Speaking on behalf of all those who lived through the 1980s the first time, it would be great not to have to go through the same music all over again.

Unfortunately, judging by the three bands that took over Brighton Coalition on Friday evening, it looks like Britain is set to plunge back into the decade of huge shoulderpads, leg-warmers and men in mascara once more.

Othello Woolf was the first to embark on the time machine, bringing to mind the days when all you needed to get onto Top Of The Pops was a stunning set of cheekbones.

His songs were filled with short Prince-style synth stabs and lightly chopped guitars, overlaid by his monotone delivery, to the delight of one hugely enthusiastic dancer at the front of the audience, but not many more of those standing chatting by the bar.

Initially Wolf Gang promised more. Their vocalist channelled the tones of Kevin Rowland, the four-piece band was tight, and used good old-fashioned stagecraft to link their first and second songs. Their guitarist supplied the best rock haircut since Brian May and there were occasional touches of Talking Heads and Orange Juice in their grooves. Unfortunately, despite a definite anthemic edge to some of the music, the songs were pretty forgettable.

If any band is going to break through this nostalgia bubble into the mainstream it’s Hurts. While Othello Woolf was trying his hardest to create some 1980s cool, Hurts frontman Theo Hutchcraft looked like he had been transplanted from a Heaven 17 video.

With his slicked-back hair, sharp suit and powerful voice it was easy to see why many fashion and music mags have been going crazy for this band, despite the fact they have barely one single to their name.

Their songs took signature 1980s sounds, from the electronic choirs of the Pet Shop Boys' It's A Sin to the power ballads so beloved of Thatcher's Britain, and moulded them into three-minute gems so catchy you were singing along within two minutes.

Rather than being complete copyists, the band's live sound, largely created by a huge bank of keyboards controlled by Adam Anderson, ditched the drum machine for the four to the floor beats in favour of a more powerful real life kit.

Plus there was a touch of knowing humour, provided by a dinner-jacketed backing singer, who stood stock still a la Ron Mael of Sparks throughout the set until it was his chance to add his operatic voice to proceedings.

Judging by this performance 2010 could easily belong to Hurts - even though their musical touchstones remain 25 years old.