THE spirit and joy of music fuels this utterly loveable comedy-drama from indie writer-director Brett Haley.

Frank (Nick Offerman) and Sam (Kiersey Clemons) Fisher are a musically-talented father and daughter who have had to learn to cope with the death of Sam’s mum in their own ways; before the film bestows its many words of wisdom, we immediately get a sense of their loving relationship weighed down by loss.

As the record store which Frank has worked at for many years faces closure due to financial constraints on owner and friend Leslie (Toni Collette), he also has to face up to Sam preparing to head off to college and a life finally on his own.

However, during a one-last-hoorah jam session, Frank realises that they have what it takes to form a singer-songwriter partnership. But it’s a prospect that his daughter initially doesn’t see much point in pursuing.

What’s most rewarding is the way in which we see the central idiosyncratic father-daughter relationship grow and change as the narrative progresses, while the film also consistently keeps in mind the importance of music as a tool of both creativity looking forward and a way to remember times gone by.

For Frank music is almost the essence of his existence and a way to reconnect with his daughter ready to flee the nest for good, while for Sam it acts as a reawakening and a reminder of why her father is so important to her. The scenes in which they compose and perform newly written songs – namely the titular belter – are framed like mini-concerts of their own and are among its very best moments. It made me want to compose my own, even if I can’t play a note.

There’s an easy-going magic to the whole thing made to look effortless, not least by the two leads that have great, endearing chemistry together. It’s a film pulsing with a fun, welcoming vibe elevated above twee indie eccentricities with a wise mind and a soulful heart – affecting nuggets of dialogue like, “when life offers you conundrums, you turn them into art” are never far from the lips of the characters in Haley and Marc Basch’s script.

It reminded me of the work of John Carney (Once, Begin Again and Sing Street), in how it approaches music as something to be cherished both on its own terms and because of how it can help bring people together – it’s a delightful reminder that film as a medium can work wonders for exploring the world of music. Armed with a terrific soundtrack, Haley spins that sentiment into a lovingly made concert of positivity, emotional resonance and all-round feel-good charm.