A Night with Paramore on the After Laughter Tour

I have a concert bucket list. This may not be a surprise to anyone, but it’s true. Bands like Turnover, Pianos Become the Teeth and Switchfoot all made the cut and have been successfully crossed off. The band at number one? Paramore.

I’ve been unsuccessful in catching a Paramore show ever since I can remember, but I finally made it. I have now seen virtually every band I’ve ever wanted to see except for bands that are no longer active (My Chemical Romance *sigh*) and the new bands I find and become obsessed with (Off Road Minivan). I’m hoping to catch a Death Cab show later this year.

I don’t really know why I had never made it to a Paramore show. They’ve played Boston plenty of times since I’ve gotten into them but I’ve just always missed it. Usually it’s because of other shows or, if I’m being honest, because ticket prices are sky high. Well, June 20th rolled around and my schedule was free and tickets were approximately $35 (which, when Paramore is involved, is basically free). So I drove two-and-a-half hours to Gilford, New Hampshire, with lawn tickets in hand, prepared to have the best night of my life.

Soccer Mommy and Foster the People were the opening bands, but as stated above, the long drive caused me to miss Soccer Mommy and most of Foster The People’s sets. I got my ticket scanned to the sultry bass tones of “Pumped Up Kicks”. While we were waiting for Paramore to start playing, we heard through the pavilion grapevine that they were upgrading tickets for free. Instead of our lawn tickets, we ended up finding seats closer to the stage to watch Hayley and Co.’s set.

Paramore was incredible. Their concert experience is legendary, akin to fellow Fueled By Ramen acts Twenty One Pilots and Panic! at The Disco. Don’t know what that label is doing, but whatever it is, it’s right. Paramore opened with “Grudges” from their latest full length, After Laughter. It set the tone wonderfully and it was almost tear-jerking to hear Zac Farro, prodigal drummer returned home, sing the background vocal, “Why did we wait so long?” to Hayley’s reply of “To stop holding on”.

The setlist was a really great range of old and new tracks. Noticeably missing, per the usual post-2015, were any tracks from their first album All We Know Is Falling. A highlight was a re-imagined version of “crushcrushcrush”. I actually texted Kiel while they were playing it, saying they’d “After Laughter-ed” it. It had less of the punk sound and they added some 80s synths, which brought a cool new feel to what must be, at this point, an overdone track for the band to perform.

The acoustic portion housed another great set of choices. They played their BBC One cover of Drake’s “Passionfruit”, then “Misguided Ghosts” from 2009’s Brand New Eyes, and finished with “26” from the new album. It was, in a word, poignant. A lot of After Laughter’s songs are full of heavy content, and even though they disguised that aspect with energetic music, it was hard to ignore the evident pain Hayley feels when singing “Forgiveness”.

Another interesting choice was the addition of “No Friend”. This was a spoken word track on After Laughter performed by Aaron Weiss of mewithoutYou. Paramore used it as both a jam session and a water break and it was basically epic.

There were several traditions that were kept. One was Zac’s performance of one of his side project songs, which is definitely worth checking out. The other was the choosing of audience members to finish “Misery Business”. These were things I’d only heard about and they were just as wonderful in real time. The band had a three song encore and ended with the lead single from After Laughter, “Hard Times”.

In short, it was the best night of my life. Completely worth the wait, but I left wondering why I hadn’t just gone for it sooner. I can’t wait until they come around again.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Podcast: The Best of Paramore

Last month, Paramore released what may be the best album of their career in After Laughter. This month, their breakthrough album, Riot!, turns 10 years old. Amidst all of the Paramore hubbub, we decided to break down the band’s discography on our latest podcast. Included in the discussion are Kiel and Kyle’s top 10 Paramore songs, thoughts on the bands legacy, and praise for Hayley Williams as a trailblazer in the scene. Listen in!

Subscribe to our podcast here.

What are your favorite Paramore songs? Share in the replies!

Posted by Kiel Hauck

Review: Paramore – After Laughter

“Throw me into the fire / Throw me in, pull me out again”

With that repeated refrain during the bridge of “Told You So”, Hayley Williams sums up her experience in one of the most successful rock bands of the past decade. In case the bright lights and even brighter hair colors fooled you, being a part of Paramore is no walk in the park.

The cover art of Paramore’s 2005 debut album, All We Know is Falling, depicted the (first) painful departure of bassist Jeremy Davis and reckoned with broken trust. In the decade plus that followed, amidst a meteoric rise from Warped Tour side stages to amphitheaters and top 40 radio, loss, drama and pain has plagued the band, and their music has done little to spare us the details.

You can buy After Laughter on iTunes.

Even the Grammy-award winning “Ain’t it Fun” from 2013’s self-titled album was seething with resentment while draped in “Cruel Summer” sonic attire. The band’s evolution from pop punk to pop has been a gradual one, but Williams’ open-book policy regarding inner-band strife has been ever-present.

Thus, the simmering gloom that pervades Paramore’s fifth full-length album is no surprise, given another falling out, but neither is the band’s new 80s synthpop sound. Still, After Laughter may be the band’s greatest success, which should tell you a lot about how much better they are than just about any band to come from this scene.

After Laughter is heavily inspired by [insert your favorite 80s new wave band here] and follows in the recent footsteps of [insert your favorite indie synthpop band here]. But just as Paramore rode pop punk coattails to grand success with an album like the platinum-selling Riot!, Williams’ authenticity, candidness and ability to enrapture with her delivery make Paramore so much more interesting than whatever else you’re listening to.

If the band’s first single, “Hard Times”, didn’t grab you, just wait three minutes until “Rose Colored Boy” breaks through with Zac Farro’s drum machine, Taylor York’s effect pedal-heavy guitar, and Williams’ chant of “Low key, no pressure, just hang with me and my weather”. A tortured look into the necessity of depression in the face of pain becomes a soon-to-be summer anthem.

After Laughter is filled to the brim with tongue-in-cheek saccharine hooks and bubbling synthesizers while it digs deeper and deeper at old wounds. “Forgiveness” tackles the inability to forget: “And I don’t pick up when you call / Cause your voice is a gun, every word a bullet hole”. “Pool” ditches Williams’ past attempts at love ballads by dwelling on the dark: “But why get used to something new? / Cause no one breaks my heart like you”. Even the calm, acoustic “26” questions Williams’ past notions of hope in the face of adversity: “Survival will not be the hardest part / It’s keeping all your hopes alive / When all the rest of you has died”.

Yet for all of the aforementioned doom and gloom, perhaps the darkest theme explored on After Laughter is Paramore’s most self-referential yet. For a band that has watched their fan base balloon over the past decade, Williams is quick to dismiss her role as role model. Instead, she uses songs like “Idle Worship” to reveal her own lack of direction: “If I was you, I’d run from me or rip me open / You’ll see you’re not the only one who’s hopeless”.

“No Friend” employs mewithoutYou frontman Aaron Weiss to deliver another cruel message on behalf of the band, shouting, “I’m no savior of yours, and you’re no friend of mine”. It’s the harshest truth for any young fan to accept about their hero, and it’s what sets Paramore so far beyond their peers.

No matter the circumstances, Williams always left a door or window open for something new and better to appear, even if the light began to fade as the years passed. Songs like “Part II” and “Last Hope” on the self-titled album felt like flickering candles in the wind, gripping tightly to a final source of hope. You’ll be hard pressed to find any such notion on After Laughter, and I think we’re better for it.

As someone who suffers with chronic depression, I know what it’s like to fake a smile or conjure up a confident remark just to give peace and assurance to those around me. After Laughter is a reminder that sometimes those of us who struggle need to sit in our pain for however long it takes, even if it makes you uncomfortable.

As a fan of Paramore, I’m enthralled by the honesty and ironic delivery of what may be the best album of the band’s career. As a human, I can only hope that their next album, if we’re lucky enough to get one, finds Williams in a better place. But believe me, I get it. No rush, no pressure.

“Really all I’ve got is just to stay pissed off, if it’s alright by you”


by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Paramore – All We Know is Falling


During 2015, we’re going to be looking back on some of the best albums that were released 10 years ago and discussing their legacy. Feel free to share your thoughts and memories in the replies. Enjoy!

Lights are out, amps are humming, and the air is thick with anticipation. Charging onto the stage, a spirited red head grabs the mic and belts with more vigor than her size suggests, “We. Are. Paramore!”

Back before this trio became the worldwide phenomenon we know today, Paramore were like most opening bands – desperate for a chance to share their songs and make their mark. The wild and astonishing ride we’ve seen unfold over the past decade all began with All We Know is Falling – the band’s striking debut album.


You can purchase All We Know is Falling on iTunes.

Released to little fanfare by Fueled by Ramen, All We Know is Falling relied heavily on organic word of mouth buzz. All in their mid to late teens at the time of the album’s release, singer Hayley Williams, guitarists Josh Farro and Jason Bynum, and drummer Zac Farro appeared as mild mannered kids, yet their music and live performance spoke otherwise. Paramore earned their stripes early through relentless touring, getting in front of as many eyes and ears as possible.

It’s not at all surprising that people took notice. Even 10 years later, All We Know is Falling is packed with infectious songs. Emulating the emo pop vibe of its era, the album is full of youthful spunk and emotion, highlighted by Williams’ stunning vocal performance and the powerful drumming of young Zac Farro. The two shine brightly on turbulent opener “All We Know” as Williams belts the massive, anguished chorus of, “All we know is falling, it falls / Remember, because I know that we won’t forget at all”.

Years before the band would suffer significant inter-band turmoil and the painful departure of the Farro brothers, Williams and company were already wrestling with the loss of bassist Jeremy Davis. Although Davis would return to the lineup before the end of the album cycle, his disappearance served as fodder for much of the band’s debut. Nevertheless, All We Know isn’t angry as much as it is searching for answers.

Even though the album would garner most of its attention due to excellent singles “Pressure” and “Emergency”, there’s very little filler to be found. “Here We Go Again” finds the band testing the waters of what would become their energetic follow up of Riot!, while “My Heart” is an emotive closer that became a fan favorite at live shows.

“Conspiracy and “Never Let This Go” are slow burns that pay off thanks to incredible songwriting, along with direction from producer James Paul Wisner. When Williams begins the latter with the line of “Maybe if my heart stops beating, it won’t hurt this much”, her pained vocals wash away any possible feelings of triteness, especially after the band crashes into the explosive chorus.

Most of the tracks on the album sound on the brink of something bigger, even as you’re gladly singing along. It’s easy to look back and see a young band on the edge of forthcoming radio dominance. Perhaps what’s most telling is how well the album has held up, even after Paramore’s massive success and rapid growth as a hit making machine. There’s something timeless about this early work, even if the band members were only in their infancy as professional songwriters.

Maybe what makes All We Know is Falling so appealing after all these years is the stories it holds. We got our first glimpse into Williams’ painful inner-wrestling with the concept of love in light of her parents’ divorce on “Emergency” as she sings, “I’ve seen love die way too many times when it deserved to be alive / I’ve seen you cry way too many times when you deserved to be alive”.

On “Franklin”, the band reflects on their changing hometown after leaving for a life on the road. I was struck with a surprising ache when hearing the song performed live during the band’s recent Writing the Future tour. Originally a duet between Williams and Josh Farro, the song’s gentle final lines now feel haunting a decade later when sung between Williams and guitarist Taylor York: “Could you remind me of a time when we were so alive / Do you remember that? / Do you remember that?”

All We Know is Falling is much more than a simple debut – it’s a time capsule that reminds us of Paramore’s beginnings and the crazy journey that followed. The album isn’t as instantly catchy as Riot!, as visceral as Brand New Eyes, or as diverse as Paramore. It is, however, its own, unique entity, full of life and rhythm. As much as I love everything Paramore has become, All We Know is Falling will always be a favorite of mine and a constant reminder of the pain and joy of being alive.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Ain’t It Fun: The Career Arc of Paramore


In case you haven’t noticed, Paramore is still going strong. Their self-titled album, released this April, debuted at number one on the Billboard 200 and their smash single “Still Into You” is still lighting up the pop airwaves. Even aside from its commercial success, Paramore stands as the band’s best work to date and is a testament to the band’s ability to rise from what appeared to be ashes.

The internal struggles and fallout within the band’s members has been well documented and needs no further investigation. However, it is a part of the story and is certainly an integral part in shaping this current unit – one that has one of the largest global followings imaginable for a rock band in the aughts and one that has pushed itself far beyond what most knew they were capable of.

In the midst of a North American headlining tour supporting the strongest album of their career, we thought it would be a good time to reflect on the band’s work and discuss the future of Paramore.

All We Know is Falling

all_we_knowFrom the moment a young Hayley Williams belted out the chorus to the album’s opening track, “All We Know”, it was clear that this band was headed for great things. In this scene, “great things” usually means a shot at radio play, a semi-successful music video and a headlining tour or two. Paramore had bigger things in mind.

There’s no denying how young the band sounds on this album. It’s a tad raw and a bit disjointed at times, but even through the cracks you can see something sincere shining through. There’s a certain level of innocence to this album, even if the lyrics to songs like “Emergency” and “Pressure” allude to a hidden pain and experience. Williams and guitarist Josh Farro penned several of the songs together and Farro’s backup vocals add an appropriate unrefined touch.

Truth be told, even with the rawness of the production and songwriting, the songs come together to form an album that many bands several albums into their career would strive for. Williams’ melodies flow effortlessly, backed by an almost-emo soundscape, creating a worthy debut for the Franklin, Tenn. act.


riotIt’s easy to tell why this was the band’s breakthrough album. Remember the first time you heard the opening moments of “Misery Business” and immediately knew that this band was no longer your little secret? From front to back, Riot! screams for attention and is loaded with crossover potential. Paramore didn’t just avoid the sophomore slump, the eviscerated the idea of it.

The beautiful thing is that even though many of the songs are clearly created with an intent to be a hit, there’s no smacking of phony or forced creation. These songs sound polished without sounding fake and feel honest without feeling strained. Try not to sing along to “Crushcrushcrush” or “That’s What You Get” without feeling even the slightest bit snobbish. There’s something relatable and innately fun about these songs. And that’s perfectly okay.

Riot! would end up going platinum, becoming the hallmark release for the band and the album that pushed them from hometown kids to global phenoms. Yet even amidst the success, the inner workings of the band were suffering. However, instead of succumbing to the frustrations that sought to tear the band apart, Williams used them as fuel to create the band’s most frank and candid record.

Brand New Eyes

Brand_New_EyesComing off of the heels of a successful addition to the ballyhooed Twilight soundtrack, the band’s next release took a stark turn from the poppy sunshine of Riot!. Even without any back story, Brand New Eyes is so clearly about the band’s troubles, namely the divide between Williams and Josh Farro, that it can be painful to listen to.

That’s not to say that the album is bad – it certainly isn’t. If anything, it showcases a welcome maturity in songwriting and saved the band from becoming a broken record. The anger in Williams’ voice when she sings “Ignorance” and “Careful” is sharp and to the point, seemingly vanishing her former peppy and bright-eyed image.

Amidst the frustration, this is a band struggling to come to terms with success, relational discord and growing up, all while just hitting their early 20s. Yet even while venting her annoyance, Williams still takes time to speak with a clear head, singing of the band on “Looking Up”, “It’s not a dream anymore / It’s worth fighting for”.

Unfortunately, the damage was already done. Even after positive reviews and another wildly successful single in “The Only Exception”, the album proved to be a breaking point of sorts. Just over a year after the release, Josh and Zach Farro parted ways with the band in an ugly divorce that went public and threatened to tarnish the image of everyone involved. Within the disarray, Williams and company were able to regroup and create a masterpiece.


paramore_coverWith Taylor York officially joining Williams and bassist Jeremy Davis as the official core members of the band, they proceeded to take their time creating the follow-up to Brand New Eyes. It was certainly worth the wait. Without the help of the Farro brothers, Paramore was able to write an album that surpassed their past work in composition, maturity, power and accessibility.

Paramore is a rock record. To try to pigeon-hole it further would be fruitless, as the album features a number of styles and genres amidst its songs that combine to make a much greater and far less easily pegged whole. Amazingly, even with the plethora of styles and sounds flowing through each track, the album never feels disjointed and every song has its own place. The wonderfully written interludes serve as an even stronger glue, holding the story together.

Speaking of interludes, the tongue-in-cheek “I’m Not Angry Anymore” is a barometer of sorts for the band. Williams surely isn’t angry in the way that made Brand New Eyes come across so bitterly, but she’s using her emotions to propel her forward towards something much more hopeful, even if she has to battle cynicism along the way.

Aside from the lyrical content, the music itself is a long shot from the early pop-punk/emo days of the band. “Ain’t it Fun” is a bouncy modern rock song that benefits from a monstrous chorus and backing choir vocals to push it over the top. “Daydreaming” is a power pop ballad with an aggressive touch while “Hate to See Your Heart Break” is a slow-tempo daydream of a song.

With Paramore, the band has cemented itself in a musical landscape far beyond the what many bands in this scene are capable of and set themselves up for a career that could last as long as they’re willing to take it. It seems clear that the band is the healthiest it’s ever been and has no plans of stopping.

Where will the future take them? Williams has proven herself as not only a pop icon, but someone with the creative willpower and vocal chops to keep herself relevant and at the forefront. Assuming that her solo ventures don’t distract too much from Paramore the brand, the group has a great chance of remaining near the top of the charts for years to come.

-by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his imaginary pet, Hand Dog.  You can follow him on Twitter.