Rolling Stone’s Musicians on Musicians took over the Beacon Theatre in New York City Thursday (Oct. 23) night for its third annual edition. Hosted by Saturday Night Live’s James Austin Johnson (whom you know for his spot-on impersonations of President Trump), the night brought the magazine’s latest issue – which features 10 musicians paired off in twos having frank, revealing conversations with each other about art and the music industry – to life on stage. Of the pairings who hit the stage at the Beacon were RS cover stars Hayley Williams and Jack Antonoff as well as Role Model and María Zardoya of the Marías. Each musician-on-musician duo sat down for a chat (the stage was done up to resemble a living room—chairs, coffee table, even a potted plant) before picking up their guitars and ripping through five-or-so songs apiece.
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Zardoya’s ethereal, assured voice was a revelation in the venue’s recently improved acoustics, and Role Model’s band did justice to the Marías’ songs in the absence of her bandmates. Role Model himself was reserved and coy in the conversation portion of the night, but he had the audience on its feet and eating out of the palm of his hand when he grabbed the mic.
Hayley Williams—whose solo album Ego Death at a Bachelorette Party dropped in late August—continued to demonstrate why she’s one of our most versatile, effortless rock stars, sharing the stage with Jack Antonoff/Bleachers for the evening’s raucous finale. The long-time friends have an easy rapport, with the Paramore frontwoman adding her voice to Bleachers tunes and Antonoff rocking out on Williams’ solo cuts—including one which received its live debut.
Here are seven highlights from Rolling Stone’s Musicians on Musicians 2025 event, presented by Sonesta International Hotels.
“No One Noticed” Leaked Because of an 84-Year-Old
“I did not for a second think it was going to resonate the way it did,” Zardoya said of the Marías’ breakthrough hit “No One Noticed,” their first Billboard Hot 100 entry (No. 22 peak). “But after I leaked it online the fans took it,” she says of its rise. Apparently, fans can thank an 84-year-old friend of the band, who listened to the song and remarked, “I’ve never done drugs, but I think this song sounds like molly.” Upon hearing that, Zardoya promptly decided, “I’m gonna leak it.”
How Role Model Unwinds
After Johnson asked if Zardoya or Role Model ever get their own songs stuck in their head, Role Model admitted, “It’s torture in a way.” To unwind after a concert, he shared that “I watch dumb podcasts when I get offstage to fully turn off my brain.” Would that be a podcast from Jake Shane, perhaps?
Feeding the Alter Ego Beast
“It was funny to just play into that,” Role Model admitted of the Internet rumor that “Sally, When the Wine Runs Out” is about podcaster Shane. When asked about Saint Laurent Cowboy, the musician’s alter-ego social media account, he kept the ruse going. “I try not to shine a light on him,” he said with a straight face, giving a big thumbs down as the audience cheered for Saint Laurent Cowboy.
“Sally” Forth? Not This Time
It’s become a tradition at his shows for Role Model to bring out a fan (or a famous friend, such as Olivia Rodrigo or Charli xcx) to dance along to the bridge of his Adult Alternative Airplay No. 1 hit, “Sally, When the Wine Runs Out.” But that didn’t happen at the Beacon. “It’s a corporate gig, so no ‘Sally,’” he explained to expectant fans during the song. Still, his fervent fanbase exceeded his expectations: “Damn, I thought this was a corporate gig!” he laughed early in the show upon seeing the sold-out crowd hop to its feet and shout the words back at him.
Drumpf
While Johnson was there to facilitate conversation between Williams and Antonoff, the two couldn’t help but turn the tables on him, asking the comedian a few questions and commenting on his work. “Has Trump contacted you?” Antonoff asked the Donald impersonator. (Short answer: No, but he has commented on the impersonation.) Williams hailed Johnson’s satirical send-up of Trump as a balm that “helps us survive the worst times.”
Nashville, 911?
Hayley Williams’ new solo album, Ego Death at a Bachelorette Party, is at least partly inspired by the endless sea of bachelorette parties blanketing Williams’ beloved city of Nashville. But she made it clear that while she can throw shade at Music City, it’s not an invitation for others to do so: “It’s like, you can talk sh-t about your mom but others can’t,” she explained.
Lighting Up the Beacon
Williams has been dominating stages since she was a teen, so at this point, she’s an effortless powerhouse; Antonoff, meanwhile, is not only a pro at delivering cathartic rock n’ roll but preternaturally adept at supporting other’s musical artistry. So the two onstage together, trading vocals on each other’s songs, were a formidable force. Williams’ growl on “Kill Me” hit on a gut level and the live debut of her “Good Ol’ Days” (which was just released) was incendiary. Bleachers served up a satisfying helping of Jersey rock, particularly with “Merry Christmas, Please Don’t Call”–and helped remind everyone that there really should be more saxophonists in rock music these days.
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