POP MUSIC REVIEW : A Keyboard-Heavy Howard Jones Holds Forth at Amphitheatre

One guy surrounded by banks of keyboards, another guy alternating between bass and guitar, a third guy pounding out overly busy drum fills, together issuing bombast bursting in air.

What, another comeback by Emerson, Lake & Palmer? Nah--worse. Howard Jones and his rhythm section holding forth on Wednesday at the Universal Amphitheatre.

Students well-versed in Jones’ history know that early in his career, the classically trained pianist leaned toward progressive rock before becoming a synth-pop favorite. In contrast to his recent lightweight hit “Everlasting Love,” he has come full circle on his current tour, pumping his presentation full of so much pretension and engaging in so much excessive keyboard behavior that even Keith Emerson would be a little put off.

And it moved into unintentionally hilarious territory with the oh-so-artistic use of slides projected on a screen. Some of the great moments in slides came during an animal rights song (a single shot of sheep looking vaguely annoyed at the invasion of their privacy) and during “The Prisoner” (various shots of Howie in a cage).

Toward the end of the set, Jones and company approached some true rock spunk when the trio segued into a rendition of “Gimme Some Lovin’.” But, by then, it was too little, too late and too lame. Come back ELP--all is forgiven.