Mixing traditional nation roots with fashionable influences and heartfelt storytelling, Texan singer/songwriter William Beckmann is carving out a sound that’s timeless, trustworthy, and true to his roots.
Stream: “Lonely Over You” – William Beckmann
William Beckmann’s voice is sort of a 30-year-old whiskey: Easy, wealthy and naturally refined, with a depth that stays with you.
Raised in Del Rio, Texas — a border city the place nation music mixes with rock, blues and Mexican influences — Beckmann grew up surrounded by a variety of sounds that proceed to form his type immediately.
Singing in Spanish as simply as he does in English, he’s constructed a profession on mixing custom with originality — making a sound that defies labels whereas staying deeply rooted in who he’s.
He’s already made some large profession milestones, together with his debut efficiency on the Grand Ole Opry — a second he nonetheless can’t fairly consider occurred. And now, he’s tuning up for his subsequent large launch.
Only a few days earlier than hitting the street on a tour run that may take him to the tip of September, Beckmann known as from his house in Texas to talk with Atwood Journal about his main label debut, Whiskey Lies & Alibis. It’s a mix of conventional nation ballads and extra fashionable, folk-inspired sounds that reveals Beckmann’s vary — and his deal with writing music that lasts. As at all times, it’s constructed on honesty, sturdy storytelling and a voice that doesn’t strive too exhausting to impress — it simply feels actual.
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:: stream/buy Whiskey Lies & Alibis right here ::
:: join with William Beckmann right here ::
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A CONVERSATION WITH WILLIAM BECKMANN
Atwood Journal: You’ve stated that an album ought to be like a photograph album — a snapshot of a second in time. What second does Whiskey Lies & Alibis seize for you?
William Beckmann: It’s positively a breakup album in some methods, however it’s additionally a photograph album within the sense that every track looks like a unique second or month in that 12 months. That was intentional — I needed each monitor to have the ability to stand by itself, but additionally work collectively as a complete.
You understand how once you flip via an previous picture album, each web page takes you to a unique metropolis or reminiscence, however it’s nonetheless all a part of the identical chapter in your life? That’s what I used to be going for. Some songs lean extra conventional, others push into new stylistic territory. I don’t prefer it when an album has 12 songs that every one sound the identical — I needed to take the listener on a journey.
I really like that metaphor. It jogs my memory of one thing one other artist stated — that every track is a timestamp of a sure second in his life, and a few are so private it’s exhausting to play them stay. Are there any songs like that for you?
William Beckmann: Positively. There are songs that really feel actually private, and a few moments could be robust. However I’ve discovered that after I’m on stage, I can kind of take away myself from the unique emotion and simply deal with delivering the track.
After performing one thing sufficient occasions, it begins to change into a part of your unconscious — you don’t take into consideration the subsequent line, you simply know it, the best way everybody is aware of how one can sing “Candy House Alabama.” You’re targeted extra on the efficiency and fewer on reliving the emotion. But when I’m sitting alone and a track of mine randomly comes on, that’s when it might hit tougher — since you hear it as a listener, not the performer, and also you keep in mind precisely the place you had been once you wrote it.
Alongside those self same strains: I do know you’ve stated “Not That Sturdy” is considered one of your most susceptible songs. What was going via your thoughts once you wrote it? And the way do you carry out that one evening after evening?
William Beckmann: Yeah, “Not That Sturdy” is certainly one of the crucial susceptible and trustworthy songs on the file — that one and “Beginning Over Once more” which is extra folky. I used to be really making an attempt to go for an early Bob Dylan vibe on that one.
However “Not That Sturdy” means loads to me. I wrote it with Brice Lengthy, and I needed to inform this type of story the place the narrator is saying, “Hey, folks inform me I’m humorous, folks say I’m affected person… however the one factor I’m not? I’m not sturdy sufficient to recover from you.” I really like when a refrain flips like that — when it type of units you up a method after which hits you with the true emotion on the finish.
It was exhausting to write down, but additionally actually satisfying. I felt like I stated precisely what I used to be making an attempt to say. And yeah — perhaps I am loopy, who is aware of at this level — however that’s the one factor I do know for positive: I wasn’t sturdy sufficient to get via it. In order that’s what got here out within the track.
You co-wrote eight of the 12 tracks on this new album with among the largest names in Nashville. Do you may have any tales of these periods you possibly can share?
William Beckmann: It was truthfully unimaginable. Each single one of many writers I collaborated with is so completed and gifted. Brice Lengthy was concerned in writing a pair tracks on the file, together with “Not That Sturdy” and “Honky Tonk Blue” – a track he really co-wrote with Chris Stapleton. Having the ability to file that monitor was an enormous honor.
Jessie Jo Dillon is one other one — she’s completely on fireplace proper now. One of many hottest songwriters in Nashville. There are such a lot of different extremely gifted individuals who helped form this undertaking. Anytime you get to work with of us you admire — individuals who’ve accomplished wonderful issues and can proceed to take action — it’s not one thing you are taking flippantly. The truth that they took time to take a seat down, co-write and actually spend money on what I used to be making an attempt to do as an artist means the world.
Did any of these periods change the way you method songwriting?
William Beckmann: Not in a drastic approach. I’ve a fairly agency sense of how I wish to work, however what’s wonderful is that the folks I collaborated with didn’t attempt to change that. They simply got here in and helped me deliver out what I used to be already aiming for. That’s the perfect factor you possibly can ask for as an artist — to work with individuals who improve what you’re doing with out steering it in a completely totally different path.
That stated, typically you write a track and suppose, “I wouldn’t have been in a position to provide you with this alone.” That’s the magic of collaboration. They create in a taste or feeling that surprises you, and if I prefer it, it goes on the file. I feel that’s why this album feels extra experimental in some methods. We pushed boundaries stylistically, and I cherished that in regards to the course of.
Was co-writing at all times one thing you had been open to?
William Beckmann: Truthfully, no. Once I first began writing songs, I wrote the whole lot alone. That’s simply how I labored. In case you hearken to my first file, Light Recollections, all of these songs had been written solo. It wasn’t till I obtained my publishing deal in 2019 that I actually began co-writing. At first, I used to be hesitant — extra nervous than something. It was simply unfamiliar territory.
However I didn’t wish to be closed off to it. I instructed myself, “You may not be any good at this straight away, however be open to studying.” And now, I like it. Collaboration has change into one of the crucial enjoyable elements of the method.
I used to write down songs myself — at all times over a typewriter. I’m an enormous Bob Dylan and Neil Younger fan, and I’d see these previous photographs of Dylan typing lyrics out, and I assumed, “I must strive that.” So, I purchased a typewriter in my early 20s and simply began writing like that.
Now I’ve obtained a small assortment — 5 – 6 classic machines, all mechanical, with the ribbon and hammers. I’ve obtained one from the Nineteen Thirties, one from the Forties, one from the Fifties, and a pair from the Sixties. They’re lovely. I don’t get to make use of them as a lot today — touring makes it robust to lug round a 30-pound typewriter! However when I’ve time, I really like to take a seat down and write that approach. It brings me again to the place it began.
You talked about being a fan of Bob Dylan, however you sound such as you’d be proper at house sitting subsequent to artists like Johnny, Waylon or Willie in a membership. So, let’s say you end up in a room with them for a late-night jam — what do you suppose you’d speak about?
William Beckmann: Most likely simply songs. I’d wish to know what they had been writing, what concepts they had been kicking round. I’d most likely attempt to share one thing new I’d written too. I imply, that’s the dream — to simply be in a room speaking music with legends.
And talking of Waylon — I don’t know in the event you noticed, however Shooter Jennings is releasing three new albums of archived Waylon materials. That type of factor blows my thoughts. It’s one factor to hearken to “Stroll the Line” or the classics, however listening to new stuff from Waylon? That’s gold.
Which considered one of your songs would you play for them?
William Beckmann: I feel I’d play “Neon Sounds.” It has that Willie Nelson–Ray Worth type of vibe, which I feel would communicate to them. What’s cool about that one is it was recorded in a single full take. We didn’t plan on utilizing it — we thought we had been simply getting ranges — however after we performed it again, John Randall, who produced the file, was like, “That was it.” So, we didn’t contact it. That’s what’s on the album.
I hear slightly Chris Isaak in your music, too.
William Beckmann: I take that as a praise. I really like Chris Isaak. We really cowl “Depraved Recreation” typically. What I really like about him is that he attracts from classic influences, however it nonetheless feels present. It by no means feels retro for the sake of being retro — it simply looks like him. I strive to do this too, whether or not it’s with my sound and even my type. It’s about mixing custom with now.
If a future you had been listening to this album 30 years from now, what would you need him to recollect in regards to the second it captures?
William Beckmann: Simply the honesty. The authenticity. That’s at all times been my purpose — to maintain that as my North Star, my legacy. And I gained’t lie, it’s not at all times simple, particularly immediately. The whole lot is so numbers-driven, particularly with social media and TikTok. I’m on calls on a regular basis about tendencies and techniques, and I get it — going viral could be large. However that’s not why I obtained into this.
I began making music as a result of I needed to create one thing that lasts. So, 30 years from now, if I can look again at this file and know I made it for the appropriate causes — not as a result of somebody instructed me what would “work,” however as a result of it was actual — then I’ll be happy with it.
What would you like your legacy to be?
William Beckmann: I wish to be remembered as an amazing singer. Somebody who labored exhausting on his voice and the craft. I’m actually into tone — Sinatra, Elvis, these sorts of voices. Their vibrato, their phrasing — it’s timeless. I wish to be recognized for that type of consideration to element.
And I wish to be seen as an trustworthy songwriter. Somebody whose catalog felt intentional and considerate. The type of artist folks look again on and say, “Yeah, that was actual.” I need my work to have the type of endurance that comes from authenticity.
Is there something about Whiskey Lies & Alibis that you just actually need folks to know, or one thing you’re particularly happy with?
William Beckmann: Yeah — the track “Lonely Over You.” That one looks like new territory for me. It’s obtained layers of vocal harmonies and an actual Roy Orbison vibe, which I really like. I’m an enormous fan of that type.
And we shot the music video for it fully on movie, which I’m actually enthusiastic about. It provides the visuals this traditional, timeless really feel. It comes out in just a few days, and I feel it’s one thing actually particular.
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:: stream/buy Whiskey Lies & Alibis right here ::
:: join with William Beckmann right here ::
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an album by William Beckmann
