In a bold move that's reigniting old flames, Paramore frontwoman Hayley Williams has explicitly named country star Morgan Wallen as the "racist country singer" referenced in her recent solo track. The revelation came during a candid interview on The New York Times' Popcast, where Williams didn't mince words about the lyric from her July album Ego Death at a Bachelorette Party. "It could be a couple, but I'm always talking about Morgan Wallen," she said, adding with unmistakable defiance, "I don't give a fuck. Find me at Whole Foods, bitch, I don't care."
This isn't the first time Williams has taken aim at Wallen. Back in August, she voiced sharp criticism of Nashville's celebrity-owned bars, pointedly snubbing Wallen's This Bar & Tennessee Kitchen amid a broader rant against the trend of stars cashing in on branded nightlife spots. Her comments then already hinted at deeper frustrations with the country music scene's gatekeepers. Now, with this direct callout, the feud escalates, tying back to Wallen's infamous 2021 scandal when he was caught on video using a racial slur, leading to his indefinite suspension by Big Loud Records and widespread condemnation.
Moreover, Williams' unflinching stance underscores ongoing tensions in the music industry over accountability. Wallen, who has since staged a remarkable comeback—topping charts with albums like One Thing at a Time in 2023 and selling out arenas—has faced multiple controversies, from arrests for public intoxication to a recent chair-throwing incident outside a bar. Yet his popularity endures, which only seems to fuel Williams' pointed lyrics. Indeed, the song's line, "I'll be the biggest star at this racist country singer's bar," paints a vivid picture of cultural clash, blending pop-punk edge with social commentary.
However, not everyone sees it the same way. Wallen's defenders argue he's evolved since the slur incident, pointing to his apologies and philanthropy efforts, including donations to Black-led organizations. Williams, though, appears unmoved, using her platform to challenge what she views as unaddressed toxicity. The exchange highlights how personal beefs can spotlight broader issues in genre divides and redemption narratives.
As these artists navigate their orbits in Nashville's crowded scene, one wonders if such public jabs will spark real dialogue or just more headlines.