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 at the moment.
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 imagine 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 dwelling 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 give attention to writing music that lasts. As at all times, it’s constructed on honesty, robust storytelling and a voice that doesn’t attempt too onerous 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 needs 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, but it surely’s additionally a photograph album within the sense that every track appears like a unique second or month in that 12 months. That was intentional — I wished each observe to have the ability to stand by itself, but additionally work collectively as an entire.
You know the way once you flip by means of an previous picture album, each web page takes you to a unique 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 stated — that every track is a timestamp of a sure second in his life, and a few are so private it’s onerous to play them reside. Are there any songs like that for you?
William Beckmann: Undoubtedly. There are songs that really feel actually private, and a few moments may be robust. However I’ve discovered that after I’m on stage, I can type of take away myself from the unique emotion and simply give attention to delivering the track.
After performing one thing sufficient instances, it begins to turn into a part of your unconscious — you don’t take into consideration the following line, you simply know it, the best way everybody is aware of the right way to sing “Candy House Alabama.” You’re centered 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 could hit tougher — since you hear it as a listener, not the performer, and also you bear in mind precisely the place you have been once you wrote it.
Alongside those self same strains: I do know you’ve stated “Not That Robust” is certainly 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 night time after night time?
William Beckmann: Yeah, “Not That Robust” is certainly one of the weak and trustworthy songs on the file — that one and “Beginning Over Once more” which is extra folky. I used to be truly making an attempt 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 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 actual emotion on the finish.
It was onerous to jot 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 certain: I wasn’t robust 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 greatest names in Nashville. Do you’ve any tales of these classes you’ll be able to share?
William Beckmann: It was actually unimaginable. 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 mission. Anytime you get to work with people you admire — individuals who’ve executed wonderful issues and can proceed to take action — it’s not one thing you’re 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 classes change the way you method songwriting?
William Beckmann: Not in a drastic manner. I’ve a reasonably agency sense of how I prefer to work, however what’s wonderful is that the folks I collaborated with didn’t attempt to change that. They only got here in and helped me convey out what I used to be already aiming for. That’s one of the best 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 completely different route.
That stated, typically you write a track and suppose, “I wouldn’t have been in a position to give you this by myself.” That’s the magic of collaboration. They bring about 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 beloved that in regards to the course of.
Was co-writing at all times one thing you have been open to?
William Beckmann: Actually, no. Once I first began writing songs, I wrote every part alone. That’s simply how I labored. Should you hearken to my first file, Light Reminiscences, 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 informed myself, “You may not be any good at this straight away, however be open to studying.” And now, I adore it. Collaboration has turn into one of the enjoyable components of the method.
I used to jot 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 believed, “I must attempt that.” So, I purchased a typewriter in my early 20s and simply began writing like that.
Now I’ve received a small assortment — 5 or 6 classic machines, all mechanical, with the ribbon and hammers. I’ve received 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 lately — 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 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 dwelling 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 need to know what they have been writing, what concepts they have been kicking round. I’d most likely 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 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 certainly one of your songs would you play for them?
William Beckmann: I believe I’d play “Neon Sounds.” It has that Willie Nelson–Ray Value 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 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 a bit of Chris Isaak in your music, too.
William Beckmann: I take that as a praise. I really like Chris Isaak. We truly cowl “Depraved Sport” typically. 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 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 have 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 straightforward, particularly at the moment. Every thing is so numbers-driven, particularly with social media and TikTok. I’m on calls on a regular basis about developments and methods, and I get it — going viral may be big. 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 file and know I made it for the best causes — not as a result of somebody informed 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 an incredible 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 identified for that form of consideration to element.
And I need to be seen as an trustworthy songwriter. Somebody whose catalog felt intentional and considerate. The form of artist folks 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 really need folks to know, or one thing you’re particularly happy with?
William Beckmann: Yeah — the track “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 type.
And we shot the music video for it solely on movie, which I’m actually enthusiastic about. It offers the visuals this traditional, timeless really feel. It comes out in just a few 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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© Connor Robertson
an album by William Beckmann