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Jack Antonoff x Hayley Williams Interview

Jason Tate

Hayley Williams and Jack Antonoff interviewed each other at Rolling Stone:

Antonoff: The album gave me this feeling which I’ve been having about music. In this hellscape of only marketing, marketing, marketing, it’s become very clear what matters and what doesn’t. [The album] made me feel happy.

Williams: That’s so sick. Thank you. We got to experience this coming from the scenes that we came from, and the kind of music that really kick-started us. It’s so communal, and you’re always being fed by and feeding back into the community. When the world feels the way it does, I find myself wanting to plug back into what’s local. I’m wanting to go to smaller shows. I’m wanting to feel like I can see the blood and the bone.

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Ben Folds on Hayley Williams’s Fallon Performance

Ben Folds
Jason Tate

Ben Folds has a newsletter and he recently wrote about Hayley Williams’s performance on Fallon:

Something that’s striking from the start of “True Believer” is Hayley radically singing in her lower register. It ain’t indie baby voice and it’s not rock chick affectation.  It’s assertively at the bottom of her speaking range.  She’s not hiding.  She’s serious. This is a human being speaking her mind without blinking – taking ownership for what she’s saying.

In terms of musicality, in a world where we all assume it must be all dumbed down, especially when it’s taking up valuable ad time(!) Hayley brought the eloquence of a proper string section (arranged by Doug Peck), but she didn’t use them as props.  They occupied their own space (there were blocked upstage of her.). They had a voice, and a turn to be featured.  They weren’t buried or used like a synthesizer.  In 2025 when each symphony orchestra still might only have a small handful of black musicians (until the 80s it was ALL men, no women), this stunning section of black and brown players was as good as you’ll ever hear.