If you were after a unique vibe on a shopping trip, you’d probably find it in a record shop. And although these days they may be rarer than the sun in the UK, the ones that still exist are definitely worth finding.

There you will be greeted by a thick cloud of nostalgia, where music snobs slowly pace up and down the aisles, leisurely flicking through albums in protective sleeves.

Not so much capturing the mood on the shop floor, but those who work there, is this charming Irish comedy.

In the back streets of Tyrone, Omagh, Northern Ireland, you will find Bone Yard Records. Running it are Dermot (Brenock O’Connor) and Elvis (Owen Colgan), but unfortunately the shop has seen better days, with most of the customers they get mistaking it for another shop.

It’s so bad that they’re months behind on their rent, and their landlord Sadie (Tara Lynne O’Neill), is given them ten days to pay it, or she’s kicking them out.

Their future is looking grim, until they see someone selling records on the internet for a small amount of cash, despite being worth a fortune; so they contact him and say they’ll snap them up.

Unfortunately he isn’t local, and they set off on a road trip to Cork, with very little money in their pockets.

Meanwhile, as soon as they leave town, Sadie decides she has plans for their small shop and is keen to get the work started ASAP. Can Dermot and Elvis complete their road trip and get back in time to save their shop?

Actor-turned-director Michael Head’s second time behind the camera is a delightful, quirky road trip, albeit one that’s rough around the edges.

Everything about it has an amateur quality – meant in the nicest way possible – featuring two amiable characters who are endearing if hapless.

It’s an inoffensive road trip, with an even less offensive script riding shotgun; the pair have little adventures along the way, that don’t necessarily add up to much, but are supported by the chemistry between Dermot and Elvis. And it’s their relationship that’s at the heart of the film.

Although music is involved, the film doesn’t lean into it either sonically or thematically as something like 1995’s Empire Records or 2000’s High Fidelity, instead choosing to focus on the importance of friendship, playing to its only strength.

If it was a track it could have been benefitted by a remix, with cutting edge humour lifting the whole project to another level.

It relies a little too heavily on special appearances, like the acting debut of Love Island contestant Maura Higgins, who makes her home on the big screen, serving as necessary scenery and talking point to keep audiences interested, where the script fails to do so.

But as it stands, it’s a pleasant road trip across Ireland, driven by safe hands – too safe – avoiding any sense of spectacle along the way.