Hot Renault Traffic presents...

Just when you thought America's fascination with Britpop and its new wave ancestors had whispered its last sigh, think again...

Because South Carolina foursome The Films are here to inject a passion and energy, not to mention a host of exceedingly catchy and unsparingly jaunty tunes, that many of the new breed would simply kill their parents for.

Unfortunately for them, a large proportion of the crowd, bored by the seemingly never-ending array of uninspired, dismal support acts for their first visit to Nottingham, have sneaked off elsewhere before The Films take to the stage. For the 25 or so that bothered to stick around, the next half an hour or so is the perfect start to a rollercoaster weekend.

Visually they’re not a million miles away from The Strokes in terms of image and style, as their unkempt hair, leather jackets and uncomfortable-looking cowboy boots set them apart from us mere plebs in the room, whose attire consists of band t-shirts, frayed jeans and Converse trainers.

Much of the focus seems to revolve around the interplay between guitarists Michael Trent and Kenneth Harris, the former adding lead vocals to his almost routine endeavours of forward leaps, backward rolls, and general impossibility to stand still for more than five seconds.

Musically, The Films tick all the right boxes, with the likes of 'Black Shoes' and 'Strange Hands' sounding like Mötley Crüe covering The Smiths and vice versa, while set closer 'Holliewould Getaway' could almost be their 'No Fun', 'Take It Or Leave It' and 'Star Spangled Banner' rolled into one, such is the congealed mash-up of guitars, bodies, mic stands and general chaos that greet its eventual conclusion.

Already big in Germany apparently, The Films and their good time rock 'n' roll are just the kick up the arse the UK's desperately staid, new rave dominated music scene needs right now.