Mixing basic 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 at present.
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 massive 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 massive launch.
Only a few days earlier than hitting the street on a tour run that can take him to the tip of September, Beckmann referred to as from his residence in Texas to speak 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 attempt 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 mentioned that an album must 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 undoubtedly a breakup album in some methods, nevertheless it’s additionally a photograph album within the sense that every track looks like a special second or month in that yr. That was intentional — I wished each observe to have the ability to stand by itself, but in addition work collectively as an entire.
You know the way once you flip by means of an outdated picture album, each web page takes you to a special metropolis or reminiscence, nevertheless it’s nonetheless all a part of the identical chapter in your life?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 each one sound the identical — I wished to take the listener on a journey.
I like that metaphor. It jogs my memory of one thing one other artist mentioned — 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 will be powerful. However I’ve discovered that after I’m on stage, I can form of take away myself from the unique emotion and simply deal with delivering the track.
After performing one thing sufficient instances, it begins to grow to be 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 tips on how to sing “Candy Dwelling 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 probably hit more durable — 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 traces: I do know you’ve mentioned “Not That Robust” is considered one of your most weak songs. What was going by means of your thoughts once you wrote it? And the way do you carry out that one evening after evening?
William Beckmann: Yeah, “Not That Robust” is certainly one of the vital weak and trustworthy songs on the file — that one and “Beginning Over Once more” which is extra folky. I used to be truly attempting to go for an early Bob Dylan vibe on that one.
However “Not That Robust” means lots to me. I wrote it with Brice Lengthy, and I wished to inform this sort 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 like when a refrain flips like that — when it sort of units you up a technique after which hits you with the actual emotion on the finish.
It was exhausting to write down, but in addition actually satisfying. I felt like I mentioned precisely what I used to be attempting 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 certain: I wasn’t sturdy sufficient to get by means of 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 classes you’ll be able to share?
William Beckmann: It was truthfully unbelievable. Each single one of many writers I collaborated with is so completed and proficient. Brice Lengthy was concerned in writing a pair tracks on the file, together with “Not That Robust” and “Honky Tonk Blue” – a track he truly co-wrote with Chris Stapleton. With the ability to file that observe was an enormous honor.
Jessie Jo Dillon is one other one — she’s completely on hearth 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 completed wonderful issues and can proceed to take action — it’s not one thing you’re taking calmly. The truth that they took time to take a seat down, co-write and actually put money into what I used to be attempting to do as an artist means the world.
Did any of these classes change the way you method songwriting?
William Beckmann: Not in a drastic manner. 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 carry out what I used to be already aiming for. That’s the perfect factor you’ll be able to ask for as an artist — to work with individuals who improve what you’re doing with out steering it in a very totally different path.
That mentioned, typically you write a track and assume, “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 believe that’s why this album feels extra experimental in some methods. We pushed boundaries stylistically, and I cherished that concerning the course of.
Was co-writing at all times one thing you had been open to?
William Beckmann: Truthfully, no. After I first began writing songs, I wrote all the pieces alone. That’s simply how I labored. For those who take heed to my first file, Pale Recollections, all of these songs had been written solo. It wasn’t till I acquired 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 need to be closed off to it. I instructed myself, “You may not be any good at this immediately, however be open to studying.” And now, I like it. Collaboration has grow to be one of the vital 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 outdated pictures of Dylan typing lyrics out, and I believed, “I have to attempt that.” So, I purchased a typewriter in my early 20s and simply began writing like that.
Now I’ve acquired a small assortment — 5 or 6 classic machines, all mechanical, with the ribbon and hammers. I’ve acquired one from the Nineteen Thirties, one from the Nineteen Forties, one from the Nineteen Fifties, and a pair from the Sixties. They’re lovely. I don’t get to make use of them as a lot as of late — touring makes it powerful to lug round a 30-pound typewriter! However when I’ve time, I like to take a seat down and write that manner. 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 residence 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 assume you’d speak about?
William Beckmann: In all probability simply songs. I’d need to know what they had been writing, what concepts they had been kicking round. I’d in all probability attempt to share one thing new I’d written too. I imply, that’s the dream — to only be in a room speaking music with legends.
And talking of Waylon — I don’t know should you noticed, however Shooter Jennings is releasing three new albums of archived Waylon materials. That sort of factor blows my thoughts. It’s one factor to take heed 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 believe I’d play “Neon Sounds.” It has that Willie Nelson–Ray Worth sort of vibe, which I believe would converse 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 once 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 a bit Chris Isaak in your music, too.
William Beckmann: I take that as a praise. I like Chris Isaak. We truly cowl “Depraved Recreation” typically. What I like about him is that he attracts from classic influences, nevertheless it nonetheless feels present. It by no means feels retro for the sake of being retro — it simply looks like him. I attempt 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 concerning the second it captures?
William Beckmann: Simply the honesty. The authenticity. That’s at all times been my aim — to maintain that as my North Star, my legacy. And I received’t lie, it’s not at all times simple, particularly at present. Every little thing is so numbers-driven, particularly with social media and TikTok. I’m on calls on a regular basis about tendencies and methods, and I get it — going viral will be large. However that’s not why I acquired into this.
I began making music as a result of I wished 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 correct 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 need to be remembered as a terrific 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 need to be recognized for that sort of consideration to element.
And I need to be seen as an trustworthy songwriter. Somebody whose catalog felt intentional and considerate. The sort of artist folks look again on and say, “Yeah, that was actual.” I need my work to have the sort of endurance that comes from authenticity.
Is there something about Whiskey Lies & Alibis that you simply really 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 acquired layers of vocal harmonies and an actual Roy Orbison vibe, which I like. I’m an enormous fan of that type.
And we shot the music video for it solely on movie, which I’m actually enthusiastic about. It offers the visuals this basic, timeless really feel. It comes out in a number of days, and I believe 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
