Live at House of Blues Anaheim
September 25th, 2025 Review by Shane Pase
Sometimes you walk into a venue knowing you’re about to get transported back in time, but last week at the House of Blues in Anaheim, the time machine was firing on all cylinders. Howard Jones rolled into town celebrating the 40th anniversary of his landmark album “Dream Into Action,” and he brought along some serious ‘80s firepower with Haircut 100 and legendary DJ Richard Blade. What followed was nearly three hours of pure new wave nostalgia that reminded everyone why the ‘80s never really went away.
The evening kicked off with none other than Richard Blade, the voice that defined Southern California radio for an entire generation. Anyone who grew up in SoCal during the ‘80s knows Blade from his KROQ days and seeing him live felt like reuniting with an old friend who happened to have the best record collection in the world.
Before the show even started, fans lined up for a meet and greet, sharing stories and snapping photos with the man who provided the soundtrack to their teenage years.
When Swedish Egil brought Blade to the stage, the energy was immediate. Blade split his time between spinning classic ‘80s tracks and chatting with the crowd like he was back in the KROQ studio.
His best moment came when he pulled out his phone and challenged the audience to help him decide which bands deserved more airplay on SiriusXM’s 1st Wave. Using a decibel meter app, he pitted new wave giants against each other while the crowd screamed their approval.
The surprise appearance by Berlin’s Terri Nunn added an extra layer of magic to what was already shaping up to be a special night.
Then came Haircut 100, and honestly, this was where the evening really took off. For those of us who never caught them during their original run, this was a revelation.
The British band brought serious energy and charm that had the entire venue moving from the first note. Their sound was crisp and their stage presence was infectious – these guys clearly still love what they do, and it showed.
The crowd went wild for “Love Plus One,” obviously, but the deeper cuts like “Nobody’s Fool” and “Love’s Got Me in Triangles” proved this audience knew their stuff.
Singer Nick Heyward’s voice has aged like fine wine, and the band’s chemistry was undeniable. By the time they closed with “Favourite Shirts (Boy Meets Girl),” everyone was singing along and dancing like it was 1982 all over again.
But the real reason everyone packed into the House of Blues was Howard Jones, and HoJo delivered exactly what we came for. When the lights dimmed and smoke filled the stage, Jones emerged on a raised platform wearing a wild outfit and glasses complete with laser beams shooting out of them. It was pure 1984 theater, and the crowd ate it up.
What struck me immediately was how strong Jones’ voice sounds. Forty years later, he hit every note with the same clarity and emotion that made songs like “What Is Love?” and “Things Can Only Get Better” into anthems. This wasn’t some nostalgia act phoning it in – this was a master craftsman still at the top of his game.
Jones kept things visually interesting throughout the night, changing outfits multiple times, including one jacket that literally lit up during a couple songs. Between tracks, he shared stories about the songs and connected with the audience in a way that felt genuine rather than rehearsed. It was obvious he was having as much fun as everyone else.
The setlist was a perfect mix of deep album cuts and the hits everyone came to hear. “New Song” and “Like to Get to Know You Well” had the entire venue singing in unison, while tracks like “The Prisoner” and “Assault and Battery” reminded everyone that Jones was never just about the radio-friendly stuff. The man knows how to craft a song that sticks with you.
When Jones launched into “No One Is to Blame,” the energy in the room reached another level. This wasn’t just a crowd listening to music – this was a community of people who grew up with these songs, who had them playing during first dates and breakups and road trips. The shared experience was palpable.
The highlight might have been “Things Can Only Get Better,” which turned the venue into one giant singalong. Watching near capacity crowd, from teen discovering these songs for the first time to original fans reliving their youth, all united in that moment was something to see.
What made the night work so well was how all three acts complemented each other. Blade set the mood, Haircut 100 got everyone warmed up and dancing, and Jones delivered the main event with style and substance.
It felt like a carefully curated journey through the best of new wave and synth-pop, rather than just three separate performances.
The House of Blues proved to be the perfect venue for this kind of show – intimate enough that Jones could connect with individual fans, but big enough to generate serious energy.
The sound was crisp throughout the night, which is crucial when you’re dealing with the layered synthesizers and drum machines that define this era of music.
As the night wound down and the last notes of “Things Can Only Get Better” faded away, there was a feeling of collective satisfaction in the room. This was exactly what everyone hoped it would be – a celebration of an era when music was unabashedly optimistic and electronic sounds were still fresh and exciting. And you know it was a good show when people are filing out of the venue talking excitedly about their favorite moments.
Howard Jones proved that some artists just get better with age. Forty years after “Dream Into Action” first hit the airwaves, he’s still making believers out of audiences, one synthesizer riff at a time. This was a great line up and an even greater show.
SHOW PHOTO GALLERY
by Shane Pase Photography
>
TO FOLLOW
SID 250926 | TRACI TURNER | EDITOR
