When Howard Jones steps onto the stage at The Bowl at Sobeys Stadium on Aug. 23, he’ll be bringing more than four decades of synth-pop classics. He’ll also be introducing fans to the next chapter of his career—one that feels every bit as optimistic as the songs that made him famous.
The British musician, whose hits such as “Things Can Only Get Better,” and “No One Is to Blame” helped define the sound of the 1980s, just released “Stand Up,” the first single from his upcoming album Global Citizen. And while the music is powered by the same iconic synthesizer that launched his career, the message is directed at today’s world.
“It’s about people having confidence in who they are,” Jones says. “Be yourself. Everyone else is taken. I think those ideas are very relevant to the times we’re living in.”
That iconic synth sound comes courtesy of a very familiar instrument.
After spending years in need of repair, Jones’ original Roland Jupiter-8—the keyboard that paced many of his biggest hits—was recently restored by a specialist in northern England.
“I was so excited when I got it back,” he says. “We made Stand Up entirely with the Jupiter-8—even the drums. It was just so much fun.”
Oddly enough, Jones says the vintage instrument actually sounds better today than it did in the 1980s.
“Back then, I never really got to hear the full glory of the sound,” he says. “Now, with modern studios and effects, I can hear it in ways I never imagined. It’s better than I ever thought it would be.”
While many legacy artists lean heavily on nostalgia, Jones isn’t just interested in revisiting the past. His upcoming album continues exploring ideas of kindness, empathy and social responsibility—subjects he feels are more urgent than ever.
The second single, Where Is the Gentleman?, asks a pointed question.
“There are a lot of aggressive male people causing a lot of trouble in the world at the moment,” he says. “I believe there’s a gentle person in there somewhere. It’s really about how we conduct ourselves as men. Are we going to be compassionate, kind and respectful people?”
It’s a perspective that has guided his songwriting from the beginning.
“What motivates me is the influence I can have on the world I live in,” he says. “I don’t need the money. I don’t need to be famous. I want to make a difference in the world I live in.”
That philosophy also extends to this summer’s Things Can Only Get Better Tour, which features Wang Chung, The English Beat, Modern English and legendary MTV VJ Richard Blade.
Rather than simply assembling an ’80s package tour, Jones views it as something closer to a travelling festival.
“It’s always been a dream of mine to curate my own mini-festival,” he says. “I want to create a great atmosphere between the bands and make sure everyone is treated well.”
He’s already thinking beyond this year’s lineup, hoping future tours will introduce younger artists alongside established acts.
And, of course, his fans will still hear the songs they’ve loved for decades. Jones says the task of performing his greatest hits has never become routine.
“When you’ve got thousands of people singing them back to you, it’s the most wonderful feeling,” he says. “Every night is different.”
He’s constantly tweaking arrangements and updating sounds while building a setlist that balances quieter moments with rousing anthems.
“I want to take people on a journey,” he adds.
That journey increasingly includes younger audiences discovering his music through TV shows such as Stranger Things and Breaking Bad.
“When I see young people in the audience, my heart celebrates,” he says. “For them, it’s like brand-new music. I love crossing generations.”
Despite being one of synth-pop’s pioneers, Jones hasn’t become trapped in analogue nostalgia. While his vintage keyboards stay safely at home—they’re simply too fragile for touring—his live show blends modern technology with exceptional musicianship.
“My holy grail is combining great technology with amazing players,” he says. “That’s what we bring.”
Canada has always occupied a special place in that journey.
Jones actually lived in Ottawa between the ages of nine and 14, growing up on Canadian radio before eventually returning as a touring artist.
“I’ve always had an amazing audience in Canada, especially Toronto,” he says. “Canada really celebrates popular music. Look at the incredible artists you’ve produced generation after generation. That doesn’t happen by accident.”
For Toronto fans, that affection should make for an especially memorable night.
More than 40 years after he first encouraged audiences to believe tomorrow could be brighter, Howard Jones is still making the case that optimism is worth singing about.
