deadset

Scene queen Hayley Williams has once again stirred the hearts of her devoted following with a new solo record – the catchily titled Ego Death At A Bachelorette Party. As her controversial two decades long contract with Atlantic Records comes to a close (which she famously signed as a naive teenager), I proudly welcome the emancipation of Hayley Williams.  

This is a new era for Hayley in all aspects – creatively, personally, professionally, and even spiritually. Coming out of the deep South of American sociocultural heritage, Paramore for better and for worse, have always existed in something of a Christian context. 

As an OG Paramore fan tracing their careers for 20 years, I would like to take a little look at this fascinating narrative and how it parallels what I see happening in larger Christendom as a whole. 

The emo and post-hardcore scenes of the 2000s and 2010s have always been strange bedfellows with evangelical Christianity. A large swathe of popular bands in the 2000s and 2010s cut their teeth in local youth group halls long before they were playing to tens of thousands at festivals – Underoath, Emery, Norma Jean, The Chariot, Flyleaf, Anberlin, Thrice, Relient K, just to name a few. 

This particular subculture represented a way for estranged youth brought up in restrictive church culture to engage with their darker emotions in a more authentic way than their Sunday worship services offered. I speak from experience. 

Considering that we were drilled with Calvinist theology regarding original sin and the ‘utter depravity’ of man juxtaposed with the reality of humans simply trying to live their normal lives, it’s no wonder millions of youths found comfort in the anguished screams and distorted guitars offered by the likes of Tooth and Nail Records. 

As an example of the earnestness of these bands’ faith, here is some footage of Fat Mike of NOFX investigating an impromptu Bible Study at the fabled Warped Tour, including members of Underoath and Paramore. Seeing your rock star idols meeting together to read the Bible was a life-affirming Christian scene kid Avengers-level crossover event circa 2009. 

Some of these bands would explicitly incorporate their faith into their lyrics. Others tended to use the famous line “We’re not a Christian band, but Christians in a band”. Paramore would most likely fall into the latter camp, with Hayley vaguely exploring common themes of guilt, faith and hope in many songs. 

Although rare, there are instances where Hayley would more openly reference God or Jesus in their music. This can be found most famously in their live outro jam to “Let The Flames Begin” in which she calls out in an almost prayer-like state: 

Fast forward another fifteen years, and it’s safe to say that Hayley won’t be saying any such impassioned prayers onstage any more. 

‘Deconstruction’ has become a major buzzword in millennial Christian circles. Disillusioned with mega church culture, hypocrisy, and countless cases of abuse, my particular age bracket is reportedly “leaving the church in droves”.  

Politics,  especially in the US, has also been a major contributing factor. The way in which many churches and pastors deal with women’s rights, LGBTQ issues, immigration, and of course, POTUS, has turned a whole generation off from organised religion. (Most recently, the evangelical American obsession with the Zionist movement continues to reveal the grotesque face hiding behind the curtain.)

Just listen to Hayley’s new song “True Believer” addressing American Christofascism. Here, she breaks ranks with her southern conservative upbringing to make a statement for women’s rights, racial justice and gun control, all within one verse of a song. 

As she appeared on BBC Radio recently to promote her new album, Hayley was called the “the voice of a generation” (to which she appears endearingly embarrassed), and I couldn’t agree more. Hers is a journey that parallels the narrative of a post-evangelical millennial generation. She represents the latent feminine rage of a generation that has been repressed and abused in so many ways. 

I have no doubt a headstrong woman such as herself, raised deep in the Bible belt, would have had Bible verses such as Ephesians 5:22, 1 Timothy 2:12, and Psalm 139:13-16, (amongst a myriad of others), thrown at her ad nauseum through the years. In the wake of this indoctrination and faced with the reality of being a touring creative crossing paths with all manners of people from all walks of life, I’m sure she asked the questions, “Are my beliefs really condemning my gay friend to an eternity of suffering?” or “Does God really care about what’s between my pants if I speak in church or not?”  

I know, because I’ve been there. And I’m sure if you’re still reading this post, you have also been there (probably).

Hayley’s journey from impressionable teen, to reluctant role model, to battle-worn veteran of the scene is relatable to any of us who grew up going to church. As the global social fabric continues to unravel around us, it’s all too easy to see the widening chasm between what the church preaches, what it does, and how the world actually is. No wonder so many are losing hope and faith.  

But that’s not to say that Hayley has thrown away all her beliefs. It’s even hinted in the title of the song “True Believer”. She sings in the chorus about holding on to the ghost of a belief. It is also reminiscent of a previous Paramore lyric in which she sings about how a spark is enough to give hope even in the darkest times. 

Perhaps in the midst of this doubt and turmoil, she still maintains this faint hope if belief in a higher calling that does not align with the toxic evolution she sees in organised religion around her. 

Like trailblazing women before her such as Debbie Harry and Stevie Nicks, Hayley’s career will be talked about and analysed for decades to come. From interbandmate turmoil to romantic relationships, this is already well covered. What I think shouldn’t be overlooked is this spiritual aspect and how her journey really resonates with a generation of believers who either feel betrayed by the church, or simply lost by the wayside. Anecdotally, I can tell you, it’s a question that needs addressing.

Artists always feel the truth of the moment, and haters would say Hayley has gone woke. I would say the church could use a bit of waking up themselves. Finding compassion and humility today is more crucial than ever. In doing so, it’s not just the frontwoman of Paramore who might achieve emancipation, but her adoring legion of followers too.