All That's Left Tour

Lore & Background

By the time *All That's Left* dropped in the summer of 2007, Paramore had already survived the meteoric rise of *Riot!* and the industry pressure that came with it. The second album was sharper, more confrontational, and lyrically more personal—songs about resentment, self-doubt, and the feeling of being consumed by your own success. The tour became the physical embodiment of those themes: Hayley's vocal delivery was more aggressive, the songs were tighter and faster, and the band's chemistry on stage read like a family that occasionally threw punches at each other.

What made this tour feel distinct from the *Riot!* run was the sense of ownership. The band was no longer proving themselves to a skeptical industry; they were performing for audiences who had already chosen them. The setlists leaned into the new material—*Misery Business*, *Encode*, *Still Into You*—while still honoring the older tracks that fans had shouted along to since 2005. The result was a show that felt both forward-looking and deeply rooted in the community that had carried the band to this point.

Behind the scenes, the tour also captured a period of intense internal tension. The Farro siblings' relationship with the band, the pressure of touring back-to-back, and Hayley's well-documented struggles with anorexia all cast a shadow over what was, on the surface, a triumphant run. Fans who attended shows from this era often recall the duality: the explosive, joyful energy of the performance contrasted with the visible exhaustion and emotional weight the band carried between songs.

In Their Own Story

The soundcheck had just ended and the venue was still echoing with feedback when Hayley sat on the edge of the stage, guitar slung low, and stared at the empty floor. The tour bus was idling outside, the driver tapping the wheel. She could still feel the set in her chest—*Misery Business* had come out like a scream she'd been holding for weeks. The crowd had roared. She'd roared back. Now the silence was worse.

Josh was coiling cable. Taylor was already on his phone. Zac was tapping a rhythm on his thigh, eyes closed, still in the pocket of whatever song he'd been dreaming. Jeremy leaned against the amp stack, chewing gum, pretending he wasn't watching Hayley.

She stood up. Picked up the guitar. Walked to the back of the stage where the road cases were stacked like a wall. Pressed her forehead against the cold metal and breathed.

"Same time tomorrow?" she asked, not looking at anyone.

"Same time tomorrow," Josh said, not looking up from his cable.

And that was enough. That was the whole deal. Five people, a wall of amplifiers, and the next city waiting to be set on fire.

Reader's Guide

The All That's Left Tour ran from mid-2007 through 2008, covering North America (US and Canada) with additional dates in the UK and parts of Europe. It was the band's second major headline run, following the *Riot!* tour, and carried them into the mid-size and large-venue territory they'd been eyeing since 2005.

The stage production was deliberately lean: a modest riser, a wall of amps, minimal pyro, and a lighting rig that favored strobes and sharp color hits over elaborate visual effects. The aesthetic was punk-adjacent—raw, fast, and physical. Hayley's vocal mic stand was a prop she kicked, spun, and occasionally threw. The Farro brothers occupied opposite wings, trading riffs and locking eyes during transitions.

Setlist philosophy centered on the new album's tracks as the spine—*Misery Business*, *Encode*, *Still Into You*, *The Only Exception*—bookended by *Riot!* staples like *That's What You Get* and *Ignorance* to reward long-time fans. The pacing was relentless: short songs, quick changes, little dead air. The closer was almost always a high-energy number that left the audience still moving.

Memorable live moments from this era include Hayley's habit of dropping to her knees mid-chorus, the band's tendency to improvise extended instrumental sections, and the occasional set where the entire show felt like a single sustained argument that resolved into a fist-pump. For fans who caught a show on this run, the memory is usually visceral: the smell of the pit, the feedback between songs, and the sense that five people in a small Tennessee town were doing something genuinely reckless on a national stage.

Did You Know?

• The All That's Left Tour was the first time Paramore headlined venues of 5,000+ capacity, a jump from the mid-size rooms of the Riot! run.
• Jeremy Davis on bass was the fifth member during this tour, a role that would later be filled by others as the band's lineup shifted in subsequent years.
• Hayley Williams has spoken in later interviews about how the relentless touring schedule of this era overlapped with her most difficult period with anorexia, making the physical demands of performing even more grueling.
• The tour's setlists were notably shorter than later Paramore shows, relying on speed and intensity rather than length—a reflection of the band's punk roots and the era's live-music culture.