Howard Jones: Things Can Only Get Better Tour presale codes

Howard Jones is an English synth-pop songwriter who broke out in the early 80s with Human's Lib and Dream Into Action. His songs mix bright keyboard hooks, crisp drum programming, and lyrics that chase hope without getting sappy.

From bedroom synths to arena singalongs

On this run he leans on a hybrid rig, pairing trusty analog textures with modern software for punch and color. Expect staples like Things Can Only Get Better, No One Is to Blame, What Is Love?, and New Song, and maybe a curveball from Transform.

What you might hear and who shows up

The room tends to be a blend of long-time fans in their 40s to 60s, younger synth heads, and pop listeners drawn to clean melodies and clear grooves. A neat bit of lore: the hit single version of No One Is to Blame was produced by Phil Collins, who also played drums and sang backing vocals. Another note for deep fans: he performed Hide and Seek solo at Live Aid, turning a massive stadium hush-quiet. Note: specific songs and staging described here are educated guesses based on recent gigs.

The Howard Jones Scene, Up Close

You will spot vintage Dream Into Action shirts, pastel windbreakers, slim ties, and bright sneakers, plus the odd keytar pin or cassette earring.

Neon threads and kind energy

Fans greet each other with quick stories about first records or early MTV memories, and a few bring kids who learned the songs from car rides. During Things Can Only Get Better, the balcony and floor trade the 'whoa-oh' line while the main beat keeps hands clapping on the twos and fours. Ballads earn a hush, then smiles return as the drum machines pop back in and people sway without crowding.

Shared memory, new voices

Merch tables lean toward retro fonts, neon oranges and greens, and a lyric tee that nods to What Is Love?. It all feels like a friendly club of synth-pop lifers and new recruits, curious about the rigs but here mainly to sing with the writer who made optimism sound cool.

How Howard Jones Builds the Sound

Jones's voice has aged into a slightly deeper hue, and he shapes phrases with careful breath so the choruses still land bright.

Hooks first, gear in service

The band keeps the pocket tight, with live drums locked to subtle click and Linn-style samples while bass alternates between plucky electric and rounded synth. Keys lead the story: glassy pads, brassy stabs, and arpeggios create lift, while piano grounds the reflective moments. He often opens What Is Love? as a short piano verse before the full tempo kicks in, which makes the chorus feel bigger. On No One Is to Blame, the arrangement leans sparse so the lyric reads clearly, then swells for a final group sing.

Small tweaks, big payoff

A small but telling tweak is common keys dropped a half-step and filter sweeps mapped to a foot controller, letting transitions bloom without derailing the groove. Tempos live run a notch faster and codas stretch just long enough for the crowd to trade the 'whoa-oh' refrain on Things Can Only Get Better. Lighting tends to be bold color blocks and clean lines that echo the synth shapes rather than chase every beat.

Kindred Synth Spirits for Howard Jones

Fans of OMD will click with the blend of melodic synth lines and bittersweet moods that keep bodies moving.

Parallel neon highways

Erasure makes sense too, with warm tenor vocals, big choruses, and shows that treat electronic pop like a living, breathing band. Midge Ure attracts a similar crowd that values craft, concise songwriting, and the guitar-synth handshake born of the new wave era. If you lean toward airy pads and nostalgic textures, A Flock of Seagulls sits in the same lane.

If these are on your playlist, you are set

All of these acts favor strong hooks, tidy arrangements, and a stage sound that balances clarity with warmth. In the crowd, you will notice shared habits: early singalongs, smiles when a classic intro patch appears, and patient listening during softer piano breaks.