Zoot Woman : Berlin Maria Am Ostbahnhof

The '80s revival doesn't seem quite so thrilling anymore - but at least Zoot Woman have some corking tunes...

There are many things this world doesn’t need, and at the forefront of this long list is a postmodern analysis of Zoot Woman and their place in current popular culture. There’s already been far too much of that, and underneath the hype, they’re just a good pop group, with their tongue placed firmly in their cheeks.

Or at least we hope so, because the Woman bring together perhaps the worst elements of ’80s music, when players with names like ‘Hall’, ‘Oates’, and ‘Palmer’ took to the stage backed by characterless session musicians, a time when account managers called Trevor were briefly credited with souls, and could become stars without even needing to change out of their polyester office wear.

Following support The Ark’s appropriation of Whitesnake, Zoot Woman were always going to be a different take on the decade that never truly went away, and they zoom through their 9 song set, from ‘You And I’ to ‘The Model’ – bizarrely melding the Kraftwerk classic to The Police’s ‘Roxanne’ – in half an hour, stopping only a couple of times at songs that could be called great – ‘Its Automatic’ and current single ‘Living In A Magazine’ (so great they play it twice).

Which, really, is the problem – that the idea far outweighs the tunes. But this doesn’t matter just yet because, just as the nu-yuppie awakes from hibernation, music like this, which doesn’t take itself too seriously, is needed. Not quite as much perhaps as, say, a new LRD record which can sit proudly as Britain’s answer to Daft Punk‘s ‘Discovery’ is needed. But, as British music starts staring a little too intently at its shoes again, we need a band who at least attempt to inject a little humour. ’80s revivals can fail badly. But for Zoot Woman, its a case of wrong decade, right time.

Tim Milner