"Last Fall, The" Soundtrack Lyrics

"The Last Fall (Music from the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

What does life after the league sound like? In The Last Fall, it’s neo-soul warmth, indie R&B, and small-band grooves carrying a quietly bruised drama about a 25-year-old ex-pro football player finding his way home. The official various-artists album arrived late 2012 under Blue Key Music, gathering 12 cuts that feel hand-picked for living rooms, kitchens, and two-lane drives rather than stadiums.

Composer Tremaine Williams threads intimate score textures between songs, while the needle-drops lean on artists like Darien Dean, N’Dambi, Alex Isley, Jarrard Anthony, and Marion Write. The curation favors melody over muscle: instead of hype music, it gives hard choices a humane tempo. (According to studio listings and credits.)

Questions & Answers

Is the project a 2012 feature film?

Yes. Written and directed by Matthew A. Cherry; U.S. runtime ~98 minutes.

Who composed the score?

Tremaine Williams is credited with music/score for the film.

Is there an official songs album?

Yes—The Last Fall (Music from the Motion Picture), a 12-track compilation released December 17, 2012 (Blue Key Music).

Who handled music supervision?

IMDB full credits list Robert (R.) Michael Thomas and Monica A. Young as music supervisors.

What does the album sound like?

Contemporary R&B/neo-soul and indie singer-songwriter cuts—mid-tempo, reflective, lyric-forward.

Any notable featured artists?

N’Dambi appears with multiple tracks; Alex Isley contributes “Set in Stone”; Jarrard Anthony features pianist Onaje Allan Gumbs on “Lucky Day.”

Notes & Trivia

• World-premiered at SXSW 2012; the story follows a journeyman pro forced into early retirement.
• The album is a compact 12-track set (~50 minutes) rather than a sprawling companion.
• Blue Key Music issued the compilation; streaming editions mirror the 12-track sequence.
• Williams’ credit marks one of his first feature scoring gigs.
• Two music supervisors are credited, reflecting a clearance-heavy indie workflow.

Genres & Themes

Neo-soul & quiet-storm R&B: vulnerability without sentimentality; songs play like internal monologues—pride, apology, resolve.

Indie singer-songwriter hues: soft rhythm sections and close-miked vocals support scenes set in kitchens, porches, and parking lots.

Tracks & Scenes

“Nowhere” — Darien Dean
Scene: Opening reset after a career-ending cut; Kyle drives the neighborhood he left behind (non-diegetic, montage). Early act, ~90 seconds.
Why it matters: Establishes stasis and displacement—the lyric’s title underlines how home can still feel temporary.

“I Love It (feat. N’Dambi & S.B.)” — Marion Write
Scene: Locker-room box-up and goodbye texts; quick cuts of trophies into cardboard (non-diegetic). Early act, short.
Why it matters: The groove keeps him moving while the life he built gets deconstructed.

“Lucky Day (feat. Onaje Allan Gumbs)” — Jarrard Anthony
Scene: Kyle and Faith share a quiet porch catch-up; the track plays under an uneasy truce (non-diegetic). First half, ~1–2 minutes.
Why it matters: Gentle keys hint at the film’s second-chance question without promising answers.

“Insecurity” — N’Dambi
Scene: Family-table argument spills into the kitchen; words land harder than intended (source bleed to non-diegetic). Mid-film, ~1 minute.
Why it matters: Title = text; the cue exposes the pride behind their distance.

“Set in Stone” — Alex Isley
Scene: Apartment reconciliation attempt; the city goes quiet outside as they say the unsayable (non-diegetic). Mid-late, ~2 minutes.
Why it matters: Silky vocal lines frame the turning point—what’s broken can’t be rushed.

“Stay” — N’Dambi
Scene: Night-drive solitude after a setback; dashboard lights, no radio chatter (non-diegetic). Late act, ~1–2 minutes.
Why it matters: A plea in the title, a test in the scene—the character has to choose the person over the plan.

“What Happens When” — Jurni Rayne
Scene: Morning montage of job hunts and small wins (non-diegetic). Late, brief.
Why it matters: Gives motion back to a character who’s been stuck between past and maybe.

“We Got Love” — N’Dambi & Yodchai
Scene: Family moment resets the room; laughter returns (source). Late, short.
Why it matters: Shows the stakes aren’t just career—they’re community.

“All In” — Fresh (Various Artists)
Scene: Training-field grind; cleats, cones, and taped ankles (non-diegetic). First half reprise, ~1 minute.
Why it matters: Not a victory cut—an accountability cut.

Note: Exact minute-marks vary by edition/platform; placements above reflect how the album’s cuts are used across the film’s core beats, aligned with credited song listings.

Music–Story Links

The selections don’t chase swagger; they validate doubt. When “Insecurity” edges into a domestic scene, the lyric names the obstacle. “Set in Stone” softens the camera and slows the edit so the conversation can breathe. Even the brighter grooves—“Lucky Day,” “All In”—refuse triumphalism; they score work, not arrival.

How It Was Made

Matthew A. Cherry—a former NFL player turned filmmaker—wrote and directed. Tremaine Williams delivered the score, while the song side was steered by music supervisors R. Michael Thomas and Monica A. Young. As per album listings, Blue Key Music issued the 12-track compilation that mirrors the film’s intimate scale and domestic settings.

Reception & Quotes

Festival and theatrical coverage focused on the film’s grounded tone; the music was noted for reinforcing character over spectacle.

“An involving, sympathetic film unafraid to wear its sizable heart on its sleeve.” Los Angeles Times (review)

“Cherry keeps the focus tight and the vibe unflashy; the songs do a lot of the heavy lifting.” trade capsule

Additional Info

• Album label: Blue Key Music; commercial release: December 17, 2012; 12 tracks (~50 min).
• Recurring artists on the album include N’Dambi (multiple cuts) and Darien Dean.
• Streaming availability confirmed on major DSPs; retail listings show the same sequence.
• Music supervision duties are split across two supervisors, indicating extensive clearances on an indie schedule.
• Festival premiere: SXSW 2012; U.S. release followed that fall.

Technical Info

• Title: The Last Fall (Music from the Motion Picture)
• Year: 2012
• Type: Film soundtrack (various artists; original score by Tremaine Williams in film)
• Composer: Tremaine Williams
• Music Supervision: R. Michael Thomas; Monica A. Young
• Label: Blue Key Music
• Commercial release: December 17, 2012; 12 tracks (~49–50 min)
• Selected notable placements (album artists): Darien Dean (“Nowhere”); N’Dambi (“Insecurity,” “Stay”); Alex Isley (“Set in Stone”); Jarrard Anthony feat. Onaje Allan Gumbs (“Lucky Day”); Marion Write feat. N’Dambi & S.B. (“I Love It”)
• Release context: SXSW premiere March 2012; U.S. theatrical/VOD later in 2012
• Availability: Streaming (Spotify/Apple Music); digital retailers; catalogue page references

Canonical Entities & Relations

Sources: Wikipedia (film entry & credits); Apple Music/Spotify album pages; Amazon retail listing; IMDb full credits (music department); Soundtrack release calendars; Official trailer uploads (YouTube).

November, 12th 2025