She even says she’ll buy a Range Rover just to run the guy over. It caught me off guard with gentle instrumentals that immediately pivot to Lavigne yelling, “Am I insane expecting you to change?” with some rocking guitar in the back. My favorite song from the album, though, was probably “Déjà vu.” Not to be confused with the Olivia Rodrigo song of the same name, Lavigne takes a more brutal approach to the concept of déjà vu. “Avalanche” was another break from the action of the rest of the album, though while it had noble intentions with the subject matter, it wasn’t necessarily a standout for me. “So don’t tell me that you love me if you don’t mean it,” Lavigne laments as she asks someone to just dare to love her. Lavigne showcases her vulnerability on the sole ballad of the album, “Dare to Love Me,” which offers a nice break from the other heavy-hitting, boy-bashing pop songs. His entrance into the song was a little jarring, and somehow his voice just didn’t seem to fit in the song. I wanted to like “All I Wanted,” but (I’m so sorry Blink-182 fans) Mark Hoppus’s feature on the song ruined it for me a bit. I thought his voice made more sense with Lavigne’s, and I preferred his solo section to the back and forth between Lavigne and MGK. My favorite collab of the album, though, was “Love It When You Hate Me” with Blackbear. While I do agree that boys lie, I can’t say this song really had me singing along - though if it was just Lavigne, my mind might be changed. I can’t lie though, I thought it was a little cringy.
“Bois Lie” was a fun call-and-response song with Machine Gun Kelly, who has recently released pop-punk music I thought was an appropriate feature on this album. Similarly, I really loved “F.U.” in which Lavigne is finally fed up with a man not listening to her like he should. It’s such a typically-Lavigne song that it was hard not to love it. It’s catchy, a little brutal and easily one of the standouts of the album. In the title track “Love Sux,” Lavigne delivers a punchy, upbeat breakup jam for listeners to jump around their rooms to. While not my favorite song, it was a great choice to open her album. The record opens with the song “Cannonball”, which sets the mood and propels us into for the rest of the album as she starts by screaming, “Motherfuckers, let’s go!” It’s an energetic and fun opening for her return to pop-punk and what she describes as a song about being a fierce bitch.