The two hugged it out after dinner in the parking lot, as if to say goodbye, but then left together in the same car.
Mod's new album "God Save The Teen" features several songs dedicated to Avril, including one titled "Avril's Song" with the lyrics, "She blew me a kiss, And I didn't wanna blow my brains out anymore. And she is everything I'm not. Without her, I am lost."
We've spoken to sources close to both Avril and Tyga who say they've been hanging out together a lot lately ... though it's unclear if things are at all romantic.
Avril didn’t know it yet, but life was about to get much harder — ironically not so much for Kroeger or Manson reasons, though she and the Nickelback singer would divorce two years later. In 2015, Avril would reveal that she had been diagnosed with Lyme disease, which essentially forced her to take a lengthy career hiatus.
“I was in bed for fucking two years,” she told Billboard in 2018, adding that the disease went undiagnosed “for so long that I was kind of fucked.” Up until then, Avril had been steadily releasing an album every few years, beginning with her breakthrough disc, 2002’s landmark Let Go. Her debut album made the then-teenage singer a bona fide pop superstar, but one with a little more punk-rock bite compared to her TRL peers. (Not that any die-hard genre gatekeepers took her seriously at the time — I have a distinct memory of a punk purist high-school friend outright refusing to dance when “Sk8er Boi” queued up at our tenth-grade dance.)
It didn’t much matter if purists gave Avril permission to be punk or not in the early ’00s. Avril herself didn’t think she was punk. 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. 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.
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. 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.”
By the time Avril recorded 2019’s Christian-rock-adjacent Head Above Water, she’d come out through the other side of her Lyme diagnosis. To be honest, I was under the impression that she’d gone full-on Christian rock and was never coming back. No judgment: I can’t pretend to know the hideous pain one experiences in the throes of Lyme disease, but I guess I assumed that Avril would just be singing Christian rock from now on. (Avril never actually claimed to have been saved, but this album’s lead single did become an unexpected crossover hit on Billboard’s Hot Christian Songs chart, peaking at #2.) I also don’t know that much about Christianity, being raised Jewish, but I always got the sense that doubling down on Christianity — or really any organized religion — as an adult is not unlike discovering yoga, in that once you do it, it becomes your entire personality? (Sorry to any Christians or Christian rock listeners I may have just offended.)
But Avril has not stayed put in the Christian rock world. Love Sux, released last Friday, is easily her most punk-rock record since Let Go, assuming Let Go was even punk rock to begin with. Perhaps a better way to describe it is that Love Sux is Avril’s most energetic record ever. Even early Avril tended to lean hard on midtempo ballads (“Complicated,” “Losing Grip,” “I’m With You,” “My Happy Ending,” “Things I’ll Never Say”) rather than the actual pogo-stick pop-punk/emo one would more associate with Paramore. But this time, she’s going hard — keeping right up with the wave of younger pop stars like Olivia Rodrigo and WILLOW who idolize her. “They’re really talented songwriters, and it’s been cool for me to meet these girls,” Lavigne told Billboard. “The 17-year-old me could never have imagined I’d be in this position where people tell me that my music’s had an influence on them.”
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. 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. Further cementing her symbolic return, Love Sux came out on Barker’s Elektra Music Group imprint DTA Records. 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. I don’t want to be on the piano. I don’t want ballads, really. I just really want to rock out.” Mission accomplished!
If (like yours truly) you’re a sucker for strong, guitar-driven hooks, Love Sux will scratch that itch. It’ll probably leave some marks on your back, too! Opener “Cannonball” has Avril literally howling over Barker’s light-speed drumming. Next, she teams with Machine Gun Kelly for what seems like a tongue-in-cheek reference to her second-ever single: Two decades ago, Avril advocated for the underdog “Sk8er Boi” — in 2022, she’s calling them out in “Bois Lie.” (“Girls lie too,” MGK retorts.)
The bangers just don’t stop: “Bite Me” is a sneering kiss-off (though the rhyming of “like me” and “wifey” is a little cringe and definitely serves as a reminder that this is the same singer who once rhymed “boy” with “boy”). “Love It When You Hate Me” featuring blackbear also got the single treatment; it’s plenty catchy, but I much prefer Avril’s collab with Hoppus on the rapid-fire “All I Wanted,” which sounds like an unreleased blink-182 B-side.
It didn’t much matter if purists gave Avril permission to be punk or not in the early ’00s. Avril herself didn’t think she was punk. 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. 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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