In a candid interview this week, Paramore frontwoman Hayley Williams didn't hold back, explicitly naming country star Morgan Wallen as the "racist country singer" referenced in her new solo song. The revelation came during a discussion on The New York Times podcast, where Williams addressed the lyric from "Ego Death at a Bachelorette Party," the title track of her third solo album released in August. "I'm always talking about Morgan Wallen when I sing about racist country singers," she stated plainly, tying the line to broader frustrations with Nashville's music scene.
However, this isn't the first time Williams has taken aim at Wallen. Back in August, she publicly dismissed his This Bar & Tennessee Kitchen as her least favorite celebrity-owned spot on Lower Broadway, critiquing the trend of musicians slapping their names on establishments without much originality. "It can have your DNA in it, but I don't understand the bars that are just people's names," she remarked in another interview. That comment already stirred buzz, but now, with the song's direct callout, the tension feels more pointed.
Wallen's history adds weight to Williams' words. The country artist faced massive backlash in 2021 after a video surfaced showing him using the N-word while out with friends, leading to his temporary suspension from his record label and radio bans. He issued an apology, entered rehab, and made a swift comeback, topping charts with albums like Dangerous: The Double Album, which sold over 5 million copies. Yet controversies persist—recent arrests for public intoxication and that infamous chair-throwing incident outside Chief's on Broadway in April 2024 keep his name in the headlines for all the wrong reasons.
Indeed, Williams' critique taps into ongoing debates about accountability in country music, where Wallen's fanbase remains fiercely loyal despite the scandals. Moreover, her solo work often weaves personal and cultural commentary, making this jab feel less like a personal vendetta and more like a broader statement on industry hypocrisy.
Still, as both artists navigate their paths in Nashville's evolving landscape, one wonders if such public spats will push for real change or just fuel more division.