He has performed at such venues as Constellation Chicago,[2] Spectrum,[3] Studio Z,[4] Jeunesses Musicales du Canada,[5] the ISCM Festival, cafe OTO,[6] dotolim,[7] Ftarri Festival,[8] Musica Sacra Maastricht, Gaudeamus Muziekweek, De Link, Paradiso, and regularly at Amsterdam's underground venue Zaal 100[9] and Klangraum in Düsseldorf.

He has recorded music by composers such as Tom Johnson,[12][13] Philip Corner,[14] Rozalie Hirs,[15] John Cage, Jürg Frey, Antoine Beuger, Jack Callahan, Samuel Vriezen, Morton Feldman, Richard Ayres and Michael Manion.

[17] Boon's compositions have been performed internationally, at such venues as Museo Reina Sofía, Goethe-Institut Amsterdam, Kunstraum, Alte Jazz-Schmiede, Old Stone House (Brooklyn), Willow Place Auditorium, Orgelpark, Stedelijk Museum, V2 Institute for the Unstable Media, Muziekgebouw aan 't IJ, the Royal Academy of Dutch language and literature, Huddersfield Contemporary Music Festival, The Wild Beast, Kultur & Kongresshaus Aarau, UCSB, and REDCAT.

In November of that year, he conducted Ensemble Sisyphe in a program of music by André Cormier, Tom Johnson, Taylan Susam, and himself.

[20] He was a guest lecturer at the 13th Wiener Tage für zeitgenössische Klaviermusik hosted by the University of Music and Performing Arts Vienna.

[26] John Eyles, writing for All About Jazz, has described Boon's works as "exquisite throughout, without a single wasted note or gesture to be heard.

"[27] His CD clarinet (and piano), which features clarinetist Jürg Frey, was recommended by The New Yorker's Alex Ross[28] and by Andy Hamilton in The Wire's Top 10 albums of contemporary music.

[31]In a review of Boon's 2 Delen (after Sam Sfirri), Paul Muller writes the following: [A] subtle work featuring electric guitar and voice.

[32] His vocal piece Mirte, a setting of the first three stanzas of Antoine Beuger's translation of the Spiritual Canticle by John of the Cross, has been described as an "inward psychological turn of a voice trying to sing to itself.

"[3] National Sawdust's Steve Smith listed one of Boon's 2018 solo recitals in New York in his top 10 of memorable musical events.

"[35] In a review for NRC Handelsblad, Jochem Valkenburg notes Boon's "warm, shrouded tone" and, singling out his interpretation of Morton Feldman's Last Pieces, calls it "objective yet affectionate…measured, pensive, yet vulnerable.