![]() In 2016, Williams married her partner of nine years, Chad Gilbert, lead guitarist in New Found Glory. “I was struggling with agoraphobia before the pandemic,” he says, with a hint of levity. The group’s remaining members, Williams and York, won the Grammy for best rock song in 2013 for Paramore’s guitar-gospel hit, “Ain’t It Fun.” Yet the two found it difficult to celebrate Williams began floundering in the throes of what she’s come to understand as depression and PTSD, while York says he developed symptoms of acute anxiety. Davis worked intermittently between the years of 20 after his resignation, he filed a lawsuit claiming credit for songs on their 2013 self-titled record. After releasing their 2009 album, “Brand New Eyes,” the Farro brothers departed in 2010, stating wishes to be closer to family. However, the separate record deal with Williams, as well as differences in faith and lifestyle, sparked discord between bandmates. With the release of Paramore’s 2008 breakthrough LP “Riot!,” the band rose up the ranks of the Top 40, continuing with 2008’s “ Decode,” their moody cut from the “Twilight” soundtrack. While Williams retained her solo deal with Atlantic, the label decided to release Paramore’s thunderous 2005 debut, “All We Know Is Falling,” via the Florida label Fueled by Ramen: a launchpad for pop-faring emo bands like Jimmy Eat World, Fall Out Boy and Panic! at the Disco. What’s clear about the country musician, who touched down Saturday night at Arena for the first of two sold-out concerts, is that being caught on video drunkenly using the N-word has not derailed his career. Music Review: Morgan Wallen in L.A.: a country superstar, live and apparently un-canceled “I think that’s why a feminine perspective is really important in this day and age of music,” offers Farro. “I put a damper on that for my own confidence, because it was hard to go into a male-dominated space - not even as a woman, but as a little girl.” “It wasn’t cool to be feminine back then,” Williams explains. Williams retired the song from the band’s repertoire in 2018, citing sexist lyrics like “Once a whore, you’re nothing more,” but the song briefly resurfaced at April’s Coachella festival, where Williams performed a course-corrected version with pop superstar Billie Eilish. While still a minor, Williams was written off as sexual fodder by punk gatekeepers and by her own admission, “ Misery Business,” which viciously dressed down another girl, has aged poorly since the 2000s. Paramore used to be relegated to smaller, designated female stages at festivals, such as the Shiragirl stage at the Vans Warped Tour. Some of the fanfare hasn’t computed for Williams, who came to fame during a vastly different time for women in rock music. But I think it’s significant that we feel confident enough to maintain the journey that we’ve been on and celebrate with these fans.” ![]() We’re careful about how we engage with nostalgia five years ago we would have said ‘absolutely not’ to this. “We did not think there was going to be the kind of demand there is. “They want war!” jests Williams, a longtime MCR fan. We were just eating peanut butter and living the dream.” “I use the word ‘merciful’ because we could not have predicted that people would give a s- 20 years later. “What feels most merciful about it is that we didn’t know we were doing anything different back then,” Williams tells The Times inside the band’s North Hollywood studio, her neon locks now a mulled shade of amber. ![]() For her 2021 hit “ Good 4 U,” Rodrigo gave Paramore a songwriting credit, citing the verses of their 2008 song “Misery Business,” a scathing missive to Williams’ teen rival. ![]() As a DayGlo-haired punk sprite, miraculously gifted with the lung capacity of a Southern church choir, she couldn’t have seen it then - nor could her childhood friends-turned-bandmates, Zac Farro and Taylor York - but Paramore would go on to craft songs that would alter the trajectories of rock and pop.Īrtists such as Olivia Rodrigo, Demi Lovato and Willow Smith have all cited Paramore’s music as the blueprint for their own snarling pop-punk confessionals. Twenty years ago, if you told Paramore vocalist Hayley Williams that she’d become one of the most influential pop singers in America, she might have offered little more than a scowl.
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