If straight-up British guitar music sells big again, then 24-year-old Ryan Dooley might be the man to benefit.

His band, All The Young, has been handed a six-album deal by execs at Warner Music when many music industry magnates are reeling in their spending quicker than a fisherman swipes a bite.

But Dooley, born and bred in Stoke – a town whose main musical contribution to the world thus far is Robbie Williams, and whose population is best-known for fire-blasting clay into pottery – isn’t fooled by the offer.

“For me, at the moment, it is a one-album deal,” he says from Vancouver, Canada, where the band is putting the finishing touches to its record with producer GGGarth Richardson, whose credits include Rage Against The Machine’s eponymous magnum opus and Red Hot Chili Peppers’ Mother’s Milk.

“If at any point we release a stinker, it becomes a whatever-album-you’re-on deal.”

Because British music fans always seem to go weak for four lads in the classic poprock line-up, Warner’s approach is hardly groundbreaking.

It’s a bit like backing a favourite in the Derby.

In any case, Dooley says, the record, with its beefed-up guitars thanks to Richardson’s history of heavy rock, is mainly a means to get out on the road.

“The record is sounding amazing, really fierce. But it’s live where people will notice what we’re about.”

Dooley’s brother Jack plays bass in the band. It wasn’t long before Gallagher brothers comparisons arrived.

“We get ’em when people find out,” he says, “but the Gallaghers are the Gallaghers and the Dooleys are the Dooleys.

“We have our ups and downs, but we’re sharing an apartment here in Vancouver and there has been no fisticuffs. For the moment, at least, they’ve outgrown that nonsense.

“Maybe ask me in ten years how much I love me brother,” he jests.

Formed from the ashes of New Eduction, which featured Ryan, Jack and guitarist Dave Cartwright, All The Young have only been together a year.

New Education made a name for themselves, gigged hard, did some singles, but the chemistry wasn’t there.

“The drummer wasn’t into it. He used to drag his feet. We had to part company. That was hard. He’s a lovely lad.”

An acquaintance from the Stoke scene, Will Heaney, stepped in. He had a lot in common with the other members. He liked Oasis, The Libertines, The Clash, The Cure. He believed in guitar bands.

“It would have been so easy to throw a synth in and get with the trend, but we’ve stuck to our guns.

“People are taking to it because we believe in it.”

Dooley says a guitar-band resurgence is due. He cites Viva Brother and Tribes as other pretenders.

“There is a need for what we are doing: straightforward, in-your-face songs on guitar.

“The gigs are energetic, people jumping around. The last band that did it for me in that sense was the Libertines. There isn’t enough and that’s driven us on.”

The two promo videos for debut single The First Time and follow-up Welcome Home were dark affairs. One was black and white and filmed in an old, decrepit warehouse. The other had the band playing in a council tower block beneath which disorder engulfed the city.

Much is made of Welcome Home’s “love lost on the motorway,” lyric.

“For lads like us, living in Stoke, wanting to do what we want to do, you do just want to get on the motorway and piss off.

“It’s frustrating. And it comes out in our songs. That’s why we’re so loud.”

Essentially, the group are dreamers aspiring to something bigger than where they are.

“We don’t sing about how crap life is because there have been a lot of guitar artists who constantly remind us of the grey streets of England and the naughty people on them.

“I think music should set you free. That’s what we try to do. When you listen to it, it should take you somewhere else, not tie you down to the shackles of life.”

* Doors 7.30pm, £6. Call 01273 749465.