Mixing basic nation roots with fashionable influences and heartfelt storytelling, Texan singer/songwriter William Beckmann is carving out a sound that’s timeless, sincere, and true to his roots.
Stream: “Lonely Over You” – William Beckmann
William Beckmann’s voice is sort of a 30-year-old whiskey: Clean, 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 model 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 huge 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 huge launch.
Just some days earlier than hitting the street on a tour run that may take him to the top of September, Beckmann referred to as from his house 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 all the time, it’s constructed on honesty, robust storytelling and a voice that doesn’t strive too onerous to impress — it simply feels actual.
— —
:: stream/buy Whiskey Lies & Alibis right here ::
:: join with William Beckmann right here ::
— —
A CONVERSATION WITH WILLIAM BECKMANN
Atwood Journal: You’ve mentioned 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 undoubtedly a breakup album in some methods, but it surely’s additionally a photograph album within the sense that every music appears like a special second or month in that yr. That was intentional — I wished each monitor to have the ability to stand by itself, but additionally work collectively as a complete.
You know the way while you flip by way of an outdated picture album, each web page takes you to a special metropolis or reminiscence, but it surely’s nonetheless all a part of the identical chapter in your life?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 really like that metaphor. It jogs my memory of one thing one other artist mentioned — that every music is a timestamp of a sure second in his life, and a few are so private it’s onerous 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 may be robust. However I’ve discovered that once I’m on stage, I can kind of take away myself from the unique emotion and simply deal with delivering the music.
After performing one thing sufficient occasions, it begins to turn out to be a part of your unconscious — you don’t take into consideration the following line, you simply know it, the way in which everybody is aware of 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 music 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 bear in mind precisely the place you have been while you wrote it.
Alongside those self same traces: I do know you’ve mentioned “Not That Robust” is one among your most weak songs. What was going by way of your thoughts while 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 sincere songs on the document — that one and “Beginning Over Once more” which is extra folky. I used to be really attempting to go for an early Bob Dylan vibe on that one.
However “Not That Robust” means loads to me. I wrote it with Brice Lengthy, and I wished to inform this type of story the place the narrator is saying, “Hey, individuals inform me I’m humorous, individuals say I’m affected person… however the one factor I’m not? I’m not robust sufficient to recover from you.” I really like when a refrain flips like that — when it form of units you up a method after which hits you with the true emotion on the finish.
It was onerous to jot down, but additionally 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 positive: I wasn’t robust sufficient to get by way of it. In order that’s what got here out within the music.
You co-wrote eight of the 12 tracks on this new album with among the greatest names in Nashville. Do you will have any tales of these periods you’ll be able to share?
William Beckmann: It was truthfully unimaginable. Each single one of many writers I collaborated with is so achieved and gifted. Brice Lengthy was concerned in writing a pair tracks on the document, together with “Not That Robust” and “Honky Tonk Blue” – a music he really co-wrote with Chris Stapleton. Having the ability to document 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 venture. Anytime you get to work with people you admire — individuals who’ve carried out wonderful issues and can proceed to take action — it’s not one thing you are taking flippantly. The truth that they took time to sit down down, co-write and actually spend money on what I used to be attempting to do as an artist means the world.
Did any of these periods change the way you strategy songwriting?
William Beckmann: Not in a drastic approach. I’ve a fairly agency sense of how I prefer to work, however what’s wonderful is that the individuals I collaborated with didn’t attempt to change that. They only 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 completely totally different course.
That mentioned, generally you write a music 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 document. I believe that’s why this album feels extra experimental in some methods. We pushed boundaries stylistically, and I beloved that concerning the course of.
Was co-writing all the time one thing you have 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. When you hearken to my first document, Pale Recollections, all of these songs have been written solo. It wasn’t till I received 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 advised myself, “You won’t be any good at this instantly, however be open to studying.” And now, I like it. Collaboration has turn out to be one of the vital enjoyable elements of the method.
I used to jot down songs myself — all the time over a typewriter. I’m a giant Bob Dylan and Neil Younger fan, and I’d see these outdated images 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 received a small assortment — 5 – 6 classic machines, all mechanical, with the ribbon and hammers. I’ve received one from the Nineteen Thirties, one from the 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 robust to lug round a 30-pound typewriter! However when I’ve time, I really like to sit down 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 assume you’d discuss?
William Beckmann: In all probability simply songs. I’d need to know what they have been writing, what concepts they have 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 simply be in a room speaking music with legends.
And talking of Waylon — I don’t know for those who noticed, however Shooter Jennings is releasing three new albums of archived Waylon materials. That form 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 one among your songs would you play for them?
William Beckmann: I believe I’d play “Neon Sounds.” It has that Willie Nelson–Ray Worth form 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 have been simply getting ranges — however once we performed it again, John Randall, who produced the document, 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 Sport” generally. What I really like about him is that he attracts from classic influences, but it surely nonetheless feels present. It by no means feels retro for the sake of being retro — it simply appears like him. I strive to try this too, whether or not it’s with my sound and even my model. It’s about mixing custom with now.
If a future you have 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 all the time been my purpose — to maintain that as my North Star, my legacy. And I received’t lie, it’s not all the time simple, particularly at present. Every part is so numbers-driven, particularly with social media and TikTok. I’m on calls on a regular basis about developments and techniques, and I get it — going viral may be large. However that’s not why I received 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 document and know I made it for the proper causes — not as a result of somebody advised me what would “work,” however as a result of it was actual — then I’ll be pleased with it.
What would you like your legacy to be?
William Beckmann: I need to be remembered as a fantastic singer. Somebody who labored onerous 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 form of consideration to element.
And I need to be seen as an sincere songwriter. Somebody whose catalog felt intentional and considerate. The form of artist individuals look again on and say, “Yeah, that was actual.” I would like my work to have the form of endurance that comes from authenticity.
Is there something about Whiskey Lies & Alibis that you just actually need individuals to know, or one thing you’re particularly pleased with?
William Beckmann: Yeah — the music “Lonely Over You.” That one appears like new territory for me. It’s received layers of vocal harmonies and an actual Roy Orbison vibe, which I really like. I’m an enormous fan of that model.
And we shot the music video for it completely 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.
— —
:: stream/buy Whiskey Lies & Alibis right here ::
:: join with William Beckmann right here ::
— —
— — — —
Hook up with William Beckmann on
Fb, 𝕏, TikTok, Instagram
Uncover new music on Atwood Journal
© Connor Robertson
an album by William Beckmann
