It’s hard to believe that The Zutons’ history as a headline act began at this very venue back in October 2004. Over two decades later, they returned to a packed Shepherd’s Bush Empire — now as the established stars — having once been the scrappy upstarts with a debut album, Who Killed the Zutons?, that caught the attention of big names like Noel Gallagher.
This time around, it was Manchester’s four-piece The Covasettes who had the opening spotlight — and they didn’t waste it. Their indie surf-rock sound, laced with bright pop hooks and flashes of disco, was a confident introduction. While the audience didn’t quite warm to the frontman’s cardigan (reportedly bought specially for the gig), they immediately responded to the band’s humour and charm. Every request for hand claps was enthusiastically met, and the room’s energy rose even higher with the announcement that The Covasettes’ debut LP would arrive next year. Judging by the newer, rockier songs previewed — grittier and more urgent — this won’t be the last time we hear from them.
As they did in 2004, The Zutons opened their set with “Zuton Fever” — only this time, the rendition was faster, looser, and pulsing with fresh adrenaline. Abi Harding, ever the band’s secret weapon, dazzled as she danced and played sax in towering heels, lending elegance and energy in equal measure. That momentum carried straight into “Tired of Hanging Around,” the lead track from their sophomore LP, still as punchy and powerful as ever.
Much of the night celebrated their new era. The Big Decider, their first album in 16 years, leans into funk and soul with swagger — and the crowd welcomed it with open arms. “Pauline,” rich with Barry White-esque grooves and Stars-era Simply Red sax flourishes, was a standout. Zutons fans have always had a soft spot for songs about named women, and this one was no exception.
“Creeping on the Dancefloor” brought a commanding, dancefloor-ready rhythm, while “Disappear” took things deeper — its chilled bridges, catchy riffs, and cosmic interludes hinted at a new creative high. The harmonies between Harding and Dave McCabe were tight and luminous, their chemistry palpable throughout the night.
One of the most powerful moments came with a surprise cover: Amy Winehouse’s “Back to Black,” led by Harding on vocals. Her delivery — both raw and restrained — brought a haunting, melancholy beauty to the track. The arrangement, with layered guitars and klezmer-tinged sax, felt reverent and bold.
Throughout the set, The Zutons proved their knack for combining tight, psychedelic guitar work with joyous crowd interaction. Nowhere was that clearer than in the lead-up to “Pressure Point.” As the intro built, the audience burst into spontaneous “hoo, hoo, hoo” chants, hands in the air, the kind of communal euphoria that makes live music magic. Even after the band stopped playing, the crowd carried on the chant, echoing through Shepherd’s Bush like a blessing.
Of course, “Valerie” was met with the love and recognition it deserves, but The Zutons didn’t stop there. They pushed beyond the expected, closing with “You Will You Won’t” and an extended, inventive reprise of “Zuton Fever” — a nod to their beginnings and a sign of where they’re headed.
In a world where many bands with 20-year careers lean solely on nostalgia, The Zutons showed they’re still evolving, still creating, and still delivering unforgettable shows. Their past may be storied — but tonight, they made one thing clear: the best is yet to come.
Be the first to comment