I generally like Howard because he's one of the few pianists that actually follows Liszt's metronome markings whenever Liszt provided them.
For example, Feux follets is often played as a virtuosic showpiece, but Liszt actually specifies a slower tempo than what most play (120-126 to the eighth note)
youtube.com/watch?v=Uaawjsye9FM
Yunchan Lim is a good modern pianist, but he's very much in that virtuosic tradition and treats this as a showpiece, and I think it loses that ghostly, spooky character that the piece is supposed to have.
youtube.com/watch?v=cq59-dojRz0
Howard takes it very close to the metronome marking, and maintains the original, wispy character of the piece which sounds far more interesting to me.
youtube.com/watch?v=Kss_U_Wks7M
Arrau is even better here. Similar approach, though with more care given to Liszt's rhythms.
Perhaps the piece that Howard does best is Liszt's late masterpiece, La lugubre gondola (2), which is probably the most demonic, scary piece that Liszt ever wrote. The metronome marking for this one is 88 to the quarter note, a clear Andante. But most pianists play this as if it were an Adagio.
youtube.com/watch?v=axhKyU6amY8
Zimerman takes a whole 10 minutes to get through it, and while it's interesting to hear it this way and certainly adds to the atmosphere of the piece, it loses its Faustian bite that it's supposed to have.
youtube.com/watch?v=9XNkXBoswoM
Howard gets it right again with the correct tempo that Liszt wanted for this piece.