Hayley Williams, who you might know from the popular band “Paramore” has added a third solo studio album to her discography. Initially released on Aug. 28, and rereleased with an extra song on Oct. 23, “Ego Death At A Bachelorette Party” is a wonderful glimpse at William’s personal style as an artist. It’s lyrical, it’s complex, and it’s just as fun and spunky as you would expect from Williams lyrically.
The album is self-released, and it was released periodically, adding individual songs on Spotify and her website, and one last song on Spotify when the album was completed, fitting together like a puzzle piece. This comes after Williams left her last record label, Atlantic Records, choosing not to renew her 20-year contract in 2024. This choice allows her to be in more control of her public image and legal rights to her life’s work.
Williams co-wrote each one of the songs on this album, and performed several instruments including guitar, drums and keyboard, as well as vocals, of course. She worked with her producer Daniel James, who worked with Williams on her previous solo ventures. Jim-E Stack and Brian Robet Jones were also frequent flyers in the production process of the album.
The album focuses on themes like sense of self, more specifically losing a sense of self, thus the name “Ego Death at a Bachelorette Party.” It focuses on more personal and specific details of Williams’ life like heartbreak and vulnerability.
“Ice In My OJ” is a good start. Like a fresh cup of orange juice, it’s a sweet way to start the album. The production is fun, it makes you want to bump your head up and down. Lyrics-wise, it gives us a good idea for what we’re in for thematically in this album. Williams touches on themes of vulnerability and others’ perception of her. She references her home state of Mississippi, and her fear of being perceived as weak.. I think this was the best possible choice for the beginning track of the album, as it’s a really great introduction.
Next up, “Glum” is interestingly produced. The high pitched vocals at the beginning and intermittently throughout the song are not my favorite, I feel like they could have been used in a better way. This does not ruin the song for me, but I would much rather it not be there. The song itself and its lyrics are pretty good, but it’s not necessarily a stand-out. I couldn’t see myself going back to it unless I was doing a complete re-listen of the album entirely. Hayley touches on themes of loneliness and introversion in this song; it has some interesting metaphors and is a good example of expressive writing.
“Kill Me” and “Whim” are well produced and well written. The guitar in “Whim” was very nice, and it felt like it fit the theme of the song well. It’s kind of a hopeful love song. Focusing on themes of self-sabotage and the quest for a romantic relationship, or the “right” one. It’s well produced, and the vocals are very pretty. “Kill Me” has great production as well. A theme throughout this album is simple production (compared to Williams’ previous works). This sometimes wears down the songs, but in this case it does not. The vocals match the production very well and the lyrics are engaging.
“Mirtazapine” is where the pace starts to pick up a little bit. I really like the production of this song; it’s fast paced and fun. The title comes from a clinical antidepressant, and the song focuses on the themes of the effects of medication and depression symptoms. Williams offers a very interesting perspective, one I have never seen or even thought about before. It personifies the medication the way an artist may write a love song. It’s not completely romanticized, it discusses the downsides and insecurities that come along with the medication. It’s a very interesting song, certainly makes my top three favorites off of the album.
My favorite, production wise, off the album is by far “Disappearing Man.” The repeating vocals at the beginning are really fun, and the song continues the same momentum throughout. It’s a reflection on the time before her wedding in 2016, which later ended in divorce. Williams uses rhetorical devices throughout this album, and this song has a lot of great juxtaposition and metaphors that continue to add on to each other. When you take the time to listen to the lyrics thoroughly it’s interesting to see Williams point of view.
“Love Me Different,” “Brotherly Hate,” “Hard,” “Discovery Channel,” and “Negative Self Talk” are good but not particularly interesting. There are some good lyrical moments but nothing specifically stood out to me. The production “Brotherly Hate” has great potential, but it for some reason falls flat, and there is just not enough going on for it to be engaging.
The title track, “Ego Death At A Bachelorette Party” is engaging. It grapples with the concept of fame, and the production is just enough to keep me satisfied.
“True Believer” is the peak of lyrical skill presented in this album. Gaining a lot of attention online from its outright political message, Williams doesn’t shy away from her purpose. It’s a bold statement and the sort-of eerie piano in the background fits it just right. It sounds like a campfire, but with real world implications. It’s a big stand out from this album.
“Zissou” and “Dream Girl In Shibuya” have calming effects. WIlliams utilizes her storytelling abilities really well in “Dream Girl In Shibuya.” There are a lot of effective details that make you feel as if Williams personally invited you into her memories of Shibuya. “Zissou” is nice, it uses a lot of water imagery and is a direct reference to the 2004 Wes Anderson film “The Life Aquatic with Steve Zissou.”
“Blood Bros” and “I Won’t Quit On You” are easy to listen to. The harmonies in “I won’t Quit On You” are so soothing, they could put you to sleep.
The album ends off in the best way possible. The second to last track, “Parachute” is amazing. The drums and production overall sounds so smooth and clear. Williams sings beautifully, and the delivery of lyrics makes all the difference. The drums sound pleading, they match the themes of reflection and love are perfectly represented. Well done!
Finally, “Good Ol’ Days” is a song for strutting down the street on a sunny day. It sounds like a day of surfing at the beach. Williams references her band “Paramore,” as well as the actual word “paramour,” meaning secret love, and reflects on earlier times in her life. It’s fun, not necessarily lyrically but it’s easy to sing along to. I love the inclusion of the voicemail from Williams’ grandfather Rusty Williams at the end of the song. It’s a fun addition and every time I hear it I smile.
Overall, it’s an album that is not the most outright interesting, but lyrically and sonically, it shows WIlliams’ talents as an artist. I cannot wait to see what she does with this album live, and how others will interpret her complicated lyrics. It’s a great look at the inner-workings of Williams.
