![]() ![]() ![]() Caramel-coated ballad “The Only Exception” went out to all the fans who grew up with the band. “Rose-Colored Boy,” “Hard Times” and “Told You So” brought 1980s-style party-pop. of rock.Ī modern Paramore show is like a genre buffet.Įveryone was eatin’ well. You know how in the song “Side to Side,” Nicki Minaj calls herself the queen of rap - duh - and says Ariana Grande “run pop,” like she’s the general manager of pop music? I’d like to imagine a third position of leadership: Hayley Williams is the C.E.O. “That cannot be topped,” she said of the response.Ĭarrot top or not, Williams made a great case for Paramore to play the Super Bowl one day, and I am dead serious. When the house lights first came up, the screaming, echoing adulation seemed to render Williams speechless, save for laughs of disbelief. A fan held up a sign in the pit that read, “That’s my mom,” with a cutout of Williams’ head attached. (No shade, just facts.)Īs always, the show was a mutual love fest. Except this time, the star onstage managed to blow thousands of fans and their feral yells out of the water. “That’s What You Get” was the third single from the 2007 star-making album “Riot!” and it inspired such a powerful singalong in the arena that I was reminded of seeing Harry Styles at the same venue. For hard-driving “The News,” she stuck her chest out with legs bent and unfurled an arm to the audience, as if the adulation of the fans pulled at her sternum like a vacuum. ![]() She’s since traded in her signature orange hair for a less-signature frosty blonde mode, so the pyrotechnics were limited Sunday to actual onstage fireworks.ĭuring cheekily ordered set opener “You First,” Williams windmilled her arms, dipped deep into backbends, carried the mic stand at her hip like a flamethrower and matched the explosive power of Moody’s confetti cannons. Those who witnessed Paramore’s glorious two-weekend stand at last year’s Austin City Limits Music Festival already know: Williams puts on a show. “Do what you can.” Hayley Williams served. Racism and anti-LGBTQ legislation are “not it,” 15-year-old bassist Eloise Wong said, adding, “We need gun control.” The audience roared. It’s not hard to see the spirit of a 13-year-old Williams living on in their exuberant excellence - and in their matter-of-fact sense of self. The Linda Lindas closed out with “Racist, Sexist Boy,” a ferocious wall of sound calling out an anti-Asian, misogynist kid - “Poser! Riffraff! Jerkface! Hater!” The song helped the band go viral after a 2021 performance at the Los Angeles Public Library. The band dedicated the song “Growing Up,” which sounds like a summer vacation movie montage in all the right ways, to Paramore. Their presence easily filled an arena stage, buoyed by a camaraderie that probably helped them sound so badass, too. The Los Angeles punk quartet comprises four young women ranging from 12 to 18 years old. But first act The Linda Lindas reminded the fans how they got there. British rock band Foals, with their tight instrumentals and dance-floor IQ, complemented the Paramore of today. Sunday’s openers helped tell the Paramore story as much as the decade-hopping setlist did. The openers were worth writing home about. Here’s what you missed at this weekend’s Paramore takeover at Moody Center. Throughout it all, the band’s done the improbable: held onto its Day Ones and even expanded its audience to arena-packing levels.įorget about the world for two hours, Williams said in Austin: “Dance it, scream it, cry it, sing it.” With that, and with Williams’ ascent to all-time great rock frontwoman status, came stylistic adventure, like the pop-rock of their 2013 self-titled comeback and the synthy, new wave funk of 2017’s “After Laughter.” This year’s “This Is Why” is a grown-up record for people with grown-up anxieties (and an appreciation for David Byrne). Since then, the band’s weathered dramatic lineup changes, with longtime guitarist Taylor York forming the third leg of its modern incarnation. The earliest incarnation of the band, formed when Williams and drummer Zac Ferro were teens, became stars of the millennial emo scene - no song says “screaming in a car in 2007” quite like “Misery Business.” Paramore has carved out a distinctive niche in pop culture. The Tennessee native was in preacher mode, and not for the last time in a night that felt alternately cathartic and uplifting, nostalgic and daring. “There is not one good thing happening outside these walls,” Paramore singer Hayley Williams told the audience Sunday at Austin’s Moody Center. View Gallery: Photos: Paramore Performs at the Moody Center
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