As Avril recently told Billboard, it’s all part of an intentional shift: “I want to make a pop-punk record, a rock-and-roll record. Further cementing her symbolic return, Love Sux came out on Barker’s Elektra Music Group imprint DTA Records.
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Last year, she guested on WILLOW’s lately i feel EVERYTHING, duetting on a song called “GROW,” and joined rap-punk boyfriend Mod Sun on the song “Flames.” For Love Sux, she looped in a group of collaborators at the mainstream forefront of the pop-punk zeitgeist, including producer John Feldmann (5 Seconds Of Summer, All Time Low), punk revivalist Machine Gun Kelly, emo rapper blackbear, Mod Sun, and even two thirds of blink-182: Travis Barker and Mark Hoppus. It’s very possible Avril got the now well-documented memo that pop-punk is having its nostalgia-cycle moment 20 years after bands like Good Charlotte, New Found Glory, and blink-182 made their mark on MTV and the pop charts.
In 2007, she experienced another “motherfuckin’ princess” career surge on the back of The Best Damn Thing and its slappin’ (if completely anti-feminist) lead single “Girlfriend.” 2011’s Goodbye Lullaby, largely about Avril’s divorce from ex-husband and Sum 41 singer Deryck Whibley, diverged from her trademark style, leaning into acoustic melodies, and Avril Lavigne featured a mixture of power ballads, badly executed nu-metal test runs (see: Manson), and a techno/EDM cut called “Hello Kitty” that actually featured the lyric “like a fat kid on a pack of Smarties.” Whatever genre Avril really is (isn’t it nice to live in a post-genre, poptimist world, as opposed to the decidedly more rockist ’00s?), she hasn’t strayed far from those combative roots as a pop singer. Along with her mall-punk attire and specific-to-her androgynous neckties, people just kind of ran with the “Avril’s punk” or “Avril wishes she were punk” narrative.
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But her music circa Let Go and its 2004 follow-up Under My Skin tended to be guitar-led and angst-ridden, surfing through themes of feeling abandoned and emotionally vulnerable. It didn’t much matter if purists gave Avril permission to be punk or not in the early ’00s.
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