Howard Jones and ABC
Masonic Auditorium
Feb 6, 2025
Photos by Raymond Ahner
A double dose of British synth pop was the order of the day at the Masonic Auditorium as fans braved the blustery, and rainy chill of an early February night to get the feel-good vibes of Howard Jones and fellow 80s new wave hit makers ABC.
Respectively breaking the seal on the 2025 tour calendar, the pairing of these two disparate yet similar musical talents worked wonders on the surprisingly full house at the Masonic.
As patrons filed into their seats (no open floor on this evening) there was a buzz of good energy amongst the crowd despite having to shed wet umbrellas and coats. It was almost like making it into the show was a badge of honor.
By the time the emcee of the evening Richard Blade (fellow Brit of KROQ fame) took the mic, the electricity in the room peaked in anticipation. After making some pandering comments about the teams in the Super Bowl (which fell flat until he referenced the home town 49ers), Blade introduced Howard Jones.
The about to be 70-year-old Jones looked fit and trim, appearing on a San Francisco stage for the first time since 2022. Donning a multi-colored long furry coat, large sunglasses, and a keytar, he played the opening to Jimi Hendrix’s “Voodoo Child (Slight Return)”…immediately getting the full attention of the audience. Then he started into “Pearl in the Shell,” from Human’s Lib (his 1984 debut album) to launch his proper set.
Jones and his band, which included bass player Nick Beggs from Kajagoogoo fame, were in fine form, cranking out a musical blend that is fun to try to stick a pin in. Simultaneously synth-y new wave, and pop, with reggae flavorings to the backbeat, the chemistry and energy of the band onstage bode well for the future dates on this tour.
“Like to Get to Know You Well,” with its sing-songy chorus really drew in the crowd, and “New Song” (Jones’ first single from 1983) ) rained a synth soaked soundscape prototypical of 80s music over the Masonic…then the script was flipped.
As Jones introduced bassist Beggs and referenced his affiliation to Kajagoogoo, Beggs launched into a bass run that would make Flea proud and then the band kicked in to the ubiquitous MTV hit “Too Shy to Shy.” The crowd came out of their seats and were dancing in the aisles.
Though Jones’ celebrity is generally associated with the pumped-up angular colors of 80s New Wave, when he got behind his keyboard for a knock-out rendition of “No One is to Blame” (which swayed the crowd), he showed his immense prowess as a very accomplished musician.
From there the party vibes continued, and it was clear that Howard Jones and his bandmates were having a blast. By the time he reached the finale of the evening, the anthem for optimism and for current times the very apropos “Things Can Only Get Better” (arguably his most recognizable hit ), the room was lifted.
Opening this dual headliner bill were Jones’ British contemporaries ABC who had the crowd in their seats early. With crooner Martin Fry out front of a four-piece band featuring the stellar sax work of Rob Hughes, ABC (who were all fit with natty suits) played a tight 13-song set of new wave favorites sporting a new romantic flare.
Dipping into their well of hits, led off by the extremely catchy “When Smokey Sings,” and steamrolling through “(How to Be A) Millionaire,” and the dynamic duo of “Poison Arrow” and “King Without a Crown,” Fry and company were the very definition of smooth.
After briefly leaving the stage, ABC returned for an encore. Fans were united in their request for the final song as many in the crowd called out for the influential “The Look of Love” (listen to that song and to Fitz and the Tantrums and tell me you don’t hear it too). The band delivered, as the place exploded in dance. On this evening no one in attendance could deny that the 80s totally ruled.
