-eyed, showed that his penchant for strident polemics hadn’t yet gotten the best of him; his anthems are those of a yearning Dubliner barely out of his teens rather than those of a world-weary multimillionaire. The band’s sometimes-ragged musical chops work in its favor here, gently burnished to then-fresh new-wave sheen by producer Steve Lillywhite” (McCulley).

“Of course, that’s the charm of Boy: all of its emotions are on the surface, delivered with optimistic, youthful self-belief, yet the unusual, distinctive guitar textures give it an unexpected tension that makes it an exhilarating debut” (Erlewine). “The songs may occasionally show some weakness yet the band’s musical and lyrical vision keep Boy compelling until the finish” (Erlewine). “Though not quite as moody or musically accomplished as October, arguably the band’s first masterpiece, Boy still ranks as one of U2’s best albums” (McCulley).