Blending classic country roots with modern influences and heartfelt storytelling, Texan singer/songwriter William Beckmann is carving out a sound that’s timeless, honest, and true to his roots.

Stream: “Lonely Over You” – William Beckmann

William Beckmann’s voice is like a 30-year-old whiskey: Smooth, rich and naturally refined, with a depth that stays with you.

Raised in Del Rio, Texas — a border town where country music mixes with rock, blues and Mexican influences — Beckmann grew up surrounded by a wide range of sounds that continue to shape his style today.

Singing in Spanish as easily as he does in English, he’s built a career on blending tradition with originality — creating a sound that defies labels while staying deeply rooted in who he is.

He’s already made some big career milestones, including his debut performance at the Grand Ole Opry — a moment he still can’t quite believe happened. And now, he’s tuning up for his next big release.

Just a few days before hitting the road on a tour run that will take him to the end of September, Beckmann called from his home in Texas to chat with Atwood Magazine about his major label debut, Whiskey Lies & Alibis. It’s a blend of traditional country ballads and more modern, folk-inspired sounds that shows Beckmann’s range — and his focus on writing music that lasts. As always, it’s built on honesty, strong storytelling and a voice that doesn’t try too hard to impress — it just feels real.

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:: stream/purchase Whiskey Lies & Alibis here ::

:: connect with William Beckmann here ::

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A CONVERSATION WITH WILLIAM BECKMANN

Atwood Magazine: You’ve said that an album should be like a photo album — a snapshot of a moment in time. What moment does Whiskey Lies & Alibis capture for you?

William Beckmann: It’s definitely a breakup album in some ways, but it’s also a photo album in the sense that each song feels like a different moment or month in that year. That was intentional — I wanted every track to be able to stand on its own, but also work together as a whole.

You know how when you flip through an old photo album, every page takes you to a different city or memory, but it’s still all part of the same chapter in your life? That’s what I was going for. Some songs lean more traditional, others push into new stylistic territory. I don’t like it when an album has 12 songs that all sound the same — I wanted to take the listener on a journey.

I love that metaphor. It reminds me of something another artist said — that each song is a timestamp of a certain moment in his life, and some are so personal it’s hard to play them live. Are there any songs like that for you?

William Beckmann: Definitely. There are songs that feel really personal, and some moments can be tough. But I’ve found that when I’m on stage, I can sort of remove myself from the original emotion and just focus on delivering the song.

After performing something enough times, it starts to become part of your subconscious — you don’t think about the next line, you just know it, the way everyone knows how to sing “Sweet Home Alabama.” You’re focused more on the performance and less on reliving the emotion. But if I’m sitting alone and a song of mine randomly comes on, that’s when it can hit harder — because you hear it as a listener, not the performer, and you remember exactly where you were when you wrote it.

Along those same lines: I know you’ve said “Not That Strong” is one of your most vulnerable songs. What was going through your mind when you wrote it? And how do you perform that one night after night?

William Beckmann: Yeah, “Not That Strong” is definitely one of the most vulnerable and honest songs on the record — that one and “Starting Over Again” which is more folky. I was actually trying to go for an early Bob Dylan vibe on that one.

But “Not That Strong” means a lot to me. I wrote it with Brice Long, and I wanted to tell this kind of story where the narrator is saying, “Hey, people tell me I’m funny, people say I’m patient… but the one thing I’m not? I’m not strong enough to get over you.” I love when a chorus flips like that — when it kind of sets you up one way and then hits you with the real emotion at the end.

It was hard to write, but also really satisfying. I felt like I said exactly what I was trying to say. And yeah — maybe I am crazy, who knows at this point — but that’s the one thing I know for sure: I wasn’t strong enough to get through it. So that’s what came out in the song.

You co-wrote eight of the 12 tracks on this new album with some of the biggest names in Nashville. Do you have any stories of those sessions you can share?

William Beckmann: It was honestly incredible. Every single one of the writers I collaborated with is so accomplished and talented. Brice Long was involved in writing a couple tracks on the record, including “Not That Strong” and “Honky Tonk Blue” – a song he actually co-wrote with Chris Stapleton. Being able to record that track was a huge honor.

Jessie Jo Dillon is another one — she’s absolutely on fire right now. One of the hottest songwriters in Nashville. There are so many other incredibly gifted people who helped shape this project. Anytime you get to work with folks you admire — people who’ve done amazing things and will continue to do so — it’s not something you take lightly. The fact that they took time to sit down, co-write and really invest in what I was trying to do as an artist means the world.

Did any of those sessions change how you approach songwriting?

William Beckmann: Not in a drastic way. I have a pretty firm sense of how I like to work, but what’s amazing is that the people I collaborated with didn’t try to change that. They just came in and helped me bring out what I was already aiming for. That’s the best thing you can ask for as an artist — to work with people who enhance what you’re doing without steering it in a totally different direction.

That said, sometimes you write a song and think, “I wouldn’t have been able to come up with this on my own.” That’s the magic of collaboration. They bring in a flavor or feeling that surprises you, and if I like it, it goes on the record. I think that’s why this album feels more experimental in some ways. We pushed boundaries stylistically, and I loved that about the process.

Was co-writing always something you were open to?

William Beckmann: Honestly, no. When I first started writing songs, I wrote everything alone. That’s just how I worked. If you listen to my first record, Faded Memories, all of those songs were written solo. It wasn’t until I got my publishing deal in 2019 that I really started co-writing. At first, I was hesitant — more nervous than anything. It was just unfamiliar territory.

But I didn’t want to be closed off to it. I told myself, “You might not be any good at this right away, but be open to learning.” And now, I love it. Collaboration has become one of the most fun parts of the process.

I used to write songs myself — always over a typewriter. I’m a big Bob Dylan and Neil Young fan, and I’d see those old photos of Dylan typing lyrics out, and I thought, “I need to try that.” So, I bought a typewriter in my early 20s and just started writing like that.

Now I’ve got a small collection — five or six vintage machines, all mechanical, with the ribbon and hammers. I’ve got one from the 1930s, one from the 1940s, one from the 1950s, and a couple from the 1960s. They’re beautiful. I don’t get to use them as much these days — touring makes it tough to lug around a 30-pound typewriter! But when I have time, I love to sit down and write that way. It brings me back to where it all started.

Whiskey Lies & Alibis - William Beckmann — William Beckmann’s ‘Whiskey Lies & Alibis’ cover art by Connor Robertson

You mentioned being a fan of Bob Dylan, but you sound like you’d be right at home sitting next to artists like Johnny, Waylon or Willie in a club. So, let’s say you find yourself in a room with them for a late-night jam — what do you think you’d talk about?

William Beckmann: Probably just songs. I’d want to know what they were writing, what ideas they were kicking around. I’d probably try to share something new I’d written too. I mean, that’s the dream — to just be in a room talking music with legends.

And speaking of Waylon — I don’t know if you saw, but Shooter Jennings is releasing three new albums of archived Waylon material. That kind of thing blows my mind. It’s one thing to listen to “Walk the Line” or the classics, but hearing new stuff from Waylon? That’s gold.

Which one of your songs would you play for them?

William Beckmann: I think I’d play “Neon Sounds.” It has that Willie Nelson–Ray Price kind of vibe, which I think would speak to them. What’s cool about that one is it was recorded in one full take. We didn’t plan on using it — we thought we were just getting levels — but when we played it back, John Randall, who produced the record, was like, “That was it.” So, we didn’t touch it. That’s what’s on the album.

I hear a little Chris Isaak in your music, too.

William Beckmann: I take that as a compliment. I love Chris Isaak. We actually cover “Wicked Game” sometimes. What I love about him is that he draws from vintage influences, but it still feels current. It never feels retro for the sake of being retro — it just feels like him. I try to do that too, whether it’s with my sound or even my style. It’s about blending tradition with now.

If a future you were listening to this album 30 years from now, what would you want him to remember about the moment it captures?

William Beckmann: Just the honesty. The authenticity. That’s always been my goal — to keep that as my North Star, my legacy. And I won’t lie, it’s not always easy, especially today. Everything is so numbers-driven, especially with social media and TikTok. I’m on calls all the time about trends and strategies, and I get it — going viral can be huge. But that’s not why I got into this.

I started making music because I wanted to create something that lasts. So, 30 years from now, if I can look back at this record and know I made it for the right reasons — not because someone told me what would “work,” but because it was real — then I’ll be proud of it.

What do you want your legacy to be?

William Beckmann: I want to be remembered as a great singer. Someone who worked hard on his voice and the craft. I’m really into tone — Sinatra, Elvis, those kinds of voices. Their vibrato, their phrasing — it’s timeless. I want to be known for that kind of attention to detail.

And I want to be seen as an honest songwriter. Someone whose catalog felt intentional and thoughtful. The kind of artist people look back on and say, “Yeah, that was real.” I want my work to have the kind of staying power that comes from authenticity.

Is there anything about Whiskey Lies & Alibis that you really want people to know, or something you’re especially proud of?

William Beckmann: Yeah — the song “Lonely Over You.” That one feels like new territory for me. It’s got layers of vocal harmonies and a real Roy Orbison vibe, which I love. I’m a huge fan of that style.

And we shot the music video for it entirely on film, which I’m really excited about. It gives the visuals this classic, timeless feel. It comes out in a few days, and I think it’s something really special.

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