17 April 16 - 22, 2026 dallasobserver.com DALLAS OBSERVER Classified | MusiC | dish | Culture | unfair Park | Contents “Diamond Belle (Country Boy)” Crockett sounds like a man who is done run- ning as he croons, “Coming after me like I knew they would, they say I’m no good.” He addresses the people who wish artists would just shut up and sing. As is well known now, Crockett will never be that guy. He ex- presses surprise that people hate when he stands up for his rights before a chugging train sound smoothly transitions us into the next scene. “I Shot Jesse James” Told from the perspective of Robert Ford — the man branded a coward for shooting Jesse James — this track feels deeply intro- spective. Crockett uses the historical be- trayal to examine his own shadow, making peace with the moments of cowardice we all carry. Horse hooves echoing as the song fades offer another moment of cinematic touch to this one. “Life & Times of Billy McLane (Theme II)” A brief, atmospheric in-betweener that keeps the cinematic tension alive and serves as an entré acte. “Crazy Women Ridge” This track hits a fantastic, gritty jam in the middle before pulling back the reins and slowing things down to a deliberate walk. “Remembering Pat” In less than a minute, Crockett offers a quick transitional piece filled with themes of escape. “I rode out here from Texas and had to change my name,” he sings, fearing that “they’ll get rid of me.” The sound of horses returns, once again carrying us forward in his tale. “Sweet Mother Texas” Crockett explores his complicated, deeply rooted relationship with his home state. “I’ve seen all the places I want to see, sweet mother Texas, rockabye me.” He knows he cannot be exactly what Texas — or anyone else — wants him to be, so he might as well just be himself and head on home. “Kentucky Too Long” One of the record’s lead singles, this track carries a heavy groove, packed with deep twang, keys and sharp string plucking. Un- derlined with slightly more bluesy melodies, it rides out on a long, satisfying fade. “Border Winds” This is another short transitional song in which Crockett repeatedly begs the wind to “cover my trail.” The relentless sound of horse hooves returns, highlighting the life of a wanted man. “Rancho Deluxe (End Theme)” A thematic bookend to the middle saga, this closes out with the immersive sound of hooves splashing through a river crossing, before the album crescendos. “Billy McLane” This track is the anchor of the album. As Crockett noted recently, the character of Billy McLane represents many things — the friction between the law and the outlaw, the blurred lines of a changing world and the harsh reality of living in the “age of the ram.” The storytelling here shows how strangers in fiction often mirror the brutal truths of real life. “Life & Times of Billy McLane (Theme III)” We get more saloon ambiance and spoken interludes in the backside of the album. The themes of “love and revenge” echo through the noisy room. “Powder River” In a raw, stripped-down moment, it’s just Crockett and his acoustic guitar, quick- plucking as his energy rises to a shout, fight- ing to be heard at the back of a crowded room. A roaring train transitions us out. “Low Down Freedom” Here, we get another offering of what this album seems to do best: a full, heavy song rich with steel guitar and piano. The lyrics hit hard with the cold truth of the world: “Freedom, you done cost me/You’re as empty as my pockets.” It is a beautiful, so- bering look at the price of independence. “Me & Shooter” A fast-paced, rollicking tribute to his pro- ducer, Shooter Jennings, and his wife, Taylor Grace. “Me and Shooter, boys, al- ways Saturday night,” he sings. He slows the tempo down just long enough to de- clare Austin the capital of the world, pay- ing loving tribute to the Texas people who shaped him. “Cover My Trail Tonight” The album closes with a haunting hum. Crockett reflects on the forces constantly coming after him. He dreams of a lush par- adise but admits he only really knows a “pair of dice.” He wants to paint an honest picture of who he is, refusing to dance to the industry’s tune. Truth remains his only compass. As lyrics and motifs from earlier tracks bleed into this final song, the album reveals itself as a true confessional. Age of the Ram catalogs the heavy things that weigh Crockett down, but ultimately, they are the exact things that arm him to keep moving forward. The record then ends with the sounds of a shootout, and with a few shots from a gun, Crockett and his anthology are done. What lingers is not just the echo of gunfire or the gallop of hooves, but a sense of hard-won catharsis. Age of the Ram stands tall as the most cinematic, self-ref- erential and vulnerable installment of Crockett’s trilogy — a brilliant close to an odyssey that began with Welcome to Hard Times and traversed the heartache of Americana. Here, Crockett shows even greater artistic daring, weaving recurring characters and motifs, nodding to Western archetypes. There’s a muscle and vision to this record that cements Crockett’s status as one of the most vital American songwriters of his gen- eration. His storytelling is a living, breathing thing, crackling with wit, pain and sly hu- mor. The arrangements feel both relaxed and restless, with vivid instrumentation that bridges honky-tonk tradition and cinematic flair. Moments of confessional honesty — es- pecially on songs like “Fastest Gun Alive,” “Billy McLane” and “Low Down Freedom” — invite us to see the man behind the myth, one who wrestles with his own shadows and invites us to do the same. As an album, Age of the Ram doesn’t just revisit the dust and drama of the West. It brings Crockett’s own journey full circle, from dusty street corners to the bright lights of the national stage. It’s an album by an art- ist unafraid to let history, legend and per- sonal pain collide until something entirely new emerges. Here’s to Charley Crockett, still chasing the dawn and the stories yet to be told. If you want to catch the next chapter in per- son, Crockett kicks off his tour later this year, making two Fort Worth stops at Billy Bob’s Texas on Aug. 28 and 29, with ticket prices starting at $35. ▼ NEW RELEASES ROCK ROUNDUP THE BEST ROCK CONCERTS THIS SPRING INCLUDE EVE 6, SEVENDUST WITH ATREYU, FORT WORTH’S OWN THE TOADIES, AND PLENTY MORE YOU DON’T WANT TO MISS. BY PRESTON BARTA W e’ve already given you a sneak peek at the massive pop and country spectacles hitting Dal- las this year. But this lineup is for the kids who spent their weekends loitering at Hot Topic. It’s for the souls who truly believed Zach Braff handed them the blueprint to emotional enlightenment in Garden State. It’s for the scene kids, the elder emos and the indie darlings who remember when buying a CD felt like a religious experience. The 2026 concert calendar in North Texas is a time machine. So, swallow your doubt, turn it inside out, and let’s dive into the ultimate nostalgic gig guide. Eve 6 with Fastball April 21 at The Echo Lounge & Music Hall We are kicking things off with a heavy dose of late-’90s radio reign. If you ever put your heart in a blender to watch it spin around to a beauti- ful oblivion, or got “The Way” stuck in your head, this intimate gig is where you belong. Sevendust with Atreyu April 28 at House of Blues This one is for those who prefer their nos- talgia with a little more screaming and heavy eyeliner. Prepare to bleed your heart out on the floor of the House of Blues, but just remember to stretch your neck before trying to headbang like it’s 2004. Toadies with The Black Angels, Local H and Vandoliers May 2 at Longhorn Backyard Amphitheater Do you come from the water? Because the Toadies are back to remind us why they are North Texas rock royalty. Combined with the fuzzed-out brilliance of Local H, this is a ’90s alt-rock fever dream in the best way possible. And to make it even sweeter, Dal- las cow-punks Vandoliers are also among the supporting acts. HEALTH May 4 at The Bomb Factory HEALTH goes hard. If your tastes evolved from early emo into dark, crushing, indus- trial synth-wave, you already have tickets to this. It’s heavy, it’s atmospheric and it will vibrate right through your combat boots. Florence + The Machine with CMAT May 7 at Dickies Arena in Fort Worth Who doesn’t want to surrender to the witchy, ethereal vibes of Florence Welch? Drape yourself in crushed velvet for this one. The dog days are over, but the dramatic sweeping anthems will live again in Cow- town this spring. José González with Abby Sage May 9 at Granada Theater Here is where our Garden State soundtrack lovers start paying close atten- tion. José González’s acoustic cover of “Heartbeats” was the background music to every melancholic indie kid’s rainy af- ternoon. The Granada is the perfect, inti- mate room to let those delicate acoustic plucks wash over you. Andrew Sherman Don’t miss the chance to see Fort Worth natives The Toadies on May 2 at Longhorn Backyard Amphitheater.
