The year 2025 has seen the release of some of the most exciting albums in recent history, particularly in the rock genre. And in the “Best of the Year” discussion, Hayley Williams‘ Ego Death at a Bachelorette Party could easily take the top spot. However, while it received widespread acclaim from music critics, it’s still criminally overlooked. It wasn’t entirely underrated, in a sense, but it certainly didn’t receive the hype it truly deserves and wasn’t discussed as much as it should have been. Even as critics heap praise on the Paramore frontwoman’s third studio album, it’s fair to call it underrated, especially when compared to the mainstream attention some other albums, both within and beyond the rock genre, received this year.
The iconic Paramore lead singer has built a brand of strong vocals and powerful stage presence since the early years of her career. The unmatched reputation she has established will always trace back to her dynamic and impressive range and vocal control, capable of belting vocally challenging tunes (take “All I Wanted” and “Decode” as worthy examples) or delivering more laid-back melodies (heard in songs like “26” and “Misguided Ghosts”). She is, in every sense of the word, a once-in-a-lifetime vocalist. It’s also no secret that Williams wasn’t just a good singer; she could also write hard-hitting lyrics and translate them into beautiful songs. After all, Paramore, whose music has inspired and influenced generations of listeners, wouldn’t be considered one of the best alternative rock bands if the members weren’t truly gifted in the writing department. That very skill is evident in Ego Death at a Bachelorette Party — a record that’s strong both in its sound and narrative.
Hayley Williams’ ‘Ego Death at a Bachelorette Party’ Is the Best Rock Album of 2025
There. We said it. Ego Death at a Bachelorette Party is, indeed, 2025’s best rock album, which is why the attention it’s received has been considerably underwhelming for its overall quality and impact. Fans, especially within indie and alternative circles, may argue it’s far from underrated (understandably, since the album did get some hype, particularly after it was surprise-released by Williams herself), but the conversation around the album seemed to pass by far too quickly when it deserved more discussion. Several factors may explain why the album wasn’t as loud as it ought to be: one is that the title itself is quite a mouthful; another is that 17 songs from the album were previously released individually before the full album dropped — though these are just speculations. Perhaps it’s because Williams didn’t reinvent the genre entirely, but rather stayed faithful to it while giving it her own unique spin. Regardless, Ego Death at a Bachelorette Party stands firmly as a future classic.
Ego Death at a Bachelorette Party wasn’t a full-fledged rock album. Instead, it leans toward alternative pop, thriving on a mixed bag of influences that include alternative rock and indie rock. One moment, Williams takes a more subtle route, only to shift toward a more rock-leaning sound the next. It’s an album where she explores even more profound themes such as self-empowerment, love, and anger. “Glum” is an introspective, melancholic track that hides beneath its otherwise brighter tone, while the standout track, “Parachute,” is a raw, gut-wrenching reflection on being let down by someone, leaving the narrator in emotional fallout. It is a cohesive, slightly moody album, and every track makes sense as part of a single body of work.
Related
Paramore’s Hayley Williams Surprise Releases 17 New Songs Without Warning
Is a new album on the way?
‘Ego Death at a Bachelorette Party’ Is Hayley Williams’ Best Solo Album Yet
Of course, delivering a strong album is already expected of Williams. Her debut solo studio album, Petals for Armor, also met with critical acclaim, while Flowers for Vases / Descansos, her second, received generally positive reviews. By all means, Williams never failed to meet expectations. But Ego Death at a Bachelorette Party stands as her greatest solo album to date, with its cohesive vision and emotional depth. Additional standout tracks include the title track, “Whim,” “Dream Girl in Shibuya,” and “True Believer,” though each track operates in its own lane.
Ego Death at a Bachelorette Party, to put it simply, is a no-skip album best experienced in its entirety. The 17 tracks that Williams surprise-released all at once, even before they were compiled into a single official album (now including “Parachute,” “Good Ol’ Days,” and “Showbiz”), have turned out to be some of the best music moments of the year. It’s exciting to see how an already strong album will age in the coming year.