All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

You can bring home the queen of pop-punk Avril Lavigne in the form of a collectable figurine by Funko. The 39-year-old has been getting nostalgic in cities across North America and Europe through her Greatest Hits tour, but for fans who haven’t had the chance to get tickets to the tour, the “Complicated” singer released her first-ever Funko Pop figurine — and it’s display-worthy.

You won’t be saying “see you later” once you see Lavigne’s new “Sk8er Boi” Funko Pop that’s inspired by the outfit she wore in the 2002 music video. The collectible originally went on sale back in May, but has been hard to keep in stock since. Amazon and Walmart just restocked the figurine online, but there are only limited quantities left.

Lavigne’s figurine now joins the growing list of musician and artist Funko Pops! the toy brand has released, including BLACKPINK Pops! and Queen-inspired figurines.

Keep reading to discover where to buy the Funko Pop! online to guarantee you get your hands on the collectible.

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The “Sk8er Boi” Funko Pop! won’t just make a treasurable collector’s piece for fans of the “Girlfriend” singer, but will make a praise-worthy gift for music lovers in your life. The figurine comes dressed in an outfit inspired by the one Lavigne rocked out in the official music video, including a backward hat and black-and-white striped socks.

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Funko didn’t stop with just one figurine modeled after the “Complicated” singer — you can also order an album figurine designed to look like her Let Go cover, which celebrated its 20th anniversary in 2022. The collectable also dropped in May and is on sale for a limited-time for as low as $15.

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What sets the Let Go Funko Pop! apart from the typical Pop! is how it comes with a figurine standing in front of a photo of the album cover. You’ll also receive a protective box with your purchase to keep the merch in pristine shape.

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The figurine also stands in the same pose that Lavigne sported on the album cover in addition to wearing a replicated outfit of the one in the original photo.

After you expand your merch collection, you can still find tickets to Avril Lavigne’s The Greatest Hits tour including on Ticketmaster, StubHub, Vivid Seats (get $20 off purchases of $200+ with the code BB2024), Seat Geek (first purchases can use code BILLBOARD10 to save $10 off your ticket orders of $250+), Gametime (score $20 off purchases of $150+ when you enter the code SAVE20 at checkout) and Ticket Network (take advantage of $150 off purchases of $500+ with the code BILLBOARD150 or snag $300 off ticket orders of $1,000+ with the code BILLBOARD300).

For more product recommendations, check out ShopBillboard‘s roundups of the best gifts for musicians, music books and music trivia games.

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. This week: Allegations of corporate “sabotage” of Revlon’s Britney Spears partnership; the estate of Isaac Hayes wins an injunction against Donald Trump over music at rallies; a judge rules on Missy Elliot’s copyright battle; and much more.

THE BIG STORY: The Great Britney Fragrance Heist

Corporate espionage AND Britney Spears? We’re in. 

Two decades after the singer launched a lucrative perfume partnership with Revlon’s Elizabeth Arden, the company is now accusing several former employees and an upstart rival (Give Back Beauty) of effectively stealing the superstar. In a lawsuit filed last week, Revlon’s attorneys called it a “carefully planned and executed grab.” 

“Revlon and Elizabeth Arden were completely unaware that Revlon’s own team was actively sabotaging one of their most valuable licensing relationships,” the company’s lawyers claim. 

In technical terms, the lawsuit accuses the defendants of theft of trade secrets and so-called tortious interference with their business and contracts. It also accuses the individual employees of breach of their contracts and breach of their duty of loyalty to Revlon. Britney isn’t accused of any wrongdoing. 

Give Back Beauty strongly denied the allegations, telling Billboard that the allegations were “entirely without merit” and that it would “aggressively defend any attempt to impugn the integrity of our company. Revlon, for its part, mostly stressed that it wasn’t suing Spears herself: “We value our 20-year partnership and wish Britney all the best.” 

Revlon doesn’t feel the same way about the departing employees — labeling one as a “double-agent” who assisted a rival company in “taking the Britney Brands business away” while she was outwardly working to renew the account with Elizabeth Arden. For the rest of the lawsuit’s allegations, go read our full story here. 

Other top stories this week…

TRUMP INJUNCTION – The estate of Isaac Hayes won a preliminary injunction prohibiting former President Donald Trump and his campaign from playing the singer’s “Hold On, I’m Coming” at rallies. Hayes is one of many artists to complain about the former president using their music in the 2024 campaign, but thus far he’s the only one to actually sue over it. 

MISSY FACES TRIAL – A federal judge ruled that Missy Elliott must face trial in a copyright lawsuit filed by a man named Terry Williams, who claims to have co-written several decades-old songs she released with the group Sistas. The judge did, however, dismiss one of the lawsuit’s key claims: That Terry and Elliott had co-written “Heartbroken,” a 1996 track released by the late Aaliyah. 

AUCTION DELAYED – A court-ordered auction of Damon Dash’s one-third stake in Jay-Z’s Roc-A-Fella Records was postponed for three weeks — and the minimum price for the sale was more than doubled to help cover Dash’s massive unpaid tax and child support debts. 

DEAL IN THE SKY – A lawsuit filed by Journey member Jonathan Cain against bandmate Neal Schon was largely resolved after Schon conceded to the appointment of a neutral third party to resolve the “deadlock” that Cain has claimed is crippling the band’s operations. The case, filed last month, was the latest in a string of legal battles among members of the “Don’t Stop Believin’” band. 

ROYALTIES ROW – Spotify fired back at a lawsuit filed by the Mechanical Licensing Collective that claims the streamer used the addition of audiobooks to “unlawfully” cut its music royalty payments nearly in half. In a motion to dismiss the case, Spotify called it “nonsensical” and claims that it “profoundly devalues the contributions of the tens of thousands of book authors.” 

MANILOW v. HIPGNOSIS – Barry Manilow sued Hipgnosis Songs Fund (HSF) in federal court, seeking $1.5 million in unpaid bonuses related to the music rights company’s acquisition of his catalog four years ago. The new case came a month after Hipgnosis sued Manilow in the UK alleging breach of contract relating to the bonus payments.

MANSON APPEAL – Marilyn Manson launched an appeal seeking to revive his defamation lawsuit against ex-fiance Evan Rachel Wood, arguing a lower judge who dismissed much of the case ignored key evidence. The case, which claims that Wood “secretly recruited, coordinated, and pressured” women to make false abuse allegations against Manson, was largely dismissed last year under California’s anti-SLAPP statute. 

DMCA DISMISSED – A federal judge ruled that Universal Music Group and Playboi Carti didn’t abuse the DMCA (Digital Millennium Copyright Act) when they issued a takedown notice — erroneously, it later turned out — against another rapper’s song that used the same beat. The judge ruled that the law’s safeguards against false takedowns only prohibit intentionally false use of the system. 

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

New month, new haircare routine! You can now shop Fenty Hair in stores and online. Rihanna’s hair line became available at Sephora on Tuesday (Sept. 3), marking its first foray into a retail storefront.

“I’m really excited to bring Fenty Hair to Sephora so that everyone can get in on it,” Rihanna said in a statement. “Hair is one of the most fun parts of beauty – I’ve had every hair color, style, cut. I love to switch it up. But to do that, you need to make sure your hair is healthy. Fenty Hair makes your hair stronger and healthier so that any style is possible for you, too.”

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The products available at Sephora include mini collections and limited releases such as The Mini Maintenance Crew Start’r Kit ($45), The Curl Crew Instant Damage Repair Treatment Set ($25), The Comeback Kid Instant Damage Repair Treatment ($36), The Protective Type 5-in-1 Heat Protectant Styler ($28), The Rich One Moisture Repair Shampoo ($29), The Rich One Moisture Repair Conditioner ($29), The Richer One Moisture Repair Deep Conditioner ($29), The Homecurl Curl-Defining Cream ($28), The Gelly Type Strong Hold Gel ($26), The Controlling Type Hair-Thickening Edge Control Gel ($18) and The Side Stick 3-in-1 Edge Tool ($18).

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Powered by Replenicore-5, a special blend of amino acids, proteins and antioxidants, Fenty Hair is designed to repair, strengthen, hydrate, smooth and protect your follicles. Rihanna launched Fenty Hair in June but the products were initially only available on the Fenty website.

With its expansion to Sephora, Fenty Hair will now be available in 700 stores and online at Sephora.com. The expansion also means Fenty Hair has officially joined Fenty Beauty, Fenty Skin and Fenty Eau de Parfum in being available at the beauty retailer.

Knocked Loose frontman Bryan Garris is an ordinary-looking dude who screams all his lyrics. “I just can’t sing,” Garris tells me matter-of-factly. “I wish all the time that I could, but I probably wouldn’t utilize it for Knocked Loose. We just want to be an intense band. There’s never, ever been a conversation of softening.”

Even without toning down the mayhem, Garris and co. have scored one of 2024’s most commercially successful new rock albums from one of the genre’s most traditionally un-commercial corners. Knocked Loose play pummeling, metallic hardcore—the kind of stuff that’s forged in basements and DIY venues, fine-tuned for moshing and fan connection. 

You Won’t Go Before You’re Supposed To is 28 minutes of pure carnage, free from any commercial concessions. After dropping on May 10 through Pure Noise Records, the band’s third studio album debuted at No. 1 on three Billboard charts: Independent Albums, Hard Rock Albums and Indie Store Album Sales. The album earned nearly 24,000 units (including an impressive 18,000 in pure sales) in its first week, good for a No. 23 debut on the Billboard 200 dated May 25. Some context: it debuted ahead of a new studio album from Kings of Leon, a major label band with significantly more industry clout. (And among fast-rising newcomers, Knocked Loose came in five spots above Chappell Roan’s The Rise and Fall of a Midwest Princess during that particular chart week.) 

“People were excited to buy this record,” says James Vitalo, Knocked Loose’s manager for Gold Theory Artists. “They carry themselves so well and are so intentional with everything they do. People want to see them win.” 

Historically, heavy rock bands tend to forge commercial inroads by making their sound more palatable: think Metallica serving ballads on The Black Album, or Bring Me the Horizon ditching their MySpace deathcore roots and singing big, shiny choruses on 2013’s Sempiternal. Instead, Knocked Loose dug their heels into the sound that made them.

The five-piece (which also includes guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten, and drummer Kevin “Pacsun” Kaine) formed in 2013 in Louisville, Kentucky. “We were thrown into the deep end of DIY touring,” Garris recalls of the early days. “You’re trapped in a basement, either fighting or getting beat up. Louisville was never very violent. Then [we were] going to bigger cities, seeing how hard people mosh.” 

Knocked Loose became one of the hottest names in hardcore thanks to their 2014 EP, Pop Culture. They signed to Pure Noise Records, a young indie label best known for breaking pop-punk bands like State Champs and The Story So Far. The pairing was an immediate win for both sides: Pure Noise boosted its cred with a buzzy band outside its typical purview, and Knocked Loose got a label with strong independent distribution (the Orchard distributed You Won’t Go).

Their 2016 debut album Laugh Tracks solidified their national following, particularly with the minute-long tune “Counting Worms.” Its earthquaking breakdown — punctuated by Garris barking, “ARF ARF” — was memed across the alt-kid internet, and gave Knocked Loose an early signature song. Three years later, they’d built such a strong following that 2019 sophomore album A Different Shade of Blue debuted at No. 26 on the Billboard 200, more than 100 spots higher than Laugh Tracks, which started at No. 163 in 2016. 

As Knocked Loose planned its third LP, 2023 brought them an unexpected invite: Coachella. “We immediately said yes,” says Garris. Then the anxious waiting set in: “What’s this going to be? It could be bad, and that would be fine. It’s Coachella. It’s not our normal stage.” 

April 16, as their 8:10 p.m. set time approached, the setting looked surprisingly… familiar. “We pull up, go to our stage, and there’s no barricade. This has to be a mistake, they’re probably still setting up. Then our stage manager comes over, he’s wearing a punk shirt, and immediately introduces himself: ‘We’re really excited to have you guys, we know what you’re about, blah, blah, blah.’ I was like, ‘Are you keeping the barricade down?’ He says yeah. I’m thinking, This is insane.”

It was. Seriously, watch this. This was at Coachella: 

New eyeballs were on Garris. “Someone said Tom DeLonge [was sidestage], someone said Ethel Cain, which was a big one for me, personally. Then the video came out of Billie Eilish watching us play. I was just like, This doesn’t feel real.”

As Knocked Loose garnered new fans (including some famous ones), Vitalo sensed new interest in Knocked Loose’s scene from various factions of the music industry. “I’ve been working with metal and hardcore bands for 10 years, and over the last two, there’s been a lot of people coming into a space that’s been neglected,” he says. “A lot of record labels, booking agents, and managers are paying attention to something they haven’t paid attention to before. I’m not saying it’s a good or a bad thing, but it’s noticeable. Not letting that go to their heads proves Knocked Loose’s character.” 

Knocked Loose capitalized on the Coachella momentum. Three weeks later, they unleashed Upon Loss Singles, a two-song collection featuring their first work with Grammy-nominated producer Drew Fulk (Lil Peep, A Day to Remember). This new strain of Knocked Loose — widescreen and hi-fi, while somehow even more brutal—would become fully realized on You Won’t Go Before You’re Supposed To. Take the ominous little coda of “Moss Covers All” that segues seamlessly into the beatdown opening of “Take Me Home,” or the guest appearance from goth-pop artist Poppy, who screams with Garris while Kaine drums a reggaeton rhythm on “Suffocate.” The lattermost track hit the top 10 on Spotify’s Viral 50 chart in May alongside the album drop, and became Knocked Loose’s first entry on the Hot Rock & Alternative Songs chart, reaching No. 46 in May.

Knocked Loose christened the new album at L.A.’s Shrine Auditorium in May with over 6,000 fans, their largest headlining show yet. Bands that get bigger by getting heavier are rare – but starting in August, Knocked Loose began touring with one of them. 

“Knocked Loose slams so hard, they’re gonna have bone problems later in life,” says Slipknot percussionist Shawn “Clown” Crahan, recounting a conversation from the previous night’s gig. “When people say these things out loud, you know they’re doing it.”

Strong words, coming from the guy who’s been slamming kegs and custom drum kits with metal bats in a clown mask for the past three decades. Slipknot is touring behind the 25th anniversary of its self-titled 1999 debut, and Knocked Loose was hand-picked to open the entire trek. “A tour of this scale comes with its own new set of benefits for a band like us,” Garris says. “This is all uncharted territory.”

On Aug. 12, the tour came to New York’s Madison Square Garden. The place was sold out, and this was clearly the headliner’s crowd: parents rocking decades-old Slipknot gear, kids in youth-size tees and replica coveralls. Still, the seats were nearly full in time for Knocked Loose’s opening set, and as Knocked Loose raged, the crowd responded. Fans in the nosebleeds looked up from their nachos. The mosh pit didn’t get as big as it would for Slipknot, but it was livelier. 

“You see people who get there early and go straight to the barricade, saving their spot for Slipknot,” Garris tells me. “At the start of our set, they couldn’t care less. Slowly but surely, they start to bob their head, put their hands up. Watching that firsthand is super rewarding.” 

Knocked Loose has a way of winning over the unconverted. Maybe it’s in Garris’ voice. The stereotypical hardcore frontman is some big dude with a deep, guttural scream who sounds like he’s looking for an excuse to beat you up. When Garris screams, he’s high-pitched and a bit unhinged. He sounds like he’s been through some real s–t, not simply here to play the punisher. 

“I just got done telling Bryan and those guys about understanding that you’re in the zone,” Clown says. “You need a good team. A family around you, checking for isolation, substance abuse, depression, ego. You can’t just go rock out. Sharon Osborne checked in on me. I had Deftones bass player Chi [Cheng], who’s passed. He would check on me, because we were both family men. I’m checking in on [Knocked Loose] because I understand the realities.” 

Music this physical is not easy to play night after night. The rigors of the road affect any popular artist, but Knocked Loose are regularly at risk of hockey-style injuries– and the kind of maladies you can’t see. “I’m definitely not a teenager anymore,” says Garris, who will turn 31 on Sept. 6. “I’m listening to myself and taking care of myself. I can’t do this if I’m not mentally healthy.” 

There’s a lot more ahead. After the Slipknot tour wraps Sept. 21, Knocked Loose will embark on a 22-date U.S. headlining tour Oct. 4. It’s a mix of large theaters, amphitheaters, and even arenas. There will be several chances to break that attendance record they set four months ago.

Knocked Loose’s success feels intensely singular, nearly impossible to duplicate. They’ve been fighting the good fight for over a decade, a top-tier band in a genre known for loyal, highly-engaged fans. Many probably see a bit of themselves in Garris. The band’s support team is well-connected. Can Knocked Loose get even bigger? 

If another legendary metal band takes them on tour, that wouldn’t hurt. The Grammys have nominated fresh blood like Turnstile, Code Orange, and Deafheaven in the best metal performance category in recent years, if that’s an item Knocked Loose is looking to cross off their list. But really, the core to all this is pushing the envelope with each release, then going out and slaying shows. It’s not that complicated. 

“Every time we headline,” muses Garris, “it’s like, Where can we take it now? What’s the next step?”