Album Review – William Beckmann’s “Whiskey Lies & Alibis”

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Classic country (#510.1), Texas country (#550.3), and Tejano/Mexican-inspired Country (#550.5) on the Country DDS.


Don’t go claiming that romance is dead, in country music or society at large until you give an earnest opportunity to the music of William Beckmann. Not since the stellar eras of Chris Isaak and Roy Orbison, or certain moods from Dwight Yoakam have we experienced a country or country-adjacent artist with this much natural, effortless style in their sound and delivery, deftly steeped in the intoxicating emotion of romantic moments.

As classic and cool as a pair of Wayfarers, William Beckmann’s music evokes the body curves of the fender on a vintage Cadillac, and the sheen on the burl of a Wurlitzer juke box, but with just enough of a modern touch to not feel outdated or fuddy duddy. He then delivers it all with a voice that is tuned to perfection for this kind of music.

Beckmann burst onto the scene in the State of Texas back in 2021 with his sensational single “Bourbon Whiskey.” It was exactly the kind of classic country sound so many had been thirsting for. He followed this up with a succession of 7-song EPs that also included an excellent rendition of The Boss’s “I’m On Fire,” and his career was off to the races. All of this led to Beckmann getting signed to Warner Music Nashville.

In what is officially his major label debut album released back in June, Beckmann tries to take his rekindled sound of lonely barrooms and late night drives to a national audience. Where previously William relied on his own pen for most of his songs, Whiskey Lies & Alibis finds names familiar to the mainstream like Ryan Beaver, Jessie Jo Dillon, and Rhett Atkins co-writing with him.

Though the album starts off super strong with the twangy and heartbreaking “Honky Tonk Blue” co-written by Chris Stapleton, some early songs like “Makin’ Them Hate Me” and “California Quake” could be album filler for a radio star if produced differently. Luckily though, it’s Jon Randall behind the knobs and faders. He understands what makes William special and unique, and brings those late night textures to the surface.


Then when the writing on these songs takes a turn for the good, the moments turn magic. “Neon Sounds” written by Dean Dillon paints the perfect lonely barroom scene, and is married expertly with Beckmann’s more hushed tones. “Be Your Man” gives you a bit of a Tom Petty vibe, but rendered in an original experience by Beckmann’s unique voice and delivery. “Game I Like To Play” is a good example of William trying to be a bit more modern, while still remaining steeped in his more classic universe.

William Beckmann was born down on the border of Texas and Mexico in Del Rio on his family’s farm. Fluently bilingual with relatives on both sides of the border, it’s the romance he learned from all those Tejano and Norteño ballads that he imports into country, and constitutes his novel approach. William’s rendition of “Por Mujeres Como Tú” popularized by Pepe Aguilar is a great way to conclude the album.

Whiskey Lies & Alibis has some really great moments, but it does feel like the album got lost a bit in the shuffle in 2025, and not just at this website. Since everyone is either a Zach Bryan singer/songwriter, a ’90s throwback neotraditionalist, or a Morgan Wallen knock off these days, William Beckmann doesn’t have a clear lane to coast in as a bilingual classic country crooner. You also wonder if some of the modern textures on this album spooked some of his more established fans.

But there’s no other artist like William Beckmann. It’s his strong array of influences that he blends so seamlessly into music that takes you to a more genteel time and place where romance is still alive, and so is the soul of classic country.

8/10

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