"Your Woman" is a song by British one-man band White Town. It was released on 13 January 1997 as the lead single from the album Women in Technology. It features a muted trumpet line taken from "My Woman" by Al Bowlly. The song peaked at number 1 on the UK Singles Chart. Outside the United Kingdom, the single topped the charts in Spain, peaked within the top ten of the charts Australia, Canada, Denmark and Finland and peaked within the top thirty of the charts in the United States. "Your Woman" was White Town's only hit.

The song was named the 158th best track of the 1990s by Pitchfork Media.

White Town's sole band member and writer of "Your Woman", Jyoti Prakash Mishra, has stated that the lyrics could stem from or be related to multiple situations. He says "When I wrote it, I was trying to write a pop song that had more than one perspective. Although it’s written in the first person the character behind that viewpoint isn’t necessarily what the casual listener would expect".

Mishra writes that the themes of the song include: "Being a member of an orthodox Trotskyist / Marxist movement. Being a straight guy in love with a lesbian. Being a gay guy in love with a straight man. Being a straight girl in love with a lying, two-timing, fake-arse Marxist. The hypocrisy that results when love and lust get mixed up with highbrow ideals."

The '>Abort, Retry, Fail?_' message that appeared on some inlay cards is explained by the artist thus: "Well, this cheerful message became a kind of shibboleth for me and sort-of characterizes what's been going on for me the last few years." The song was mixed on a Atari ST computer.

The music video was produced in black-and-white silent film style. Most of the outdoor scenes were filmed in Derby.

In the video there are numerous elements of acting, cinematography, and editing that suggest an old-fashioned film style. The exaggerated gestures of the hat-wearing woman, helpless and fearful, and those of her quick-tempered lover hint at the acting style from 1920s expressionist films. The ostensive metaphors, such as the use of hypnosis on the woman by the man or the recurring shots of crossroad signs bearing names of romantic relationship-related attitudes, remind of the 1920s and 1930s efforts to express subjectivism in film.

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