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John Mayer live at London’s O2 Arena — angst, heartbreak and syrup

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Ian Gittins

Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.

For a long time, Britain resisted the charms of John Mayer. In the 2000s, even as the blues guitarist was scoring number one albums and picking up seven Grammy awards in his native America, a resolute indifference in the UK saw his records routinely beach in the lower depths of the charts.

The story changed with his 2012 Born and Raised release, the first of three albums to reach top five in the UK. These increased levels of interest have enabled him to switch up from touring intimate British club and small-theatre venues to now filling two nights at the O2 Arena.

This uptick in his fortunes is somewhat puzzling as Mayer is essentially an anodyne, unremarkable performer. His shtick is a mode of antiseptic, down-the-line blues-pop that appears to regard the glossy late-eighties soft rock of the likes of Phil Collins, Dire Straits, and Huey Lewis and the News as pinnacles of popular music.

For this current tour, he has eschewed his gently rocking backing band in favour of solo acoustic run-throughs of highlights from his 20-year-plus back catalogue. He thus took to the stage at the start of the night, dapper in smart-casual slacks and shirt, armed with no more than an acoustic guitar, a high stool and a bashful aw-shucks grin.

The opening “Slow Dancing in a Burning Room” typified the syrupy over-emoting that was the night’s default mode. Mayer’s stock-in-trade is presenting himself as a bruised soul and a hopeless romantic doomed to be unlucky in love. “I’ve loved seven other women, and they all were you,” he sighed on the mellow “Shot in the Dark”.

This is arguably a little rich as Mayer’s list of celebrity exes includes Jessica Simpson, Cameron Diaz, Jennifer Aniston, Taylor Swift and Katy Perry. Indeed, strumming “I Don’t Trust Myself (With Loving You)”, he cautioned a prospective future lover of his bad rep: “If my past is any sign of your future/You should be warned . . .”

His voice was strong and his songs were slick and sturdy, but there was no emotional ballast to his efficient musicianship. This was a pity, as his stoners’ anthem “Who Says?” (“I don’t remember you looking any better/But then again, I don’t remember you . . .”) demonstrated he can be sharp and witty.

It was perplexing to hear words of supposed angst and heartbreak crooned over the musical equivalent of a pair of comfy slippers. Twice, Mayer earnestly praised the crowd for being “sophisticated” enough to hear out his pained laments in silence. This tribute ignored the possibility that some of us might have fallen asleep.

His virtuosity was not in question. On “Changing” he simultaneously played guitar and piano, while “Edge of Desire” saw him dexterously pick at a double-neck acoustic guitar. Yet, really, it was a little like seeing a unicyclist on stage. Very clever, hard to imagine achieving yourself, but how long do you really want to watch it for?

Mayer rounded off an adept, soporific show with an extremely adequate version of Tom Petty’s “Free Fallin’”. It had been a long night, or maybe it just felt like one.

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The Watches Of John Mayer (Part II)

In our second instalment of ‘Mayer Mania’, we explore how guitar virtuoso John Mayer has influenced the watch-collecting world at large, including the desirability of certain watches

Much has transpired since the  first instalment of the Watches of John Mayer – Watches & Wonders 2023 saw the release (and discontinuation) of many references, John announced and is currently embarking on a solo tour across the United States, and, on said tour, a potential new piece unique has been spotted on stage (more on that later). In this instalment of ‘Mayer Mania’, we explore Mayer’s influence on the watch-collecting world at large and speculate on how this may have affected, and continues to affect, the culture — including the desirability of certain watches.

Precursor to the Hodinkee x G-Shock Collaboration: John Mayer's Casio 89’ Twin Graph, NASA G-Shock DW5600 and G-Shock Frogman

The Ref. 6900 trio of collaborations are well known at this point – to the extent that one might mistakenly think that this was the genesis of the Casio-Mayer love affair. The relationship, in fact, sprouted during his middle school years – when John would while away his time in class just staring at the many functions on the plastic dial of his beloved  Casio 89’ Twin Graph . Many of us as adults have a tendency to seek out once treasured items, whether that be sneakers, baseball cards or even watches, that we either lost or could not afford at the time - and it seems Mayer is no different. John also appears to be equally excited about more recent Casio G-Shock releases, including the NASA x G-Shock DW5600NASA20-7 – a photo of which he proudly posted on an Instagram Story back in 2020. Although on-stage appearances are usually dominated by ultra complicated Audemars Piguet and Patek Philippe timepieces, on occasion it would not be unusual to witness G-Shock Mudmaster or Frogman watches in the mix.

The Namesake Daytona(s): John Mayer's Rolex Daytona Ref. 116508 and Ref. 116509

Discussed during ‘Talking Watches 2’ with John Mayer, the 46th episode in the series, the yellow gold Daytona with a green dial (Ref. 116508) and the less talked about  white gold Daytona with a midnight blue dial (Ref. 116509) were singled out as “ sleeper hits ” that “ could be something special down the road ”. Mayer was immediately drawn to these watches given their slightly off-kilter characteristics, including coloured dials and all metal construction. Ironically, John enjoys “ looking past the hype ” but as with many items given the sign of approval by John Mayer, the video had a knock-on effect and saw prices of the yellow gold version climb – and to a lesser extent, the white gold variant too. Sadly for those who are looking to add this to their inventory, 2023 saw the discontinuation of both references - which is great news for those who already own it. A few pristine examples of the  yellow gold “John Mayer” Daytona sometimes find their way into our shop, so it would be worth keeping an eye on our webstore and Instagram page for a chance to scoop up a reference that is almost guaranteed to become more collectable over time.

Not an Ordinary Travel Time: John Mayer's Patek Philippe Ref. 5164A Aquanaut Travel Time

Boldly described by Mayer himself as the “ Chuck Taylor of Patek Philippe ” – alluding to its versatility – as well as “ the watch you wear when you just want to wear a watch ” without making a statement. His go to piece for most situations has a GMT function and, despite its steep price tag, is as practical as it gets. An important distinction must be drawn that this particular example is, naturally upon closer inspection, Tiffany-signed, which automatically bumps up the value by a fair percentage. In John’s opinion, wearing one of these in public would strongly imply to others that the owner definitely has other heavy hitters at home. In fact, if that is not the case, simply possessing this watch would be a clever way to “ skip the queue ”, as it were – with or without the double signed Tiffany & Co. dial. Always ahead of the curve, John somehow had the foresight to swap the strap on his Travel Time to an OEM olive drab (‘camo green’, officially) rubber strap just one month before Patek announced that they would be discontinuing that colour – with a few uncut, unworn spares to boot. As most readers may know, a little later down the line the  5168G white gold Aquanaut would be introduced which carries with it a very similar, if not identical, colour scheme with a matching ‘khaki green’ dial.

Controversial But Uber Functional: John Mayer's Apple Watch Ultra

The introduction of the Apple Watch caused a stir when it was released alongside the iPhone 6 in 2014. Since then, it has gone on to become the best selling watch in the market – surpassing Swiss juggernauts like Rolex and eclipsing other competitors in the smartwatch space in terms of units sold. Despite high profile partnerships with the likes of  Hermès , the target demographic for these technological marvels are decidedly different to collectors that focus on mechanical movements and delicate hand finishing. Though some in the watch community detest its widespread popularity, some industry heavyweights have decided to embrace the unrivalled functionality that these products offer. In his own words, the Ultra is “ [t]he first Apple Watch that excited me as a mechanical watch collector ” – being loaded with what he terms “ aspirational functionality ”. Being an outdoor lifestyle hobbyist, John appreciated the nifty innovations packed into the robust 49mm titanium case, including GPS waypoint tracking, depth gauge, dive computer and 86-decibel siren. A ringing endorsement from Mr. Mayer is unlikely to affect the sales figures of the Cupertino behemoth to the same extent as other high horology pieces - but as far as unpaid ads go, it doesn’t get much better. 

That’s a ‘Hot One’: John Mayer's Rolex Rainbow Daytona Ref. 116599

Talk show formats have evolved at a rapid pace since the advent of YouTube, and one of the most creative reinventions of the genre to have been birthed from this phenomenon is ‘Hot Ones’ on the First We Feast channel. The premise is simple enough - a celebrity guest is put through their paces with a series of chicken wings doused in increasingly intense hot sauces. All the while, host Sean Evans poses well-researched questions for each wing devoured. Participants must conquer all ten levels of the fiery inferno and winners are then given the opportunity to plug their latest album, movie or project. John Mayer bravely appeared on the  season 5 finale , showing up in a grey T-shirt (likely from Visvim with tie-dye undershirt peeking out) and distressed jeans – and a flashy Rainbow Daytona in the white gold variant. This rare Daytona is covered in gems including 36 baguette-cut rainbow-graded sapphires on the bezel and diamond-set lugs. John admits that he “[ doesn’t ] quite know who the target audience is” from an aesthetic standpoint. Ever the completionist, also in his collection is the Ref. 6270, arguably the original baguette pavé dial Daytona which were manufactured in frighteningly small quantities (disputed between 8 or 10 of each in existence). Fielding questions left and right, John does his best to work through the pain but this hardly distracts from the fact that it is unequivocally hilarious to wear a US$500,000 watch to eat hot wings.

Man Of The People: John Mayer's Tudor Heritage Black Bay

Tudor has been on a roll lately. Fresh off of Watches & Wonders 2023, the brand unveiled one of the simplest but most talked about releases – the Black Bay 54, a time-only stainless steel diver with a shrunken form factor of 37mm. Rewind a few years and one might discover that Mr. Mayer is also a fan of the modestly priced  Black Bay range . He has made his love known on not one, but several occasions – starting with a written review of the inaugural 41mm Heritage reference. Back then, the popular model still featured the original Tudor rose logo on the dial and was powered by an ETA movement – not to mention the curved ‘smiley’ text paying homage to vintage designs. Some elements have carried over into current versions, including the stunning gilt-effect dial. For anyone still on the fence about the pedigree of the approachable diver, “ for just over $3,000 [retail prices have risen slightly since] , you can be a watch guy with the best of them ”. It just goes to show that snobbery has no place even in the high end watch community. In addition to the original model, John has sported the  Black Bay GMT “Pepsi” during his on-the-fly style “Current Mood” Instagram talk show and sang praises of the  bronze version that Tudor eventually also made in the more compact  Fifty-Eight 39mm size . It however would not be a true John Mayer commentary without an exclusive friends and family piece. In a fleeting Instagram Story, John publicly expressed his thanks to the  Undefeated team for gifting him a Tudor Black Bay with a blue bezel and Undefeated logo on the dial. These were limited to a small batch of 50 so don’t expect to see them pop up on secondary listings.

Though it may not be the most diverse of collections when it comes to brands, it certainly exhibits range and a level of discipline that has been refined over decades of collecting - running the gamut from G-Shock to shockingly rare Patek Philippe references. Whether or not you enjoy his songs, Mayer may have directly or indirectly influenced a past purchase or future acquisition. Fans and critics alike can recognize what John Mayer brings to the table when it comes to watches. Following the accessibility of his most recent Casio collaboration, John has teased a forthcoming collaboration that sits on the other end of the spectrum. Some have speculated that it would be with the house of Audemars Piguet, a brand that he has fervently supported throughout his watch collecting journey. There are social media outlets dedicated to identifying timepieces on celebrity wrists (including our friends at  @celebwatchspotter ), and there have been  murmurs that John is either showing off a piece unique during concerts or road testing a potential collaborative piece. The watch in question bears remarkable resemblance to the Royal Oak Tourbillon Extra-Thin Ref. 26510PT but appears to feature a white tinted dial instead of the phenomenal smoked ‘Fumé’ grey dial introduced at SIHH 2016. With no official announcement on the cards as of yet, we are offered no alternative but to wait with bated breath.

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10 John Mayer Songs That Show His Versatility, From 'Room For Squares' To Dead & Co

As John Mayer launches his latest venture with Dead & Company — a residency at the Sphere in Las Vegas — revisit 10 songs that show every side of his musical genius.

At the 2003 GRAMMYs, a 25-year-old John Mayer stood on stage at Madison Square Garden, his first golden gramophone in hand. "I just want to say this is very, very fast, and I promise to catch up," he said with a touch of incredulity.

In the two decades that have followed his first GRAMMY triumph, it's safe to say that Mayer, now 46, has caught up. Not only has the freewheeling guitarist and singer/songwriter won six more GRAMMYs — he has also demonstrated his versatility across eight studio albums and countless cross-genre collaborations, including his acclaimed role in The Grateful Dead offshoot, Dead & Company. But the true testaments to his artistic range lie simply within the music. 

Over the years, Mayer's dynamism has led him to work deftly and convincingly within a wide variety of genres, from jazz to pop to Americana. The result: an elastic and well-rounded repertoire that elevates 2003's "Bigger Than My Body" from hit single to self-fulfilling prophecy. 

From March 2023 to March 2024, Mayer took his protean catalog on the road for his Solo Tour, which saw him play sold-out arenas around the world, mostly acoustic, completely alone. The international effort harkened back to Mayer's early career days, when standing alone on stage, guitar in hand, was the rule rather than the exception. Just after his second Solo leg last November, Mayer added radio programming and curation to his resume via the launch of his Sirius XM channel, Life with John Mayer . Fittingly, XM bills the channel (No. 14) as one notably "defined not by genre, but by the time of day, as well as the day of the week."

Mayer's next venture sees him linking back up with Dead & Company, for a 24-show residency at the Sphere in Las Vegas from May 16 to July 13. In honor of his latest move, GRAMMY.com explores the scope of Mayer's musical genius by revisiting 10 essential songs that demonstrate the breadth of his range, from the very beginning of his discography.

"Your Body Is A Wonderland," Room For Squares (2001)

The second single from Mayer's debut album, "Your Body Is A Wonderland" became an almost instant radio favorite like its predecessor, "No Such Thing," earning Mayer his second consecutive No. 1 on Billboard's Adult Alternative Airplay chart. The song's hooky pop structure provided an affable introduction to Mayer's lyrical skill by way of smart, suggestive simile and metaphor ("One mile to every inch of/ Your skin like porcelain/ One pair of candy lips and/ Your bubblegum tongue") ahead of Room For Squares ' release later that June. The breathy hit netted Mayer his first career GRAMMY Award, for Best Male Pop Vocal Performance, at the 45th Annual GRAMMY Awards in 2003.

In recent years, Mayer — who penned the song when he was 21 — has chronicled his tenuous relationship with "Your Body is a Wonderland" in his infamous mid-concert banter, playfully critiquing the song's lack of "nuance." Following a perspective shift, Mayer has come to embrace his self-proclaimed "time capsule"; it was a staple of his set lists for his Solo Tour.

"Who Did You Think I Was," TRY! - Live in Concert (2005)

The product of pure synergy and serendipity, the John Mayer Trio assembled after what was intended to be a one-time stint on the NBC telethon, "Tsunami Aid: A Concert of Hope," in 2005. The benefit appearance lit the creative fuse between Mayer, bassist Pino Palladino and drummer Steve Jordan — who, over the years, have also played alongside the singer on his headline tours.

The John Mayer Trio propelled its eponymous artist from pop territory to a bluesy brand of rock 'n' roll that then demonstrated his talent as a live guitarist to its greatest degree yet. The Trio's first and only release, TRY! - Live in Concert , was recorded at their September 22, 2005 concert at the House of Blues in Chicago. 

Mayer acknowledges his abrupt sonic gear shift on TRY! opener, "Who Did You Think I Was." "Got a brand new blues that I can't explain," he quips, then later asks, "Am I the one who plays the quiet songs/ Or is he the one who turns the ladies on?"

"Gravity," Continuum (2006)

Though "Waiting On the World to Change" was the biggest commercial hit from 2006's Continuum , "Gravity" remains the pièce de résistance of Mayer's magnum opus. Its status as such is routinely reaffirmed by the crowds at Mayer's concerts, whose calls for a live performance of his quintessential soul ballad can compete even with Mayer's mid-show remarks.

The blues-tinged slow burn marries Mayer's inimitable vocal tone with his guitar muscle on a record that strides far beyond the pop and soft rock of his preceding studio albums. Though Continuum builds on the blues direction Mayer ignited with TRY!, it does so with greater depth and technique, translating to a concept album, sonically, that evinces both his breakaway from the genres that launched his career and his skill as a blues guitarist — and "Gravity" is a prime example. 

"I'm very proud of the song," Mayer mused on his Sirius XM station. "It's one of those ones that's gonna go with me through the rest of my life, and I'm happy it's in the sidecar going along with me." 

"Daughters," Where the Light Is: John Mayer Live in Los Angeles (2008)

"Daughters" wasn't Mayer's first choice of a single for his sophomore LP, 2003's Heavier Things , but at Columbia Records' behest — "We really want it to go, we think it can be a hit," Mayer recalled of their thoughts — the soft-rock-meets-acoustic effort joined the album rollout. Columbia's suspicions were correct; "Daughters" topped Billboard's Adult Pop Airplay in 2004 — his only No. 1 entry on the chart to date.

But "Daughters" didn't just enjoy heavy radio rotation — it also secured Mayer his first and only GRAMMY win in a General Field Category. The Heavier Things descendant took the title of Song Of The Year at the 47th Annual GRAMMY Awards in 2005, helping Mayer evade music's dreaded "sophomore slump."

While the studio version may be the GRAMMY-winning chart-topper, Mayer's live rendition of "Daughters" during his December 8, 2007 performance at Los Angeles' Nokia Theater for Where the Light Is: John Mayer Live in Los Angeles compellingly demonstrated the power of the song — and his acoustic chops.

"Edge of Desire," Battle Studies (2009)

Come 2009, what critics almost unanimously proclaimed to be Mayer's biggest musical success had become his Achilles heel; everyone wanted another Continuum . But as they were to learn, Mayer never repeats himself. Thus came Battle Studies .

Born from a dismantling and transformative breakup, his fourth studio album arguably only becomes fully accessible to listeners after this rite of passage. Mired in introspection and pop rock, Battle Studies broadly engages with elements of pop with a sophistication that distinguishes it from Mayer's earlier traverses in pop and pop-inflected terrain. 

His artistry hits a new apex on "Edge of Desire," a visceral and tightly woven song that remains one of the strongest examples of his mastery of prosody — the agreement between music and lyrics that results in a resonant and memorable listening experience. 

"Born and Raised," Born & Raised (2012)

On the title track of his fifth studio album, Mayer distills growing up (and growing older) into a plaintive reflection on the involuntary, inevitable, and, in the moment, imperceptible phenomenon. He grapples with this vertigo of the soul on a record that, 12 years later, remains among his most barefaced lyrically.

The tinny texture of a harmonica, heard first in the intro, permeates the song, serving as its single most overt indicator of the larger stylistic shift that Born & Raised embodies. The 12-song set embraces elements of Americana, country and folk amid simpler-than-usual chord progressions for Mayer, whose restraint elevates the affective power of the album's lyricism. 

"Born and Raised - Reprise," with which Born & Raised draws to a close, is evidence of Mayer's well-demonstrated dexterity. In its sanguine, folk spirit, the album finale juxtaposes "Born and Raised" both musically and lyrically. "It's nice to say, 'Now I'm born and raised,'" Mayer sings as the last grains of sand in Born & Raised 's hourglass fall.

"Wildfire," Paradise Valley (2014)

Even before Paradise Valley hit shelves and digital streaming platforms, the cowboy hat that Mayer dons in the album artwork intimated that the hybrid of Americana, country, and folk he embraced on Born & Raised wasn't going anywhere — at least not for another album. The sunbaked project was a gutsy sidestep even further away from his successful commercial formula, and finds him expanding his stylistic fingerprint across 11 tracks that run the gamut of American roots music.

"Wildfire," the breezy toe-tapper with which Paradise Valley opens, grooves with Jerry Garcia influence. It is therefore unsurprising that many interpret "We can dance with dead/ You can rest your head on my shoulder/ If you want to get older with me," to be a lyrical nod to the Dead. Perhaps uncoincidentally, Mayer's invitation to become a member of Dead & Company came one year after the release of Paradise Valley .

"Shakedown Street," Live at Madison Square Garden (2017)

There is perhaps no better example of Mayer's dynamism than his integration in Dead & Company. The Grateful Dead offshoot, formed in 2015, intersperses Mayer among three surviving members of the band — Bob Weir, Mickey Hart , and Bill Kreutzmann — as well as two more newcomers, Oteil Burbridge and Jeff Chimenti. Mayer's off-the-cuff guitar solos and vocal support at Dead & Co's concerts are the keys that have unlocked a new plane of musicianship for Mayer, the solo artist.

This is evident on "Shakedown Street," a staple of The Grateful Dead's – and now, Dead & Company's – set lists. The languid, relaxed number gives Mayer the space to improvise guitar solos and use his vocals in a looser style than how he sings his own productions, all while feeding off the energy of his fellow band members. In addition to being one of The Dead's best-known songs, "Shakedown Street" is also the name of the makeshift bazaar where "Deadheads" socialize and sell wares ranging from grilled cheeses to drink coasters emblazoned with The Grateful Dead logo outside Dead & Company concerts. 

Mayer's long, strange trip with (and within) the jam band has cross-pollinated his and The Grateful Dead's respective fandoms, attracting scores of Dead & Co listeners to his own headline shows, and vice versa. The takeaway: Mayer's involvement with Dead & Company offers a new, comparatively more rugged and improvisational lens through which to view his artistry.

"You're Gonna Live Forever in Me," The Search for Everything (2017)

"You're Gonna Live Forever in Me" evokes the sense of walking in, unexpected and undetected, to one of Mayer's writing sessions, watching him sing the freshly-penned piano ballad. This is owed to the song's abstract lyricism, the sentiment of which is deeply personal and universally accessible — a juxtaposition that's not often easy to achieve in songwriting. (Take, for example, "A great big bang and dinosaurs/ Fiery raining meteors/ It all ends unfortunately/ But you're gonna live forever in me.") But the studio version of "You're Gonna Live Forever in Me" also happens to be the original vocal take, adding to the feeling that Mayer is fully engrossed in a moment of poignant reflection mediated by music.

"I sat at the piano for hours teaching myself how the song might go. I sang it that night, and that was it…I couldn't sing the vocals again if I tried," Mayer recalled in a 2017 interview with Rolling Stone . 

Mayer's lilted, Randy Newman-esque singing on the track finds him unintentionally but impactfully adopting a vocal technique distinctive from anything he's ever done before.

"Wild Blue," Sob Rock (2021)

Buoyed by a honeyed hook and slick production from No I.D. , "New Light" was the unequivocal commercial standout of Sob Rock , a soft-grooving pastiche of '80s influence. Though the catchy pop-informed number finds Mayer stylistically diversifying by working with "The Godfather of Chicago Hip-Hop" (whose credits include Kanye West, JAY-Z , and Common , to name just a few), a look beyond the Sob Rock frontrunner reveals evidence of more sonic experimentation on the album.

Cue "Wild Blue." In its hushed, double-tracked vocals, the song plays like a love letter to JJ Cale . Mayer's whispery vocal emulation of the rock musician yields another new, but still polished, strain of John Mayer sound. 

With hints of the '70s embedded within its taut production, "Wild Blue" is a beatific semi-departure from its parent album's '80s DNA. Together, they evince Mayer's ability to work not only across genres but also across sounds from different decades in music — further proof that his artistic range is both broad and timeless.

A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band

Photo: Tyler Kenny

15 Avril Lavigne Songs That Prove She's The "Motherf—in' Princess" Of Pop-Punk

As Avril Lavigne celebrates a major career milestone with the release of her new 'Greatest Hits' compilation, rock out to 15 of the pop-punk icon's signature songs, from "Complicated" to "Bite Me."

"Hey, hey, you, you!" There's simply no debate: when it comes to the world of pop-punk, Avril Lavigne has always been the people's princess. Bursting onto the scene with her 2002 debut Let Go , the then-teen singer/songwriter was dubbed an overnight sensation with hits like "Complicated," "Sk8er Boi" and "I'm With You."She soon became one of the primary artists driving the pop-punk explosion of the 2000s — and remains one of the genre's primary legends more than 20 years later.

Lavigne's appeal went far beyond the mass of skaters and suburban kids who devoured her early music. Within months of Let Go 's release, she had earned five GRAMMY nominations (tying fellow newcomer Norah Jones for the most nods of 2003) and a year later, she racked up three more. 

As pop-punk's first wave began to crest, the singer broadened her sights beyond the genre she'd helped pioneer, exploring everything from power pop to confessional alt-rock to Christian rock, as well as collaborations with artists as varied as Marilyn Manson and Nicki Minaj . And when pop-punk's second wave hit at the start of the 2020s, Lavigne made a triumphant return to the genre with 2022's Love Sux and the 20th anniversary reissue of Let Go . 

Now, she's set to release her first-ever Greatest Hits compilation on June 21, spanning more than two decades, seven albums and nearly two dozen hits on the Billboard Hot 100. To commemorate the album (and its coinciding Greatest Hits Tour), dive into 15 tracks that assert Lavigne's undeniable title as the "motherf—in princess" of pop-punk — from hits like "Sk8er Boi" to deep cuts like "Freak Out."

"Complicated," 'Let Go' (2002)

What better way to begin than with the song that started it all? Released as her debut single in the spring of 2002, "Complicated" declared a then-17-year-old Avril Lavigne as a major talent to watch.

Eventually, the pop-rock ode to teenaged authenticity became one of the biggest songs of the year, and led to her debut full-length, Let Go , becoming the third highest-selling LP of 2002 in the U.S. (It's since been certified 3x platinum by the RIAA and sold more than 16 million copies around the world.)

It's hard to overstate just how influential Lavigne's breakout year was, starting with "Complicated." The track peaked at No. 2 on the Hot 100, helping the newcomer earn nominations for Best New Artist, Song Of The Year, Best Female Pop Vocal Performance and Best Pop Vocal Album (for Let Go ) at the 2003 GRAMMY Awards. Its runaway success also helped launch pop-punk's explosion into the mainstream, and the proliferation of artists and female-fronted bands that followed — from Paramore , Ashlee Simpson and Kelly Clarkson to Gen Z hitmakers like Olivia Rodrigo , Billie Eilish and Meet Me @ The Altar — are indebted to Lavigne's trailblazing success with the song.

Read More: Why 2002 Was The Year That Made Pop-Punk: Simple Plan, Good Charlotte & More On How "Messing Around And Being Ourselves" Became Mainstream

"Sk8er Boi," 'Let Go' (2002)

"He was a boy, she was a girl, can I make it any more obvious?" From those 15 words, Lavigne spun a pop-punk fairy tale for the ages.

If "Complicated" was an introduction to her talent, "Sk8er Boi" was the new star's real coronation as the reigning princess of the genre. Everything about Let Go 's second single is nothing short of iconic, from the star-crossed love story between a skater destined for punk rock greatness and the ballet dancer who wasn't brave enough to love him, to the lip ring and striped tie Lavigne sported in the music video (the latter of which you can still purchase to this day from her official store). 

"Sk8er Boi" dispelled any notion that the teenage upstart would be a flash in the pan relegated to one-hit wonder status. In fact, the song notched Lavigne a second consecutive Top 10 hit on the Hot 100, and landed her a fifth GRAMMY nomination at the 2003 ceremony, for Best Female Rock Vocal Performance. But the cherry on top of it all? The eleventh hour twist in the track's bridge that the ballet dancer's loss was Avril's gain.

"My Happy Ending," 'Under My Skin' (2004)

After all the commercial success and critical acclaim showered on her in the wake of Let Go , Lavigne chose to forgo taking the easy road with another pop-infused mainstream win. Instead, she plunged into the darkness for 2004's Under My Skin , exploring post-grunge, nu metal and even hard rock influences on the punk-infused LP. The biggest hit from the album was second single "My Happy Ending," which became Lavigne's fourth No. 1 at Top 40 radio and spent four weeks in the Top 10 of the Hot 100, peaking even higher on the latter than "Sk8er Boi" had two years prior.

The downcast breakup anthem was the first time Lavigne put her broken heart on display ("All this time you were pretending/ So much for my happy ending," she lamented as the piano-driven verses swirled into a guitar-heavy chorus), and the result was an electric kiss-off delivered with equal parts anger, shock and a tinge of bitter sarcasm. 

The singer may not have gotten her happily ever after, but turning the doomed relationship into a scathing goodbye certainly earned her the last laugh: the song helped propel Under My Skin to becoming one of the top-selling albums of the year worldwide.

Read More: Loving Olivia Rodrigo's "Vampire"? Check Out 15 Songs By Alanis Morissette, Miley Cyrus & More That Reclaim The Breakup Narrative

"Girlfriend," 'The Best Damn Thing' (2007)

It wasn't all doom, gloom and angry tears on Under My Skin , however. Lavigne proved she was equally adept at bouncing back from a particularly disappointing Sk8er Boi with a devilish grin and a chip on her shoulder on the bouncing "He Wasn't."

While the brash ditty wasn't officially released as a single in the U.S. — instead being pushed to radio in Europe, the United Kingdom, Australia, and her native Canada — it quickly became a fan favorite from the album. Nearly 20 years on, the song and its rowdy music video (come for Avril wearing fairy wings and a bright pink tutu, stay for her shattering a camera with the butt of her guitar) rather perfectly encapsulate the singer's place as one of the rare female voices at the forefront of the second-wave post-grunge movement. 

"Freak Out," 'Under My Skin' (2004)

Giving authority figures the middle finger has long been a hallmark of Lavigne's brand, and nowhere is that more clear than on Under My Skin deep cut "Freak Out." "Try to tell me what I shouldn't do/ You should know by now I won't listen to you," she scowls before ratcheting up the lyrical drama on the booming chorus. 

The track's second verse serves as a veritable manifesto for an entire generation of emo kids, as Lavigne offers the following advice to her fans: "You don't always have to do everything right/ Stand up for yourself and put up a fight/ Walk around with your hands up in the air/ Like you don't care." When in doubt? "Just freak out, let it go."

In retrospect, Under My Skin is often rightfully credited as one of the defining albums of pop-punk's 2000s heyday. And it's clear Lavigne is proud of the album's impact on both her career and the genre she helped pioneer, considering four of its singles — including "Don't Tell Me" and "Nobody's Home" — are included in the 20 tracks featured on her upcoming Greatest Hits compilation.

Lavigne turned the power pop up to 11 for her third album, 2007's The Best Damn Thing , and traded the myopic grunge of her previous era for a blast of sugar-coated, self-confident sass. Lead single "Girlfriend" let the singer unleash her inner pop-punk princess like never before, as she played a mean girl with a flirtatious streak who somehow made stealing another girl's man seem lovable.

The unabashed bop was the first time Lavigne proudly declared herself "the motherf—in' princess," and the song's relentless sing-song hook was so addictive that it became the star's first single to top the Hot 100. Lavigne broke several records with "Girlfriend," which became one of the best-selling songs of 2007 and the most-viewed YouTube video of 2008 — as well as the first to ever reach 100 million views on the platform. 

Still can't get enough of "Girlfriend"? Hardcore fans know that the official remix with Lil Mama might even outdo the fizzy perfection of the original. 

"The Best Damn Thing," 'The Best Damn Thing' (2007)

For the title track off The Best Damn Thing , Lavigne doubled down on the bright and bubbly persona she'd donned on "Girlfriend." In fact, the song's opening rallying cry of "Let me hear you say hey, hey, hey!" and a call-and-response bridge are so downright peppy that it seems almost hard to believe they came from the same artist who thrashed her way through Under My Skin .

Released as The Best Damn Thing 's fourth and final single, the song of the same name is more melodic than its chart-topping predecessor, with Lavigne unapologetically laying out the type of treatment she expects from a man in cheerleader fashion ("Gimme an A! Always give me what I want!/ Gimme a V! Be very, very good to me!"). After all, a pop-punk princess deserves a Cinderella story of her own. 

"What the Hell," 'Goodbye Lullaby' (2011)

Riding high off the commercial success of The Best Damn Thing , Lavigne kicked off the rollout for her fourth studio album, 2011's Goodbye Lullaby , with "What the Hell," a playfully bratty banger that found her toying with a love interest and vowing, "All my life I've been good/ But now I'm thinking, 'What the hell!'"

Produced and co-written by pop impresarios Max Martin and Shellback , "What the Hell" melded Lavigne's snarky songwriting sensibilities and penchant for bucking authority with a catchy, singalong refrain. But the lead single actually proved to be something of an outlier on the pop-punk princess' fourth go-around, as the rest of the album utilized a stripped-back sonic palette to lay her heartbreak bare in the wake of divorcing Sum 41 frontman Deryck Whibley .

"Bad Reputation," ' Goodbye Lullaby' (2011)

Goodbye Lullaby may have been Lavigne's first foray into a more acoustic sound — complete with introspective lyrics and surprisingly sincere song titles like "I Love You" and "Everybody Hurts" — but she couldn't resist adding a little snarl to the album's softer, more sensitive proceedings. So for the deluxe edition of the album, she featured her take on Joan Jett 's classic 1980 single "Bad Reputation" as a bonus track. 

Lavigne had originally recorded "Bad Reputation" for the soundtrack to the Japanese anime feature film One Piece Film: Z (it even reached the top 10 on Japan's Hot 100!). But she apparently liked the cover so much that it ended up on the track list of not one, but two of her albums, as the song was also included on 2013's Avril Lavigne .

"Here's to Never Growing Up," 'Avril Lavigne' (2013)

Even as she approached her thirties, Lavigne wasn't about to give up her spot as pop-rock's resident wild child. Case in point: "Here's to Never Growing Up," the lead single off her fifth album, 2013's Avril Lavigne . Over a peppy stomp-clap rhythm, the singer shouts out an undying love of Radiohead , dancing on bar tops and making late-night memories with your best friends as the boombox blares all your favorite songs.

There's a thread of bittersweet nostalgia running through the midtempo jam — one that's sure to pierce the heart of any millennial listening as Lavinge sings, "Say, won't you say 'forever'?/ Stay, if you stay forever/ Hey, we can stay forever young." It's not that the singer's refusing to acknowledge the cruel act of getting older on the track, she's just rebelling against the notion that adulthood should be a dreary slog of, you know, taxes and laundry and all of those lame adult responsibilities. 

"Rock N Roll," 'Avril Lavigne' (2013)

Lavigne once again put her middle finger to the sky and re-upped her rock star credentials on the appropriately titled "Rock N Roll," the second single off her self-titled album. The spirited singalong finds the singer reveling in her eternally bad attitude as she wails, "I don't care if I'm a misfit/ I like better than the hipster bulls–/ I am the motherf—in' princess/ You still love it."

Though "Rock N Roll" didn't make quite as much of an impact on the charts as some of the other hits on this list, it remains one of the most underrated bangers in her entire discography. Plus, the song gifted fans with the campy, comic book-inspired music video starring Lavinge, Danica McKellar, a drunk-driving Doberman and one very unlucky lobster as they race across a dystopian wasteland to save rock and roll from the clutches of an evil bear-shark. (Billy Zane shows up on a rocket-powered Segway at some point, too — just go with it.)

"Head Above Water," 'Head Above Water' (2019)

Proving that pop-punk doesn't always have to come with an in-your-face, "f— you!" attitude, Lavigne released "Head Above Water" — the lead single and title track to her 2019 album — five years into an often confusing, devastating and all-consuming battle with Lyme disease.

"One night I thought I was dying, and I had accepted that I was going to die," she revealed at the time of the song's unveiling. "My mom laid with me in bed and held me. I felt like I was drowning. Under my breath, I prayed, 'God, please help to keep my head above the water.' In that moment, the songwriting of this album began."

Lavigne taps into a truly admirable well of resilience and hope on the spiritual ballad as she sings, "Yeah, my life is what I'm fighting for/ Can't part the sea, can't reach the shore/ And my voice becomes the driving force/ I won't let this pull me overboard." Unlike anything that's come from the singer's catalog either before or since, "Head Above Water" remains a powerful testament to the beloved pop-punk princess' inner strength.

"Bite Me," 'Love Sux' (2022)

As the 2010s gave way to a new decade, pop-punk made a surprise resurgence in popularity while Lavigne was making major moves of her own; she left BMG after just one album to sign with Travis Barker 's DTA Records in 2021 (about which she fittingly declared , "Let's f— s— up!"). Partnering with the blink-182 drummer sparked some serious magic in the studio, as her seventh studio album, 2022's Love Sux was a wildly entertaining return to her pop-punk roots after the emotional catharsis of Head Over Water .

On lead single "Bite Me," Lavigne effortlessly dusted off her crown and reclaimed her throne with an octave-jumping vocal performance. Along with proving she still has the chops, the singer simply sounds like she's having a hell of a lot of fun as she snaps back at an ex-flame who made the mistake of crossing her. Pop-punk's reigning princess? Try queen.

Read More: How 'Love Sux' Led Avril Lavigne To True Love, Her First Fangirl Moment And An Album Process That Was 'Just Stupid Fun'

"All I Wanted" feat. Mark Hoppus, ' Love Sux' (2022)

Lavigne collaborated with plenty of special guests on Love Sux , from blackbear (on love-drunk single "Love It When You Hate Me") to eventual tourmate Machine Gun Kelly (on delicious battle of the sexes "Bois Lie"), but no other duet on the album holds a candle to "All I Wanted" featuring blink-182's Mark Hoppus . 

The supercharged deep cut features the two trailblazers rocking out in a whirling dervish of escapist bliss, playing a sort of pop-punk Bonnie and Clyde as they bust out of the town they're stuck in. And in doing so, they proved they're more than happy to show the new kids at the rock show just how it's done.

"Breakaway," 'Let Go (20th Anniversary Edition)' (2022)

And finally, a proper celebration of Lavigne's status as pop-punk royalty wouldn't be complete without including the biggest song she ever gave to another artist. As the story goes, the singer/songwriter originally penned "Breakaway" for her debut album, but the hope-filled anthem didn't quite fit with the vibe of Let Go tracks like "Complicated," "Sk8er Boi," "Losing Grip," and "I'm With You." So instead, she gave it to a fresh-faced newcomer by the name of Kelly Clarkson , who had just come off of winning a little reality TV experiment called "American Idol."  

After being featured on the soundtrack to The Princess Diaries 2 , " Breakaway " became the centerpiece and title track of Clarkson's 2004 sophomore album, which helped turn her into a bonafide superstar — and the rest, as they say, is history. 

Lavigne started performing the song live for the first time on her 2019 Head Above Water Tour, which naturally left fans clamoring for a studio version. Blessedly, the pop-punk icon gave them exactly what they wanted by revisiting "Breakaway" in the recording studio for the 20th anniversary edition of Let Go in 2022. She even reinstated her original lyrics in the opening stanza ("Grew up in a small town/ And when the snow would fall down/ I'd just stare out my window") for a personal touch that connected back to her roots in Greater Napanee, Ontario. 

Clarkson may have made the song famous, but the beating heart of "Breakaway" will always be Lavigne's story — one of a small-town girl who bet on herself, only to become a trailblazing artist whose legacy is forever cemented in the pop-punk history books. 

The State Of Pop-Punk: A Roundtable Unpacks The Genre's Past, Present And Future

Photo: Frank Micelotta

5 Ways ‘Hot Fuss’ Propelled The Killers To Rock Royalty

During the alternative-guitar-band renaissance of the early 2000s, the Killers slugged out a debut album that’ll stick with us forever. Here are five reasons ‘Hot Fuss’ catapulted the Vegas favorites to the top.

They came out of their cage, and now they're doing just fine.  

In an era of stiff competition, from the White Stripes to the Strokes , the Killers could have gotten lost in the shuffle. But with 2004's Hot Fuss , the Brandon Flowers-led, Vegas-based rock band essentially emerged fully formed, with a debonaire mystique, a raided new wave record collection (think the Cure and Duran Duran ), and a knack for sky-high hooks. They didn't just nail the songs, and charisma, on the first go — they created one of the most timeless albums of their generation.  

In the 20 years since, chances are "Mr. Brightside" has gotten maddeningly stuck in your head at least once. But that's just the tip of the iceberg: Hot Fuss is teeming with cryptic one-liners, sticky melodies and a specifically aughts sort of emotional abandon.

Today, the Killers are one of the biggest rock bands of the 21st century, with five GRAMMY nominations and more than 28 million records sold worldwide. Here are five aspects of Hot Fuss that helped them break into the stratosphere.   

It's The Result Of A Completely Scrapped First Attempt  

Sometimes, the first thought isn't the best thought. The Killers were full steam ahead on their debut album when Flowers hit a major snag: a little album called This Is It by the Strokes came out.  

"When we put it on in the car, that record just sounded so perfect," Flowers admitted to NME in 2012. "I got so depressed after that, we threw away everything, and the only song that made the cut and remained was 'Mr. Brightside.'"  

How would the Killers' legacy have changed without classics like "Somebody Told Me " and "Jenny Was a Friend of Mine"? We'll never know — but the band (and the world) is likely glad they gave Hot Fuss a second shot.  

Brandon Flowers Is A Superb Lyricist  

Did you know Hot Fuss has an extended murder narrative? Well, in two songs: "Midnight Show" and "Jenny Was a Friend of Mine." (The third act, "Leave the Bourbon on the Shelf," was relegated to their 2007 B-sides and rarities disc, Sawdust .)  

Outside of sprawling concepts, Flowers' sneaky prowess as a lyricist is all over Hot Fuss , from sticky alliteration ("Turning saints into the sea/ Swimming through sick lullabies") to masterful use of negative space.  

Exhibit A is "Smile Like You Mean It": "Someone is calling my name/ From the back of the restaurant/ And someone is playing a game/ In the house that I grew up in/ And someone will drive her around/ Down the same streets that I did." By erasing the specifics, and only providing a framework of memory, the picture is ever more elusive and intriguing.  

The Album Is Front-Loaded With Five Bangers  

Sure, some tracks on Hot Fuss , like "Change Your Mind" and "Believe Me Natalie," are relatively minor.  

But with absolute napalm across the first five tracks — "Jenny Was a Friend of Mine," "Mr. Brightside," "Smile Like You Mean It," "Somebody Told Me," "All These Things That I've Done" — it's actually kind of a relief to get a sleeper album track, that reveals its qualities slower.  

No matter your take on the rest of Hot Fuss , or their discography, the fact remains undeniable: they came in swinging.  

They Kept The Demos Intact For Raw Impact  

The Killers and the Boss have crossed paths a time or two — and they made a Springsteenian move when they used demos as the final tracks. It worked, imbuing Hot Fuss with a certain spontaneity and energy.  

And because these Hot Fuss tracks were meant to comprise a demo, "We never thought [these songs] would be on a record." drummer Ronnie Vannucci Jr. later admitted . Talk about a turn of events: what could have been a collection of scratch tracks would help define a generation.  

"Mr. Brightside" Took On A Life Of Its Own  

"Mr. Brightside" has undeniably become the Killers' signature song — a staple not only at their concerts, but at bars and karaoke joints around the world. And once social media came along, it inspired a cornucopia of memes: even snippets of lyrics, like "Comin' out of my cage" and "It started out with a kiss, how did it end up like this?" have become miniature cultural forces.  

Aside from Flowers' almost unwaveringly single-note verse melody, the song's odd structure — the second verse is the same as the first — has also been ripe for humor: one favorite meme takes you into the fictional writer's room when that decision was made .  

Whether for rock 'n' roll transcendence, or just a nostalgic laugh, revisit Hot Fuss as it turns 20 — and smile like you mean it.  

Is This It At 20: How The Strokes Redefined Rock  

Photo: Aidan Zamiri

Wallows Talk New Album 'Model,' "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover

On the heels of releasing their amped-up third album, 'Model,' alt-rock trio Wallows detail how their "very unabashed" approach has expanded — and landed them in arenas for the first time.

Over the past five years, Dylan Minnette, Cole Preston and Braedan Lemasters — together, known as alternative rock band Wallows — have acutely constructed a sonic landscape of earworm guitar hooks, snappy drums and sing-along lyrics. And their third album, Model , helps lift their career into a new sphere of guitar-driven stardom.

Wallows' growth from the indie-pop breakouts of 2019's Clairo-assisted "Are You Bored Yet?" to full-fledged alt-rock stars is abundantly clear across Model 's 12 tracks. Produced by GRAMMY-winning alt-rock whisperer John Congleton (who also helmed Wallows' 2019 debut album, Nothing Happens ), Model amps up their vintage-meets-contemporary sound. It's an album that sounds perfectly written for arenas — and that's by design. 

On The Model World Tour, which kicks off on Aug. 6, the trio will hit arenas and amphitheaters in North America, Europe and the UK, and Australia and New Zealand, including iconic venues like Madison Square Garden, Red Rocks and The Forum. With the tour in mind, they wrote wavy melodies fit for the masses to sing along, like on the racing "Your Apartment" or the howling chorus of "You (Show Me Where My Days Went)."

If the polished sound of Model sounds like the work of a band who has sharpened their talents for decades, that's because it is. Though they made their official introduction as Wallows with the 2018 EP Spring , Minnette, Preston and Lemasters — all in their late 20s — have been performing together since they were just 11 years old.

As Preston asserts, their longtime partnership has resulted in "this kind of synergy happening." It's seemingly helped them become more vulnerable, too, as Model sees the Wallows guys singing overtly about love for the first time, like on lead single "Calling After Me": "I knew the feeling would be forming/ After I took a look into your eyes/ But are you ready for it, darling?"

In celebration of the release of Model , Minnette, Lemasters and Preston mused to GRAMMY.com about their creative journey, why they recently became the unlikely scorn of Sabrina Carpenter fans, and how they're "filling a space" in mainstream alt rock.

You're about to embark on an arena tour, playing venues like Madison Square Garden and The Forum for the very first time. Does this feel like a new phase in your evolution as a band?

Braeden Lemasters: Yeah, I think it does. When we started the band seven years ago, when I look back it's been a very natural progression; it's not like we went straight from 200 capacity clubs to arenas. 

We've gone through the stages and right growth, and now we're entering this uncharted territory. We actually haven't even opened up at these venues for anyone, so it'll be our first time playing an arena. We have no idea what to expect.

Model as an album sounds bigger than your past ones, especially songs like "Anytime, Always" which may sonically fit right in at an arena with its sing-along hook. Did you have the arena tour in mind when you were working on Model ?

Cole Preston: Yeah, this record was the first time we did know the tour routing [during the album process]. It didn't necessarily change the way that we worked; we always adapted a similar approach to writing where we naturally want it to be catchy and full, which all lends itself to the live show. But understanding that we're going to have this level of a moment, we'd need to make a record that represents that moment that belongs there.

You guys are an alternative rock three-piece, which is rare in today's musical climate. Does it seem that way to you?

Dylan Minette: Yeah, I definitely feel like there's a space where we're sort of filling [with] the way our music is and sounds. There's other bands that are playing the same rooms and can, but all of us feel pretty different from one another. 

Our music is very unabashed, and there's nothing we're trying to subdue or be cool, or worry about it sounding too pop. I'm not saying we're the only ones doing that, because that's obviously not true. But our favorite bands growing up — like Kings of Leon , Arcade Fire or The Killers — weren't afraid to go for it and let the music be larger than life. There used to be a lot more bands that just dominated and went for it, so we try to make sure we're filling that space that isn't really being filled right now. 

Were you guys always interested in this genre? I would think for the majority of people from your generation, the inclination would be to do bedroom pop  or electronic music, and not to start a band.

Lemasters: The interest for me stems from my dad, who was a guitar player in Ohio  local bands. I alway thought it was so normal; I'd be 5 years old and my dad would be playing a stratocaster around the house and listening to the Beatles . He bought me a guitar when I was really young and taught me how to play, so I've had this connection to these classic bands. 

When I met Dylan, we bonded over that, because he also liked that music at a young age. I think it was rare for a kid our age to like that kind of music. Cole was also just a very talented musician at a young age too. So we all loved band music at a young age and wanted to form one; there was no other reason than that. We didn't have to search out our passion for it. It was already there.

Speaking of, I've loved your distinctive covers, from "My Worst Enemy" by Lit (which you put a melancholy look at it) to "Espresso" just recently. What's the key to a solid cover and how do you decide what songs to put your spin on it?

Minette: We definitely don't have songs in our pocket. We always try to do something unexpected or unconventional to get people talking about it, otherwise what's the point? 

Cole recommended "Espresso," which I hadn't heard at the time — but if he's saying this new, popular song is good, I trust him. When I listened to it, I thought it'd be great, and when we worked on the first version it had a drum machine and was funkier. When we stripped it back and it became more emo, it was hilarious. 

Though there are some Sabrina Carpenter fans who are really mad I attempted to sing that song. "You could never be Sabrina!" I'm like, "I know I can never be Sabrina!" But you know what? She texted me recently and gave the seal of approval. That's all we needed.

Since you've all been playing together in some capacity since you were 11, what's kept you together all these years?

Preston: When we were young, our brains were super mushy and we all had a big influence on each other as people. We're all very different now as people in a lot of ways, but we all know each other enough to predict how someone will feel or react about something. 

So there's this kind of synergy happening because, since we were 11, we were practicing every day and performing original music, and we just didn't stop. By the time we became Wallows officially, we had been a band for seven or eight years at that point. 

Speaking of, I know you recently connected with the person who indirectly inspired your name? What's the story behind that?

Minette: So Wallows was named after a skate spot in Hawaii on Oahu, which we first heard about from the video game Tony Hawk's Underground where it was part of the Hawaii map. Braeden played it growing up and at a certain point he said it'd be a cool album title. Eventually, when we were thinking of band names, we realized Wallows would be a great name. 

Last week, we were on "The Today Show" and they said "We have a surprise for you!" And it was a message from Tony Hawk, which was so full circle. To go from being kids with all ambitions and dreams, and now Tony Hawk is surprising us — it was crazy. If our 13-year-old selves were experiencing this, that'd be insane.

Model was produced by John Congleton, who was also behind your first album. What brought you together again for this third record?

Lemasters: When we first started making music, we worked with John; he made some St. Vincent records and we really respected his work. We were just naive enough to be so excited to go with him and we didn't meet anybody else at the time. He did our first EP and first album. There's something really special about that connection and bond you make, that first time. 

For our second album, we worked with Ariel Rechtshaid , which was incredible and who we always wanted to work with. When we decided to work on Model , we didn't know who to go with, but we went in with Congleton again to record some demos for no project at all. We asked him what he pictured for us regarding a new album, and everything he said is exactly how we were feeling. 

I also always admired an artist working with a producer multiple times, like Nigel Godrich with Radiohead or George Martin with the Beatles; there's a camaraderie where you always know where you've been. So it was a no-brainer to go with John again for Model . I think it's our best work yet, and best production yet, and that's largely because of his passion for the project. 

What's the most gratifying part of the musical process as an artist: writing and producing, or going out and performing them on tour?

Lemasters: It's such a hard question, but my answer would be it's whatever process you're currently experiencing. Writing and recording is so exciting, but going on tour and seeing people sing the songs is the most rewarding thing. I know that's the most cop-out answer. 

Does it change over time?

Minette: Exactly. It's a cycle, when you're on tour you're thinking, "I can't wait to go back into the studio" by the end for sure. I'm interested to see what happens when time slows down to step away from both and take a step back. I don't think we're near that, but I'm already thinking ahead to the next album, and we haven't even toured this album yet! 

Right now, I'm more excited for this tour than ever, but I'm also more nervous. It all adds to the excitement and intrigue of it.

How Andrew Watt Became Rock's Big Producer: His Work With Paul McCartney, Ozzy Osbourne, Pearl Jam, & More

Photo: Mauricio Santana/Getty Images

Twenty One Pilots' Road To 'Clancy': How The New Album Wraps Up A Decade-Long Lore

Three years after 'Scaled and Icy,' Twenty One Pilots' seventh studio album is here. Dig into the rock duo's journey to 'Clancy,' and how it further showcases their knack for vivid world-building.

Long before Twenty One Pilots developed a cult following, the Columbus, Ohio natives were determined to not be put into a box. From their first EP, 2009's Johnny Boy , they've blended elements of emo, rap, alt-pop, electronica, incorporating hardcore and hip-hop into their shows. "No one knew where to put us," drummer Josh Dun told USA Today in 2014. "But we've approached live shows as a way to build something from nothing."

In the decade since, the band's sheer determination and eclectic onstage personality have made them one of the biggest rock groups of their generation. They're equally as spontaneous and intriguing in their music, building an entire world through dynamic soundscapes and visuals — and their new album, Clancy , ties all of it together.  

As the band revealed in a press release upon announcing the album in March, Clancy "marks the final chapter in an ambitious multi-album narrative" that began with Blurryface in 2015. But it certainly doesn't feel like an ending; Clancy further expands on the theatrical style and eclectic sound they've showcased from the start, offering both a resolution and an evolution.

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While the makings of the signature Twenty One Pilots aesthetic began with its original formation as a trio — lead singer Tyler Joseph and his friends Nick Thomas and Chris Salih — it truly took shape when Dun replaced Thomas and Salih in 2011. Dun and Joseph had a common goal to re-formulate the way songs and shows were crafted; the drummer utilized samples and backing tapes at their gigs, helping the band dive deeper into their alternative style by fusing everything from reggae to pop together.

As a newly formed duo, Twenty One Pilots issued their album Regional at Best in 2011 — their last release before they signed to a major label (though, as they told Huffpost in 2013, they since consider the record a "glorified mixtape"). After significant social media buzz and selling out a show at Newport Music Hall in Columbus, the duo was courted by a dozen record labels, which set the stage for their big break.

"We went from no one in the industry caring to all of the sudden it was the hot thing for every label, independent and major, to be interested in some way," Joseph told Columbus Monthly in 2012 upon signing to Fueled by Ramen, which the singer said they were drawn to because they were able to retain "creative control" — a factor that would become increasingly more important with each release. 

Their 2013 album Vessel — which featured a combination of new and re-recorded songs from Regional At Best —spawned the band's first charting single, "Holding On to You," a rap-meets-pop track that oscillates from sensitive indie ballad to energetic anthem. Not only had they begun making a mark commercially, but it seemed to be the album that Twenty One Pilots felt they were hitting their stride creatively, too: "I know some people might not like this, but I kind of view Vessel as our first record," Joseph told Kerrang! at the time.

Though the character "Clancy" first came about with 2018's Trench , Twenty One Pilots actually introduced the world that Clancy would eventually live in with 2015's Blurryface , which focused on a titular character who embodies depression and anxiety. "It's a guy who kind of represents all the things that I as an individual, but also everyone around me, are insecure about," Joseph said of his alter-ego in a 2015 interview with MTV .

To convey the "feeling of suffocation" caused by insecurities from what he creates, Joseph began wearing black paint on his neck and hands in music videos and on stage to represent the "Blurryface" character. As Joseph told the Recording Academy in 2015, the "common thread" of all of the songs on Blurryface was that Joseph's alter-ego would be defeated, and each song wrestled with the dichotomy between darkness and optimism.

While Vessel kickstarted the band's commercial success, Blurryface saw their popularity explode and resulted in the band's best-selling single, the eerie rap-rock anthem "Stressed Out." The commercial success of Blurryface helped their hot streak continue into 2016 with the release of "Heathens." While the song served as the first single from the Suicide Squad soundtrack, its haunting production fits right into the world the pair had begun building with Blurryface . Their acclaim continued to grow, with Twenty One Pilots earning their first GRAMMY in 2017 for "Stressed Out" in the Best Pop Duo/Group Performance Category — and, in line with their affinity for stunts, dropping their pants as they accepted their award.

Ahead of the release of their 2018 concept album Trench , the lore surrounding "Clancy" really began. Twenty One Pilots began leaving clues for fans on a website known as DMAORG , which featured black-and-white images and letters from "Clancy," who ultimately became the protagonist of the album. Twenty One Pilots fans (often referred to as the"Skeleton Clique") began clamoring to deduce puzzling clues and posting their theories about the narrative's endgame online.

With Trench , they found more characters and a deeper narrative. The overall album depicts "a world where nine dictatorial bishops keep the inhabitants (Tyler included) of a fictional place named Dema from escaping its controlling clutches, with the help of the Banditos — a rebel organization (featuring Josh)." On a larger scale, the album grapples with mental illness, suicide and an expansion on Joseph's insecurities from Blurryface . 

But Trench isn't one cohesive story; rather, it's a series of songs with clues embedded within. For instance, in "Morph," the character Nico is introduced, who is also the subject of "Nico and The Niners." From there, fans gleaned that Nico was one of nine bishops controlling the citizens of Dema, and those nine bishops were represented by each of the songs on Blurryface . The bombastic "Pet Cheetah" references that the house has vultures on the roof which alludes to it — and Joseph's home — being Dema. 

As with Blurryface , visuals became an integral part of the album cycle. This time, they used them to illustrate life in the dystopian Dema, which personifies depression through the trilogy of music videos for "Levitate," "Nico and The Niners" and "Jumpsuit." While Joseph's black-painted neck and hands signaled the Blurryface era, dark green clothing marked with yellow tape signaled the Trench era. During this time, the "Clancy" character remained shrouded in mystery — though through videos and letters shared by the band, fans theorized that it is an opposing force to "Blurryface."

By the time Twenty One Pilots' 2021 album, Scaled and Icy , came around, fans quickly noticed that it paid homage to "Clancy" as an anagram for "Clancy is dead," while also acknowledging the COVID-19 pandemic as a shortened phrase for "scaled back and isolated." While Twenty One Pilots could have leaned into the harrowing events of lockdown, they instead chose to focus on what has driven the band itself, the power of imagination — something that has been behind much of the band's work since Blurryface .

With the album came three singles — the propulsive "Shy Away," the heartwrenching banger "Choker" and the funk-pop-tinged "Saturday — which were recorded when the duo was working virtually during the pandemic. Unlike the past two projects which grappled with this doomed slant, Scaled and Icy pivoted toward a sunnier sound, signaling a shift in the narrative. But it didn't mean the dark world of Blurryface and Trench were completely in the past; upon Scaled and Icy 's release, Joseph revealed to Apple Music that there would be "one more record" and "an explanation and book end" before moving onto another story.

Three years following the release of Scaled and Icy , fans began receiving letters from the "Sacred Municipality of Dema" — a reference to the fictional city featured on Trench , signaling what appeared to be a new era diving deeper into the band's lore. Since the previous record featured an anagram about "Clancy" in its title, it seemed natural that the next album would be named after the character. 

"'Clancy' is our protagonist in this story we've been telling, stretched out over the last several records. 'Clancy' is the type of character who, for a long time, didn't know if he was a leader or not, didn't want to take that responsibility," Joseph told BBC Radio earlier this year .

As the singer had hinted in the Scaled and Icy era, Clancy brings fans back to the darker narrative that began with Blurryface t. After Joseph's character escapes Dema a handful of times, joins a rebellion, then is captured again, he finally has the same abilities as the bishops and aims to free the people of Dema. The album attempts to answer a few conceptual questions along the way.

Clancy 's blistering first single, "Overcompensate" is inherently hopeful, and answers the long-lingering question fans have been wondering: Who is "Clancy"? According to the psych-funk number, it's been Joseph all along (" If you can't see, I am Clancy/ Prodigal son, done running, come up with Josh Dun .") As Joseph further explained to BBC Radio , "[With] 'Overcompensate', there's a bit of a confidence and swagger in it that the character needed to embody in order to take on the new role in the story we've been telling, and Clancy is gonna rise up as that person."

But much of the album focuses less on the literal lore, instead tackling the overarching themes of its counterparts: Joseph's struggles with mental health. Despite the darker, anxious nature of the album's lyrics, the majority of Clancy has a self-assured breeziness to it, jumping off of the upbeat Scaled and Icy sound. 

On the ballad-like closer, "Paladin Strait" — named after a fictional body of water off the coast of Dema —Twenty One Pilots really digs into the narrative of "Clancy" the character in a literal way again. What's revealed is the final battle between "Clancy" and "Blurryface" with no apparent winner — alluding to the idea that there is not necessarily a triumph over depression. In the final line, the band offers a callback to a lyric from Blurryface : "So few, so proud, so emotional/ Hello, Clancy."

While the ending may remain ambiguous, it may not be a coincidence that Twenty One Pilots postponed Clancy 's release date by a week (from May 17 to May 24) in order to finish filming music videos for each of the tracks, all of which were unveiled upon the album's release. So, there's still hope that fans will find out definitively what happened to "Clancy" — or maybe it means his story isn't completely finished. 

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• 4 Wallows Talk New Album 'Model,' "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover
• 5 Twenty One Pilots' Road To 'Clancy': How The New Album Wraps Up A Decade-Long Lore

What time is John Mayer on stage at London's O2 Arena?

John Mayer is set to bring his Solo Acoustic tour to London ’s O2 Arena this week to give his audience a cosier take on some of his heartfelt romantic numbers.

The US singer-songwriter is stopping off at the Greenwich venue for two nights, on Monday and Tuesday, as part of the European leg of his world tour. 

Later this week, he will head to the Netherlands for two nights in Amsterdam and then a one-night stop in Paris, before it’s back to our isles for Glasgow on March 27 and Dublin on March 29. 

Here’s what happened last time he played the O2 Arena.

And below is all you need to know ahead of Mayer’s shows. 

Who is supporting John Mayer? 

Madison Cunningham, a folk singer with three albums under her belt. has been given the nod for the European dates. She is very much in the spirit of Americana and will provide a perfect warm-up for Mayer’s soulful numbers. 

When will John Mayer be on stage? 

Doors open at 6.30pm and our educated guess is that Cunningham will be on stage by around 7.30pm, giving enough time for Mayer’s team to set up. 

By recent precedent, Mayer will be on stage at around 9pm and has been winding up with Free Fallin’ before 11pm. 

But don’t leave it to chance; in a recent gig in Copenhagen, he caught a few out by turning up at 8.40pm. Maybe his parking ticket was about to expire. 

Londoners , you’ll be absolutely fine to get home as the Jubilee line is running a good service all the way to Stanmore until 12.20pm. However, it’s always best to check the latest travel updates ahead of your journey.

Can I still get tickets? 

Yes. Tickets are still on sale from £50 for both nights, available from axs.com .

What might Mayer’s setlist be? 

Anything goes and don’t let our guide be the gospel on this. But, for an indication, he played the following numbers at his recent gig in Stockholm . 

Slow Dancing in a Burning Room

Shot in the Dark

Queen of California

Shouldn’t Matter but It Does

No Such Thing

Waitin’ on the Day

In Your Atmosphere

You’re Gonna Live Forever in Me

Stop This Train

The Age of Worry

Your Body Is a Wonderland

In the Blood

Walt Grace’s Submarine Test, January 1967

If I Ever Get Around to Living

Edge of Desire

The Heart of Life

Free Fallin’ (Tom Petty cover)

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How John Mayer came to join Dead & Company

Mayer's journey as a Deadhead was like many who got into the band after the fact – except he soon found himself onstage beside Bob Weir and a custodian of the Grateful Dead's legacy

John Mayer’s discovery of the Grateful Dead happened by chance. In 2011, while listening to random suggestions on Pandora, he heard the Dead classic Althea , and with that he fell hard and fast. Taking a deep-dive into the band’s vast back catalogue, he became a committed ‘Deadhead’, leading to a remarkable chapter in his career. 

The first evidence of the Dead’s influence on Mayer came with his 2012 album Born And Raised and 2013 follow-up Paradise Valley . Both albums marked incrementally intensifying departures from polished pop, with Mayer doing and playing exactly what he pleased. And both contained subtle but abundant Grateful Dead influences.

Queen Of California , the opening track from Born And Raised , was in tune with the folksy, acoustic numbers that abound on the Dead’s two albums from 1970, American Beauty and Workingman’s Dead .  

In the second verse from Queen Of California , Mayer also made a reference to Neil Young’s After The Goldrush , before a lengthy pedal steel-driven outro took hold over a bedrock of Dead-esque repeating chords.

Another connection was made in this album’s title track. Jerry Garcia – the founding member and de facto leader of the Grateful Dead as vocalist, lead guitarist and principal songwriter – had played pedal steel on the song Teach Your Children from Déjà Vu , the first album featuring Neil Young in the '70s supergroup Crosby, Stills, Nash & Young. For the song Born And Raised , Mayer had David Crosby and Graham Nash on backing vocals.

And in Wildfire , the first track on Paradise Valley , a comparatively jam-based number with an outdoorsy feel, Mayer sang: “We can dance with the dead/You can rest your head.” Which – depending on how deeply you like to read into things – may well be a reference to the band. 

Fast-forward to 2015, and while appearing as a guest host on The Late Late Show , Mayer was presented with the opportunity to perform with another founding member of the Dead, rhythm guitarist Bob Weir.

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The song they played together was Althea . A bond was formed between them, and by the end of that year, Mayer was invited to join Weir in Dead & Company, a touring outfit also featuring Mickey Hart and Bill Kreutzmann, two drummers who played together in the Dead for many years. 

For all Mayer’s success, this was a challenge – not only to step out of his pop-meets-blues box into the realm of the jam band, but also to take the place of Jerry Garcia, the talismanic figure who died in 1995 at the age of 53.

With a vast repertoire to learn and a comparatively unstructured style of playing to get to grips with, Mayer entered a bootcamp for the role with all the reverence and sincerity a Deadhead could hope for. 

He wrote on Instagram, alongside a 1970s era photo of Garcia: “I’m only here as an interpreter of a master. I play in constant emotional, psychological and musical deference to Jerry Garcia.”

This being said, long-time Deadheads could be forgiven for reacting with some scepticism to the news that the man behind hits such as Daughters and Waiting On The World To Change could be right for the job – especially as more likely jam band candidates such as Warren Haynes and Phish’s Trey Anastasio had already tried out and then withdrawn from the position.

But Mayer was nothing if not thorough about taking on the role. As he stated in a 2016 SiriusXM Radio interview regarding his training for playing one of rock’s most expansive repertoires: “I’m naturally obsessive anyway, so it suited my way of life.”

Further to the material itself, Mayer went all-in on gear to make his transition to fronting Dead & Company as seamless as possible. 

Jerry Garcia’s tone was made unique by the pioneering addition of in-built pre-amps and effects loops to his custom-made Doug Irwin ‘Wolf’ and ‘Tiger’ guitars. Mayer teamed up with PRS to create the Super Eagle II – a guitar which became his main touring instrument with Dead & Company - and which comes in a super duper trippy hemp green finish.

The Super Eagle II features specially-wound 58/15 JM treble and bass pickups with a Narrowfield JM pickup in the middle position (with three individual coil-tap mini-switches), and a JCF Audio preamp – a layout and design very similar to Garcia’s instruments.

When it comes to playing live, the jam band environment seems to bring out the team-player in Mayer. After-all, Dead & Company is the first band he’s played in where the songs and the spotlight are not all his. Certain songs have bluesy in-roads and Mayer employs his well-honed chops to bring flamboyant interpretations to the music.

Elsewhere, the more psychedelic material leaves room for wandering melodic noodles where the destination may be predetermined, but the route to finding it is a little (or a lot) more flexible. Embracing simple, scale-based melodies without the large leaps and bends associated with blues soloing, Mayer is able to meander rather than race and, with trademark chromatic passages, channels Garcia effectively and respectfully.

On stage, Bob Weir looks like a cross between a wise mentor and a proud father figure as he and Mayer trade looks and licks. Back in 2016, alongside a snap of the band, Mayer posted on Instagram, “I grew up a lone wolf in my bedroom practicing my guitar, and all I ever really craved was a community.”

This is perhaps what best sums up the effect that joining Dead & Company has had on Mayer’s musical outlook. As a band who were able to draw the same crowd night after night in a country-wide “long strange trip”, the idea of community will not be alien to any long-serving Deadhead. Thanks to Mayer, the live experience that captivated fans for decades is far from dead.

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Since graduating university with a degree in English, Ellie has spent the last decade working in a variety of media, marketing and live events roles. As well as being a regular contributor to Total Guitar, MusicRadar and GuitarWorld.com, she currently heads up the marketing team of a mid-scale venue in the south-west of England. She started dabbling with guitars around the age of seven and has been borderline obsessed ever since. She has a particular fascination with alternate tunings, is forever hunting for the perfect slide for the smaller-handed guitarist, and derives a sadistic pleasure from bothering her drummer mates with a preference for “f**king wonky” time signatures.

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John Mayer at London’s O2 Arena: timings, tickets and everything you need to know

The American songwriter’s ‘Solo Acoustic’ tour stops by Greenwich this week

Even if you don’t know John Mayer’s tunes (and tbh you almost certainly do, he’s one of this century’s most popular US songwriters), you’ll know his vibe. The American singer, songwriter and guitarist has long been renowned for his heartfelt, warm, romantic tunes – you know that with Mayer you’re in for a soothing, melodic, altogether pleasant sort of time. 

John Mayer also has quite the live rep – and, excitingly, he’s bringing that show to London this week. The star is playing two nights at Greenwich’s O2 Arena as part of his current ‘Solo Acoustic’ European tour.

Planning on seeing Mayer at the O2 this week (or want to buy tickets)? Here’s everything you need to know about the two shows, from the setlist and doors to ticket availability. 

When is John Mayer playing London’s O2 Arena?

The two shows are on Monday March 18 and Tuesday March 19.

What time do doors open?

On both dates, doors open at 6.30pm.

What time will John Mayer come on stage?  

It hasn’t been confirmed exactly when Mayer will come on stage. Judging from previous stops on the current tour and the O2’s curfew, expect him to take to the stage between 8.30pm and 8.45pm. 

Who is supporting him?  

Playing both nights in support is folky singer and songwriter Madison Cunningham. 

Any news on the setlist?

There’s no official setlist, but this is what Mayer played at a stop earlier on the tour in Stockholm, according to Setlist.fm .

• Slow Dancing in a Burning Room
• Shot in the Dark
• Queen of California
• Shouldn’t Matter but It Does
• No Such Thing
• Waitin’ on the Day
• In Your Atmosphere
• You’re Gonna Live Forever in Me
• Stop This Train
• The Age of Worry
• Your Body Is a Wonderland
• In the Blood
• Walt Grace’s Submarine Test, January 1967
• If I Ever Get Around to Living
• Edge of Desire
• The Heart of Life
• Free Fallin’ (Tom Petty cover)

Can you still get tickets for John Mayer at London’s O2 Arena?

There are tickets still available for both shows, starting from £50. You can check availability on AXS here .

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John Mayer has been playing Jeff Beck’s Fender Stratocaster – and Joe Bonamassa has confirmed it’s the real deal

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Ever since he departed Fender and joined the PRS family, John Mayer has, for the most part, been unwaveringly loyal to his Silver Sky signature guitar .

Having said that, recent months have seen Mayer flick through his wider electric guitar collection. This has resulted in him bringing some old favorites back to stage – including a couple of his prized Fenders, such as the Black1 and Monterey models .

Now, Mayer has been spotted playing yet another Fender Stratocaster on stage… but this time, there’s a bit of a twist.

Back in May this year, Mayer was pictured playing a Custom Shop Strat that once belonged to the late Jeff Beck – a fact that has been confirmed by Joe Bonamassa.

As reported by YouTuber Justin Jeske and Instagram account JohnMayerGear , Mayer used the eye-catching Strat during Dead & Company’s residency at The Sphere, with many spectators sharing snaps of the mystery model.

JohnMayerGear hypothesized the guitar resembled a Jeff Beck Strat with a reverse headstock, complete with a split roller nut, block saddles and a two-point bridge.

A post shared by John Mayer Gear (@johnmayergear) A photo posted by on

The account then went on to note the guitar in question was similar to the reverse headstock-equipped Strat the Fender Custom Shop had built Beck around 2014, and theorized this was another custom model commissioned specifically for Mayer.

However, Bonamassa – whose eye for guitar identification is world-renowned – then confirmed it wasn’t a copy, but the exact model. As it turns out, Mayer has been lent the guitar for a few of the Dead & Company shows, and it looks like he's been putting it to good use.

According to the post, he played Black Peter and Days Between using Beck’s Strat. And, through the clips shared by Jeske, it’s clear Mayer looked to double-down on the Beck vibe by fingerpicking his way through some solo licks, all while enthusiastically waggling the whammy bar.

Mayer’s respect for Beck’s playing is well-documented, so it’s no surprise he’d seize the opportunity to pay homage to one of his biggest heroes.

As Jeske notes, Mayer previously used a Jeff Beck Master Built Strat to perform his track Heartbreak Warfare . This time, though, he’s got his hands on “a guitar of one of his heroes”, which is the real deal.

Earlier this year, Mayer discussed his adoration for Beck , telling Conan O’Brien how Beck’s presence allowed him to finally relax about his guitar playing, saying, “Jeff Beck was in the room – and I was relaxed!

“It was like, ‘Oh, [for once] I don’t have to think about how I play the guitar, because the best is in the room. And it’s not me!’”

When he's not using Beck's Strat during Dead & Company's Sphere residency, Mayer has been playing his Dead Spec Silver Sky, which is inspired by Jerry Garcia's Alligator guitar .

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