Live Review: Howard Jones

Given the fact that this tour sees Howard Jones playing his first two albums - Human's Lib and Dream Into Action - in full, an early start time (8.30pm) is a given. As soon as we process the bubbling synths punctuated by static interruptions that open Automaton from Howard Jones' second album, it's quickly established his deck of songs will be shuffled – as opposed to being played in tracklisted order – tonight. Wow, that typically '80s slap bass! There's no bassist onstage however, just an electronic percussionist (Jonathan Atkinson) and Apple Mac operator/musical arranger (Robbie Bronnimann, who could easily be the president of the Howard Jones fan club if his copycat, 'HoJo gone to the pack' look is anything to go by). Enter Jones. The '80s icon is definitely in good nick and sports beautifully tailored threads plus impossibly pointy black shoes that must make negotiating any flight of stairs a physical challenge.   

“Are you ready for the emotional journey you're gonna go on?” Jones enquires as we all eye off the white keytar that's been given pride of place upstage centre. Jones plays some glorious, uplifting piano throughout Assault And Battery that vastly contrasts with the song's sinister lyrical content. He also still boasts enviable pipes capable of scaling Look Mama heights – an early highlight. Synchronised visuals on the LED back screen inspire awe, particularly an image of Jones's giant-orb head that evokes the moon from The Mighty Boosh. The crowd erupts to chant out the closing chorus of Specialty and as we look around there's a mixed bag of 'specialties' in attendance – young and old, fashion-forward and backward. At one point a scrunchy-wearing chick has the nerve to irritably shush this giddy scribe mid-song! Life In One Day features high-pitched, piccolo-esque synths and offers sound advice for all. Jones' vocals are always front and centre in the mix to deliver his message. During Bounce Right Back Jones roams the stage gesticulating like a rapper, with vocal affectations that call to mind Falco's Rock Me Amadeus. No One Is To Blame pulses with its metronomic backbeat and is heart-breakingly good. There are periods where Jones remains silent to test our lyrical knowledge: All together now, “And you want her/Aaaaand she wants you.”

While we swap notes during intermission, Jones is apparently busy sprinkling his blue jeans with fairy dust in the band room. The bedazzled results are witnessed when he returns to the stage, post-costume change. Human's Lib album tracks are mixed up during act two also, and thus an instrumental called China Dance (Hide & Seek's B-side) opens. The sampled horns during Pearl In The Shell get us jiving and many fingers point skyward to the beat. There's also further scope for Jones to show off that elastic vocal range here. Jones comes across an amiable geezer and admits to hating the Human's Lib lyrics (they are pretty lame). To look around and see the entire room united singing the chorus to main set closer What Is Love? is a contender for gig moment of the year.

Jones returns to the stage solo and approaches the keytar as we collectively will him to strap it on. He plays it masterfully and is soon joined by his two bandmates. We could have danced to the extended, effervescent New Song – with its fun sing-and-clap-along interludes – well into tomorrow and Jones' joyous performance suggests he'd be thrilled to oblige.