16 April 16 - 22, 2026 dallasobserver.com DALLAS OBSERVER Classified | MusiC | dish | Culture | unfair Park | Contents Soul Tied The Bastards of Soul’s powerful, critically ac- claimed documentary is finally available on streaming platforms. BY AUSTIN ZOOK P aul Levatino never intended to make a film about Bastards of Soul. In the beginning, he was just shooting music videos, helping the band generate con- tent to grow their fan base. They were on the cusp of stardom, reaching the end of their first act and ready to expand beyond Texas. Rather than their ascent, what Levatino ended up capturing — and sharing with the world through his documentary, epony- mously titled Bastards of Soul — would be the group’s final chapter. Until now, Bastards of Soul could only be seen at film festivals (unless you were lucky enough to catch a screening on PBS last year). But on April 4, the film dropped on Apple TV and Prime Video, allowing view- ers to explore the rise, tragedy and legacy of Bastards of Soul at home. It also allowed us to reconnect with Levatino and learn more about his journey with the film since its Texas premiere in 2024. If you are unfamiliar with the Bastards of Soul, Levatino’s documentary proves an excellent introduction to their music. Blending the band’s work in the recording studio with footage of live performances, Levatino shows them serving as a modern conduit for the timeless spirit of R&B and soul music. It also confronts the untimely death of frontman Chadwick Murray in 2021 from a rare illness, leading to the band’s dissolution. Murray’s passing, in addition to altering the trajectory of Bastards of Soul itself, posed challenges for distributing Levatino’s documentary. “I had a project about a band that nobody really knew outside of Texas,” Levatino tells the Observer. “And the lead singer passed and they weren’t going to be touring to sup- port [the movie].” To get the film in front of audiences, Levatino knew he needed to make a splash at film festivals. The programming team at the Dallas International Film Festival (DIFF) was supportive, but he was hesitant to have the movie’s world premiere on home turf. Because Bastards of Soul has such deep ties to Dallas, he wanted to take it elsewhere for its maiden voyage. Ultimately, Levatino decided to premiere the movie in Idaho at the 2024 Sun Valley Film Festival. If it worked there, he reasoned, it would give him the momentum he needed to keep tak- ing it to other festivals. It worked. After Idaho, the director brought Bas- tards of Soul back to Texas for a private screening at South by Southwest and then DIFF. It played in Seattle, at the Catalina Film Festival and in European festivals — winning awards and drawing the attention the project needed to live on after the festi- val screenings. The film landed a sales agent who helped navigate a release strategy that ultimately led to the film’s streaming on Ap- ple TV. Levatino believes the movie worked be- cause of how relatable it is, not only show- ing audiences a group of friends “collaborating, chasing their dreams,” but also what happens when the unthinkable occurs, derailing the group’s plans and forcing them to unexpectedly reckon with mortality and their legacy. Levitano and collaborator Zack Tzourtzouklis’ di- rectorial vision keeps the Bastards’ joyful, warm soul at the forefront of the film, creating a sharp, powerful juxtaposition with the tragic cre- scendo in the third act. The streaming release marks a ma- jor milestone for both the film and the band itself, but Levatino isn’t quite fin- ished with the project yet. A collector’s Blu-Ray/DVD is in the works, with the di- rector hoping to incorporate additional concert footage of the band as a bonus fea- ture. His initial cut of the film ran almost four hours (the final cut is under 90 min- utes), so he has plenty of material to serve up as an extra treat for the band’s die-hard fans. However audiences encounter the film, Levatino is just proud to have done his part to solidify the band’s legacy — and bring great music to the masses. Bastards of Soul is available now on Apple TV and Prime Video ▼ NEW RELEASES A TRILOGY COMPLETE OUR TRACK-BY-TRACK REVIEW OF CHARLEY CROCKETT’S NEW AGE OF THE RAM ALBUM, THE CINEMATIC- LIKE FINALE TO HIS SAGEBRUSH TRILOGY RELEASE. BY PRESTON BARTA C harley Crockett has always lived somewhere between myth and man, weaving his own legend in the fertile soil of American music. With his new album, Age of the Ram, Crockett delivers the third and final chapter in his ambitious “Sage- brush Trilogy” musical narrative. The new release is a crowning achievement, both as a standalone record and as the culmination of a panoramic vision stretching across al- bums. Produced with Shooter Jennings, Age of the Ram doesn’t just close a series; it deep- ens Crockett’s distinct identity in the crowded landscape of modern country, tap- ping into the old soul of Western folklore while reckoning with the hopes and heart- breaks of today. From the first needle drop, this album feels like a reel-to-reel Western as Crockett conjures his own world. Winding through the record’s 20 tracks, we find him at his most confessional, yet also the most mythic: cowboy and poet in the same breath. Thematically, Age of the Ram circles around questions of fate, redemption, free- dom and the blurry line between hero and outlaw, all told through richly drawn char- acters and lived-in landscapes. Crockett brings his trilogy to a finish not with a whimper, but with the dusty grandeur of a long farewell. There’s a fearless honesty in every ar- rangement, lyric and beat as Crockett’s work showcases a master storyteller at work, unafraid to bare his wounds. As you move through each moment, there’s a sense that Age of the Ram isn’t just about Crock- ett’s own roots. It’s about chasing the ghosts that accompany all of us and finding a path forward, even if the trail is long and barely visible. Here is a track-by-track look at the story- telling woven through every frame of this sprawling, 20-track feature presentation. “Life & Times of Billy McLane (Theme I)” Crockett opens the album by leaning into the theatrical. He welcomes us to “our fea- ture presentation,” instantly making the lis- tening experience feel cinematic. Numbering the themes sets a distinct, epi- sodic tone for the journey ahead. “Lonesome Dove” This track falls into a beautiful, undeniable groove. The chord progression closely echoes Kenny Rogers’ “The Gambler,” giv- ing it a familiar, radio-ready warmth that fans will naturally gravitate toward. Crock- ett sings, “It’s a Coke and Pepsi world,” a sharp line he first dropped in his documen- tary A Cowboy in London. It stuck with him, and it fits perfectly here. “Rancho Deluxe” If you need a montage song for a movie about riders trekking through the harsh, beautiful mountains, this is it. The steel gui- tar hums with wide-open spaces and quiet determination. “My Last Drink of Wine” Crockett sings about “watching the world go by” before the track drops you right into the middle of a bustling saloon. The way the song evolves from a slow sway to a fast- paced, foot-stomping rhythm feels like a wild country dance. It is a song built for get- ting high and drinking away the dust. “Fastest Gun Alive” Driven by excellent strumming, electric plucking and a crying steel guitar, this song features a massive chorus. Crockett puts himself and his rearview mirror dead center in the storytelling. When he sings, “I can’t change the things I’ve done,” he is in direct communication with his own past, refusing to let it break him. ▼ Music Paul Levitano Bastards of Soul is now streaming. LEVATINO SHOWS THEM SERVING AS A MODERN CONDUIT FOR THE TIMELESS SPIRIT OF R&B AND SOUL MUSIC.
