Review: Does Avril Lavigne’s “Goodbye Lullaby” deserve a reappraisal?

 

For over 20 years, Avril Lavigne has toed the line between pop and rock across seven studio albums. But “Goodbye Lullaby,” her often-overlooked fourth album, toes that line the most of any in her discography.

In recent years, however, the album’s singles have seen a surge in popularity among younger listeners discovering her for the first time. Does the album as a whole deserve a reappraisal?

Lavigne debuted in 2002 with her pop punk-rooted “Let Go,” achieving mainstream success with the sound years before Fall Out Boy, Paramore and other bands would blow the lid off the genre. But by the time they had circa 2007, she had already begun turning her musical dial more toward pop with “The Best Damn Thing,” which divided critics but spawned her only No. 1 single so far, “Girlfriend.”

Lavigne began work on her next album in November 2008. The focus this time around was to present a stripped-down approach to her sound, starting out with minimal instruments and adding more later. The instruments prioritized included acoustic guitar, piano and Lavigne’s voice.

In September 2009, Lavigne separated from her husband, Sum 41 frontman Deryck Whibley, but they continued to work together as the album’s primary producers. By November, the album seemed ready for its intended release date on the 17th. However, Lavigne delayed it and returned to the studio at the behest of her label, RCA Records, who thought the album needed more upbeat radio-friendly hits.

During the following year, she collaborated with pop producers like Max Martin, Shellback, Butch Walker and Alex da Kid. Lavigne finally completed “Goodbye Lullaby” in October 2010 and released it on March 2, 2011.

The sound and tone of “Goodbye Lullaby” feels like Lavigne is trying to marry the sounds of her early work with the poppier stylings of “The Best Damn Thing,” but it surprisingly doesn’t result in a lyrically disparate album. Instead, the lyrics are some of her most reflective and open yet. The pop tracks stick out, but they only provide respite and prevent the album from being an overly sappy experience.

The short intro, “Black Star,” was the first song recorded for the album, written as an expansion of a perfume jingle. It sets the table quite well, only using high piano keys and ethereal, music box-esque sounds that feel like something crystalizing. On repeated listens, I’ve also come to appreciate the backing harmonies.

The first proper track, “What the Hell,” was described by Lavigne as the album’s least personal moment. Indeed, it sonically harkens back to “Girlfriend,” with the organ and percussive beats exuding a carefree energy, while the lyrics suggest they are describing a rebound, both in spirit and love life.

The album’s other upbeat song is “Smile,” which has some lyrics that are really basic but fun to sing along to. The drums and guitar go in and out during the verses, almost like they’re stabbing their way in, until they become more consistent in the chorus. This complements the subject matter, which describes a partner that allows the singer to let loose.

“Push” combines acoustic guitar with light horns and drumming, along with a surprising vocal contribution in the bridge from co-writer Evan Taubenfeld. The lyrics find Lavigne exasperated with a partner who is overly eager to stick around, but avoidant of the harder moments in a relationship. Comparatively, “Wish You Were Here” increases the prominence of drums in its composition. In its lyrics, Lavigne clings desperately to memories of time spent with a former partner.

From here, the album pretty much locks in on its stripped-down sound. “Stop Standing There” deploys infectious handclaps and playful vocals for a song urging a shy love interest to make their move. “I Love You” starts out with some cheesy lyrics but is saved by a danceable beat and the reveal in the bridge that it’s detailing Lavigne reminiscing about her ex and promising she will continue to be there for him.

“Everybody Hurts” describes Lavigne’s grief over her split with her ex similarly to “Wish You Were Here,” but with an added sense of empathy towards others feeling the same. “4 Real” shows Lavigne having second thoughts about separating with her partner, wanting to know if he seriously reciprocates or if it’s just all talk.

“Not Enough” proves itself a true standout in the album’s back half. Musically, it leans the most toward Lavigne’s older work, with impactful guitars and drums adding dramatic stakes. The lyrics find Lavigne discussing ending things with her partner for the first time for both their sakes.

“Darlin’” is the oldest track on the album; it was the second song Lavigne ever wrote, and unsurprisingly, it has the best lyrics. It’s a really sweet track where she empathizes with someone going through heartbreak and tries to reassure them. Along with acoustic guitar, there are some light strings in the background, enhancing the song’s heartfelt emotion.

“Remember When” shifts the album’s instrumental focus to piano, as the lyrics seem to describe Lavigne moving out of her ex’s place for good, with all kinds of memories floating back to mind. “Goodbye” brings the album’s emotional and musical arc to a crescendo, as strings accompany Lavigne finally accepting her relationship is over.

The final hidden track is an extended version of “Alice,” Lavigne’s soundtrack contribution to “Alice in Wonderland.” Contrasting the intro, the song prominently uses lower piano keys and operatic backing vocals to craft a grand sound. Lavigne’s vocal performance is the rawest of the whole record, as she sings from Alice’s perspective, motivating herself amidst her inner and outer conflict.

Overall, “Goodbye Lullaby” is more cohesive than expected and proves itself quite a personal album. While it’s deeply flawed and far from her best work, there’s a certain charm to it that keeps me coming back. I can’t guarantee you’ll enjoy it, but it deserves for you to at least give it a full listen.