An octogenarian Paul McCartney arrives onscreen to introduce footage taken of his band Wings in 1974. Evidently moved by the movie – a sadness no doubt inspired by the realisation that he is one of only two surviving members from this iteration – the musician explains the backdrop, stating that it presents a group working together in Abbey Road. He leaves, only to return one final time towards the end to inform viewers that the distributors have opted to include The Backyard Sessions as an added bonus: what follows is a montage of 32-year old McCartney playing a bunch of Eddie Cochran and Chuck Berry favourites alone on an acoustic.

Indeed, One Hand Clapping is as intimate as it is unpretentious, and despite his fame, McCartney comes across as incredibly likeable, approachable and eminently talented. Nominally the bassist, McCartney, like bandmate Denny Laine, could play a number of different instruments ranging from piano, guitar and percussion – not forgetting his involvement with the string and brass sections for behemoth rockers like ‘Live and Let Die.’ Karate afficianado Geoff Britton plays drums, and does so in full shotokan gear, while Linda McCartney chips in on harmonies. Baby faced Scot Jimmy McCulloch seems happy to be along for the ride, telling the camera that this is the “best music I’ve put down in my life.” Judging by the performances, a frenzied ‘My Love’ and a jaunty ‘C’Moon’ just two of the numbers on display, One Hand Clapping posits Wings as the greatest band McCartney ever fronted.

The five members perform to themselves, doing little to interact with the camera people. The closest McCartney gets to a full vaudeville act is his rendition of ‘Suicide’, a ditty he once intended for Frank Sinatra. We see him in full evening gear: bow-tie and doe eyes on display. Charmed by the venture to play on his own, the songwriter admits that he prefers playing with others: “I like the fun of all that, and the cup of tea together..”

With the exception of his homespun debut McCartney, the former Beatle had recorded every album with a selection of trusted players to bring his creations to life. Such was his confidence in McCulloch and Laine, the bassist elected to perform the no-holds barred grooves of Soily for the cameras; a roaring anthem that inexplicably never appeared on a studio album. Behind them, Britton plays the tom-toms with the might of bombs falling around the guitarists.

Unlike the revionism of Peter Jackson’s three part serial Get Back, One Hand Clapping makes no effort to tinker with the footage, allowing the five members to speak their truths. The only directorial interpolation is that of the elderly McCartney introducing segments of the picture. McCulloch, ousted from the quintet in 1977, seems contented replicating riffs, bringing an energy to ‘Jet’ that anticipates the punk movement just around the corner. Linda, married to the bandleader, says she’s playing for the enjoyment of it. What stems from the surroundings is a bunch of misfits playing to impress one another; the album sales are just a bonus.

The breadth of material here is admirable, but the retro-futuristic, mid-tempo ‘1985’ might be the highlight of the set, showcasing McCartney’s vocal theatrics over a convoy of rock orchestration. Indeed, McCartney seemed primed for the stage, unlike the more sanguine George Harrison and introspective John Lennon (even though One to One: John & Yoko shows an animal element to the former Beatle that thrived in a live format.) As the credits roll, the Wings bassist/frontman muses to himself about his longevity in the business. He had previously expressed concerns that he wouldn’t make it to his 30s, but now felt comfortable in his place. “These days, I don’t see there’s reason why I can’t go on until I drop“, McCartney admits. Little did he realise how prophetic those words were!

One Hand Clapping is in cinemas on Friday, September 26th.