Neon Dreams and Synth Schemes: Howard Jones Proves the '80s Never Left Fort Lauderdale

By Joanie Cox Henry

Dream Into Action: Howard Jones brings powerful, positive vibes to The Parker. [Photo by Joanie Cox Henry]

The "Dream Into Action 40th Anniversary Tour" stop at The Parker felt less like a trip down memory lane and more like a triumphant return to the future! Howard Jones, the man who convinced an entire generation that things could only get better, demonstrated why some promises are worth keeping for four decades. Jones even proudly had his original backdrop hanging behind him on this tour thanks to a devoted fan who saved that very banner from getting discarded and got it back to Jones! A pure rock and roll moment indeed.

Behold the original banner from 40 years ago that Howard Jones used as a backdrop on his original tour.

The evening kicked off with legendary KROQ DJ Richard Blade spinning a perfectly curated mixtape of MTV memories—Duran Duran's "Rio," The Cure's brooding brilliance, and iconic clips from The Breakfast Club and Pretty in Pink. Sure, there were some brief sound gremlins that made the opening moments feel like a scratched VHS tape, but honestly? That just added to the authentic '80s experience. Nothing says Reagan-era entertainment like technical difficulties that somehow make everything more charming.

Haircut One Hundred

Haircut One Hundred took the stage next, and despite an audio hiccup during their set that was completely out of their control, Nick Heyward and company quickly found their groove. Their seven-song set was an aural feast in New Romantic efficiency: "Kingsize (You're My Little Steam Whistle)" bounced with the infectious energy that made them darlings of early MTV, while "Love Plus One" transformed The Parker into a sweaty dance club circa 1982. By the time they closed with "Favourite Shirts (Boy Meets Girl)," the crowd was primed for maximum synth saturation. People were bouncing and bopping all over The Parker and it was truly a sight to behold!

Once Howard Jones hit the stage for the main event, the crowd was clearly Jonesing for Howard. Opening with Aaron Copland's "Fanfare for the Common Man"—because nothing says "I'm a serious synthesizer artist" quite like appropriating America's greatest classical composer—Jones immediately established that this wasn't going to be your typical heritage act going through the motions.

"Pearl in the Shell" and "New Song" followed in rapid succession, Jones's distinctive voice cutting through layers of analog warmth like a laser through fog. The man's stage presence remains remarkably unchanged: part mad scientist, part spiritual guru, all committed to the belief that electronic music can heal whatever ails you. His band introductions before "Like to Get to Know You Well" revealed the secret weapon behind his enduring appeal—Howard Jones genuinely seems to enjoy what he's doing, treating each song not as a museum piece but as a living, breathing entity capable of surprise. Seeing that song live for the first time made my eighties inner child downright giddy since I grew up listening to that song on the Better Off Dead film soundtrack!

"The Prisoner" and the medley of "The One to Love You / Assault and Battery" showcased Jones at his most adventurous, the songs morphing and breathing in ways that suggested decades of thoughtful evolution rather than mere repetition. "Eagle Will Fly Again" soared with prophetic urgency, while "Everlasting Love" (complete with a cheeky "Twist and Shout" interlude that would make The Beatles proud) proved that sometimes the best way to honor the past is to mess with it just enough.

The emotional peak arrived with "No One Is to Blame," a song that somehow sounds more relevant in 2025 than it did in 1985. I certainly understand its meaning more now than when I was originally heard it. Jones has taken the fundamental currency of human suffering—that exquisite torture of wanting what you can't have, even though you're longing for it more than your next breath. He somehow poetically packaged that relentless ache and undying desire into a perfect, pretty pop song.

In an age of social media finger-pointing and political polarization, Jones's plea for understanding felt less like '80s idealism and more like necessary medicine in this moment. The crowd sang along with the fervor of true believers, transforming The Parker into a temporary sanctuary where empathy trumped cynicism.

"Hide and Seek" and "Bounce Right Back" maintained the momentum before Howard Jones delivered the one-two punch of "You Know I Love You, Don't You?" and "What Is Love?"—songs that dared to ask the big questions while keeping your feet moving. The mandatory encore of "Things Can Only Get Better" felt less like obligation and more like benediction, the crowd leaving with the distinct impression that maybe, just maybe, they actually could.

While I am personally always longing to return to the eighties while simultaneously traveling to the future, Jones synth-pop optimism could be the DeLorean that delivers me to that magic moment right on time.

Some highlights from the show:

Haircut One Hundred:

Some more fun shots from the show!