{"id":50196,"date":"2025-10-27T17:45:37","date_gmt":"2025-10-27T17:45:37","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/10\/27\/watch-hayley-williams-and-jack-antonoff-perform-at-rolling-stone-event\/"},"modified":"2025-10-27T17:45:37","modified_gmt":"2025-10-27T17:45:37","slug":"watch-hayley-williams-and-jack-antonoff-perform-at-rolling-stone-event","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/10\/27\/watch-hayley-williams-and-jack-antonoff-perform-at-rolling-stone-event\/","title":{"rendered":"Watch Hayley Williams and Jack Antonoff Perform at Rolling Stone Event"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tLive from the Beacon Theater in New York City, <a href=\"https:\/\/www.rollingstone.com\/t\/jack-antonoff\/\" id=\"auto-tag_jack-antonoff\" data-tag=\"jack-antonoff\">Jack Antonoff<\/a> formed a supergroup with <a href=\"https:\/\/www.rollingstone.com\/t\/hayley-williams\/\" id=\"auto-tag_hayley-williams\" data-tag=\"hayley-williams\">Hayley Williams<\/a>. Their headlining performance for Rolling Stone\u2019s <a href=\"https:\/\/www.rollingstone.com\/p\/musicians-on-musicians-2025\/\">Musicians on Musicians 2025<\/a> was backed by <a href=\"https:\/\/www.rollingstone.com\/t\/bleachers\/\" id=\"auto-tag_bleachers\" data-tag=\"bleachers\">Bleachers<\/a>, the band Antonoff has led for the past decade. During the event, Williams remarked that she loved the band from the first time she heard \u201cI Wanna Get Better,\u201d though it made sense given her adoration for the other bands Antonoff has performed in. For one night only, their shared respect and yearning for catharsis converged.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Jack Antonoff &amp; Hayley Williams (with Bleachers) Full Performance | Musicians on Musicians LIVE\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/QJ2GrF6QJR0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWilliams and Antonoff swapped songs back and forth for the duration of the performance, offering backing vocals where needed, or lingering with perceptive adoration in other moments. The set kicked off with \u201cMirtazapine,\u201d a cut from the <a href=\"https:\/\/www.rollingstone.com\/t\/paramore\/\" id=\"auto-tag_paramore\" data-tag=\"paramore\">Paramore<\/a> frontwoman\u2019s latest studio album,<em> Ego Death at a Bachelorette Party<\/em>, about the titular antidepressant. They traded off for \u201cModern Girl,\u201d from Bleachers\u2019 self-titled album. \u201cChange my meds, change the flight,\u201d Antonoff sang. \u201cBodies on, bodies wild.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe set continued with Williams\u2019 first live performances of \u201cKill Me\u201d and \u201cLove Me Different,\u201d both from <em>Ego Death<\/em>. In between these songs, Bleachers flashed back to 2017 with \u201cNothing Is U\u201d \u2014 a track from their second studio album, <em>Gone Now<\/em> \u2014 which they haven\u2019t performed live in three years.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn the final stretch of their joint performance, Williams and Antonoff ramped up with a two-song grand finale combo that added an evident edge of exclusivity to the appearance. Bleachers surprised the audience with \u201cMerry Christmas, Please Don\u2019t Call,\u201d their sobering ballad about silence and solitude that plunged deeper into melancholy with the addition of Williams\u2019 haunting harmonies. <\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut the night couldn\u2019t end on such a heavy note \u2014 at least not sonically. With Bleachers blazing on their instruments, Williams delivered the debut performance of <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/hayley-williams-good-ol-days-new-song-1235453400\/\">\u201cGood Ol\u2019 Days,\u201d<\/a> a bonus track from <em>Ego Death <\/em>that was released on streaming services during the event. Unless they snuck out to take a listen, it was the first time most everyone in the room heard the song.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWe could sneak around like we\u2019re on tour\/Even if that\u2019s all you want me for, for\/You could call me Miss Paramour,\u201d Williams sang, dancing around the stage in chic sunglasses to the groove of the thudding percussion and plucky strings. In the song, she sings about getting closer to a version of that release with each new song. \u201cHave to get it out of my system\/Don\u2019t like songs about you, don\u2019t listen,\u201d she instructs on the second verse. \u201cIf I\u2019m being honest, I\u2019m almost done\/Not easy letting go of the one.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDuring their <a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/jack-antonoff-hayley-williams-musicians-on-musicians-1235443676\/\">conversation for the Musicians on Musicians cover, <\/a>Antonoff asked Williams, \u201cWhat\u2019s the first song you wrote where you were like, \u2018If you crack me open, this is the music that would shoot out?&#8217;\u201d For Williams, those moments came in large waves during the making of <em>Ego Death<\/em>. \u201cI would write the lyrics and feel really uncomfortable about it, but then the processing all happened a lot quicker for me this time around,\u201d she said. \u201cI would look back at three weeks ago and be like, \u2018Oh, my God, that\u2019s what that meant.&#8217;\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tShe added: \u201cI watch what you do and you\u2019re involved in so many different things. I always can feel the same heartbeat in it. I stay so proud watching you because I know a lot about where you came from and what that feels like, and I can still see it in every move that you make. I think that\u2019s what I\u2019m looking for all over the place in our industry.\u201d<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/hayley-williams-jack-antonoff-perform-nyc-concert-1235454641\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Live from the Beacon Theater in New York City, Jack Antonoff formed a supergroup with Hayley Williams. Their headlining performance for Rolling Stone\u2019s Musicians&#8230;<\/p>\n","protected":false},"author":5,"featured_media":50197,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-50196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/50196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=50196"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/50196\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/50197"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=50196"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=50196"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=50196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}