While the miserable but earnest rock of Travis and Coldplay may have struck a chord with the British masses, it's only when someone like The Dandy Warhols tell it like it is that you're fronted with 'the UK's finest's glaring shortcomings.
And so it goes that Courtney Taylor's rock predators appear in the middle of the afternoon, to a slightly interested crowd, and proceed to blow harder, stronger and faster than anything V2000 has witnessed today.
Emerging clearly with anger in their sails and a point to prove, the band open with a seething and swarming take on 'Be In'. A loose but rocking 4/4 hum is unleashed, Taylor's hypnotic mantra suggesting that this band are capable of far more than making you feel 'it ain't so bad'.
Confused Moog frequencies are brought in at the outro, and, after eight minutes, the track groans to a close. However, this is no premature peak, as the howling intensity - laughing-off the time of day - of 'Minnesoter' heightens the pace. Confident but probably arrogant shapes are pulled by the band as they further the unshakeable aura with the Stones-inflected rock and roll terrain of 'Bohemian Like You'.
Taylor's obnoxious swagger propels the tension, and having ripped through a trumpet-driven 'Godless' and 'Good Morning' and the two-fingered salute of 'Horse Pills', it's clear that there are still some bands who believe the way to your ruptured heart is through sex, darkness and attitude. Not meat and two veg consolidation.
The closing subversion of 'Boys Better' only disappoints in that it's not followed by the surely killer blows of 'Everyday Should Be A Holiday' or 'Last Junkie...' which are wilfully discarded.
We've already seen enough. The future's bright. The future's American.
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