Hayley Williams surprise-released a large solo project in early August, dropping 17 new tracks in a single swoop and signaling that an official physical release may be imminent. The material, described as Hayley’s Version of a record tentatively titled Ego Death at a Bachelorette Party, arrives after a secret mp3 drop back in July and has fans piecing together a narrative arc across the songs.
The collection pieces together a journey through a relationship from start to end, while weaving in themes of self-doubt, family, and Southern culture. Williams has teased that the order in which listeners place the tracks can change the sense of the story, which helps explain why she invited fans to create their own playlists to determine a running order for a potential album release. A leaked running order appeared to confirm a longer project, and on August 21 Williams’ private Instagram account confirmed the information and hinted at an 18th track titled Parachute, along with more surprises yet to be revealed.
Opening the set is Ice in My OJ, a bold introduction described as a mash-up of choral interludes, feral screams of I’m in a band!, and an interpolation of Jumping Inside from Mammoth City Messengers, a band Williams briefly sang with in her early career. The sequence then moves into Glum, which received a music video directed by AJ Gibboney with Paramore drummer Zac Farro. In the clip, Williams wears a cozy sweater while grappling with isolation, asking, Do you ever feel so alone / Like you could implode and no one would know?
Among the mid-set entries is Kill Me, described as 2025’s exhausted answer to Kelly Clarkson’s What Doesn’t Kill You (Stronger). Whim follows as more of a wish than a love song, while Mirtazapine is a love song focused on antidepressants. The latter track was debuted at WNXP in Nashville, underscoring Williams’ commitment to Nashville’s independent music scene in the wake of funding cuts affecting local arts organizations.
The back end of the album delves into breakup and heartbreak without a single You Oughta Know moment. Disappearing Man laments a relationship lost to a partner’s inner darkness, followed by Love Me Different, an amicable parting anthem that centers self-love. Brotherly Hate examines the complexity of family ties, and Negative Self Talk closes that stretch with an intimate self-critique.
Ego Death at a Bachelorette Party appears as track No. 10, accompanied by a music video that features state Rep. Justin Jones and scenes of Williams on Lower Broadway, a nod to Nashville’s enduring music-forward identity. Williams also contains footage of karaoke at Santa’s Pub and ends the video with the bold line I still believe in Nashville scrawled on a wall.
Hard moves the narrative toward resilience as Williams laments losing her softer side and seeks a renewed openness. Discovery Channel flips a boorish lyric and True Believer has become one of the more viral tracks, delivering a candid critique of toxicity in Southern culture and the megachurch ecosystem. Zissou uses Wes Anderson’s oceanographer as a metaphor for probing the depths of another person, while Dream Girl in Shibuya imagines a relationship losing its spark. Word is that if a Lost in Translation reference video materializes, it will only deepen the album’s cinematic texture. The project closes with Blood Bros and I Won’t Quit on You, underscoring a final message of enduring connection despite changing dynamics.
A few strands that stand out in the rollout: the 18th track Parachute remains teased, not fully revealed; Williams’ private communications and the leaked list have shaped expectations for a formal release. The “Hayley’s Version” branding emphasizes a self-directed creative approach, with Williams blending intimate confessionals with bold, genre-bending moments. The inclusion of Nashville-specific scenes and references reflects Williams’ ongoing ties to the city and its indie ecosystem, including her collaboration with local radio and venues.
What this suggests for fans and the broader music scene is a bold artistic statement: a large, cohesive collection that treats a personal arc with cinematic ambition, while inviting audience participation in how the music should be experienced. The project also highlights Williams’ willingness to push boundaries and to fuse personal storytelling with social commentary, from personal struggle to critique of cultural forces in the South.
Summary: Hayley Williams has released an expansive solo project that blends personal storytelling with cultural commentary, inviting fans to curate their own running order. The set threads together a relationship arc across 17 tracks, with hints of an 18th track potentially titled Parachute and a formal release still on the horizon. A meshing of intimate confessional songs and Nashville-centered references signals both artistic ambition and a commitment to the city’s music community.
If you’re following Williams’ evolution, this collection is a hopeful, defiant push toward artistic independence and resilience, suggesting more bold projects may be on the horizon. Keep an eye on Williams’ official channels for the final running order, video drops, and any confirmation of the Parachute track and additional surprises.