One of the most influential bands of their generation, the pop-punk pioneers were nearly torn apart by infighting and industry sexism. Now, after four years of self-reflection, they’re back – and ready to respond to a ‘crazy’ moment for the US
The three members of Paramore are feeling their age. Recently, they shot a video for their comeback single, This Is Why, and the jagged, brash song wreaked havoc on their joints. “It’s not even a performance-heavy video and I’m still sore,” says frontwoman Hayley Williams, 33. As they appear over Zoom from their period Los Angeles rental one September morning, the band are on the brink of their first proper day back at work in four years. Straight after we speak, they start rehearsals for their October tour. They have “twentysomething days” to go, estimates Williams, her peachy hair covered by a cap that says “All in a dream”. “I’m terrified!” They’re limbering up: drummer Zac Farro, 32, whose bold moustache contrasts with his endearing shyness, has been hammering the band’s heaviest songs. Williams nods towards the corner: “We busted out the mini trampoline.”
Cardio is one thing, but the best preparation Paramore made for their sixth album, also called This Is Why, was to abandon the group altogether. Band life was all they had known since forming as preteens in Tennessee 20 years ago. They fast became Grammy-winning emo superstars and one of the most influential bands of their generation: their euphoric, angsty pop-punk sound is thriving among artists like Willow Smith and Meet Me at the Altar, and a generation of disparate musicians from Soccer Mommy to Grimes and Lil Uzi Vert grew up idolising Williams, a lightning bolt in a fiercely misogynist scene.
