\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div> \t\t\t\t\tRole Model, Mar\u00eda Zardoya, and James Austin Johnson. \t\t\t\t\t\t\t\t\tKrista Schlueter for Rolling Stone<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tWhen Johnson asked Pillsbury if he knew that \u201cSally, When the Wine Runs Out\u201d was going to mark a pivotal moment in his career, the singer kept it real. \u201cI don\u2019t think you can predict it ever,\u201d he said. He used the Mar\u00edas\u2019 track as the perfect example: \u201cIn your case, it\u2019s very cool because it\u2019s not this big pop power song with a million things going on,\u201d he told Zardoya. \u201cYou stayed true to your sound and it worked.\u201d<\/p>\n \n\tJohnson wanted to know more about Role Model\u2019s ongoing series of viral moments where he brings up celebrity guests for live performances of \u201cSally.\u201d He asked who books the Sallys; Pillsbury said he does. Pillsbury went on to explain that the trend started from an online rumor that the track was written about podcaster Jake Shane<\/a>. \u201cI was like, it would be funny to just play into that,\u201d the singer said. In the time since that first \u201cSally\u201d guest appearance, Zardoya has also joined Pillsbury onstage for the song (as have Charli XCX, Olivia Rodrigo, Conan Gray, Natalie Portman, the Dare, and many others). \u201cIt was a sweet moment,\u201d she said, recalling how her Mar\u00edas bandmates cheered her on from side stage.<\/p>\n \n\tThe pair also talked about how their music was once categorized under the term \u201cbedroom pop\u201d when they first started releasing it. Zardoya descrbed it as \u201cjust a term.\u201d Pillsbury was similarly ambivalent about the label. \u201cWe all literally made it out of the bedroom,\u201d he said, noting that many of the artists grouped under that description a few years ago have gone on to mainstream success.<\/p>\n \t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n \n\tNext, the night segued into its first musical performance. Zardoya joined Role Model\u2019s backing band and her Mar\u00edas co-founder Josh Conway on the guitar to deliver an entrancing set. In a black silk maxi-dress, she glided effortlessly around the stage, as if she was floating on a cloud. Zardoya shared an intimate moment with a die-hard fan as she sang \u201cSienna\u201d directly to them, holding their hand in hers. She closed out her set with Pillsbury backing her on \u201cNo One Noticed\u201d as she softly strummed an electric guitar.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tMar\u00eda Zardoya and Role Model onstage at the Beacon.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tKrista Schlueter for Rolling Stone<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tPillsbury stayed onstage and brought the crowd to their feet. \u201cDamn, I thought this was a corporate event, but everyone got up,\u201d he joked before diving into a set full of raucous sing-alongs. Pillsbury leaned into his internet virality when he commanded the crowed to \u201cmake [him] look good tonight\u201d for his popular TikTok track \u201cSome Protector.\u201d The audience responded by screaming nearly every word to the bridge, and upped the decibel levels for \u201cSally.\u201d It didn\u2019t even matter that Pillsbury opted to not have a guest for this specific performance \u2014 the audience was loving it all the same.<\/p>\n \n\tThe vivacious crowd welcomed a brief intermission before Williams and Antonoff took the stage for their conversation. As soon as Williams sat down, she and Johnson started bonding over their shared Nashville roots. \u201cWe got hot chicken, we got churches, we got bachelorette parties,\u201d Johnson said, before asking Williams if her new solo album, Ego Death at a Bachelorette Party<\/a><\/em>, was named after one occasion in particular. \u201cLiving in Nashville is<\/em> the bachelor party,\u201d she responded.<\/p>\n \n\tJohnson complimented Williams\u2019 new song \u201cTrue Believer\u201d off her album and noted its references to their shared hometown. \u201cIt\u2019s a tiny blue dot in a red state, in the middle of everything we\u2019re going through right now,\u201d Williams said of Music City. \u201cIt just felt like I needed a snapshot of something that\u2019s on the ground,\u201d she added.<\/p>\n \n\tThe political climate in the U.S. was omnipresent in the discussion between Williams, Antonoff, and Johnson, even as the two cover stars reminisced about their years-long friendship. At one point, the Bleachers frontman point-blank asked Johnson if Trump has ever contacted him over his ongoing impression. Johnson answered the only way he knew how: with a scary-good Trump impression. (He added that the president has yet to contact him directly.) Williams cackled and made sure to stress that Johnson\u2019s humor \u201cis helping us survive the worst times.\u201d<\/p>\n \n\tAntonoff spoke about how touring around the country acts as another salve to the current political turmoil, even as artists get front-row seats to how the nation is changing. \u201cTouring is a real exercise in an amazing darkness and an amazing hope,\u201d he said, emphasizing his optimistic outlook to \u201chave a lot of hope in most of the people.\u201d\u00a0<\/p>\n \t\t\t\t\t\t \t\t\t\t\tJack Antonoff, Hayley Williams, and James Austin Johnson.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tKrista Schlueter<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tBoth Williams and Antonoff also bonded over shared tour memories. The Paramore singer even pulled out an inside joke about \u201csandwiches with faces\u201d that no one got, but it didn\u2019t matter because Antonoff remembered it. No matter what the pair talked about, whether it was sharing new music for each other early in their careers or meeting at Bamboozle Fest in the 2000s, their strong bond was evident.\u00a0<\/p>\n \n\tFinally, it was time for Williams and Antonoff to show off their musical chemistry with a very special joint performance. Each harmonized on the other\u2019s songs, and Bleachers backed them both up \u2014 saxophones and all. Williams jumped right in with the energetic rocker \u201cMirtazapine,\u201d which she and Antonoff live debuted at Newport Folk Festival<\/a> this past summer. The pair seamlessly weaved between their catalogs, switching off on the melody and harmonies, delivering a true rock & roll party that got better with each song.<\/p>\n \t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n \t\t\t\t\t\t \t\t\t\t\tWilliams and Antonoff performed together.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tKrista Schlueter for Rolling Stone<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tAntonoff nearly brought the house down with a rare performance of Bleachers\u2019 2024 ballad \u201cMerry Christmas, Please Don\u2019t Call.\u201d The song\u2019s cinematic chords echoed in the theater as Antonoff embodied his best Springsteen. Williams, meanwhile, had already given several songs from Ego Death at a Bachelorette Party <\/em>their live debuts. Then she went one further, performing a new track she\u2019d just released a few hours earlier. It\u2019s called \u201cGood Ol\u2019 Days\u201d,<\/a> and it\u2019s full of references to her long career with Paramore. She performed it with buoyant confidence that was fitting for lyrics like \u201cCall me Miss Paramour.\u201d<\/p>\n \n\tThe gems that both musicians pulled out for their performance seemed to be just for those dedicated fans who waited in line before the show. And just when it didn\u2019t seem possible, those fans sang along with Antonoff and Williams louder than they had all night. Earlier in the conversation, Williams summed up the symbiotic experience of touring best: \u201cWe see people in the sweetest moments and they get to experience that with us too.\u201d<\/p>\n<\/div>\n
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