The realization is setting in for the iconic members of Sum 41 that their journey is reaching a significant milestone. This is truly the end of an era for one of Canada?s most beloved pop-punk bands.

Deryck Whibley, the charismatic frontman, candidly shares in an exclusive interview with Billboard Canada, ?For the first time, this really feels like the end.? His words echo the sentiment of finality that envelops the band as they prepare to conclude their legacy.

Speaking from his studio in vibrant Las Vegas during a rare break from their extensive ?Tour of the Setting Sum,? Whibley reflects on the journey that brought them here. The band, which has been a staple in the rock music scene, is now facing the reality of concluding their notable career.

Having recently returned from an exhilarating tour in Australia, Sum 41 is gearing up for their final show in their home country. Whibley is slowly coming to terms with the decision he made in 2023 to officially disband after an impressive two decades of musical achievements.

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After an extensive world tour that spanned nearly a year and a final album that has garnered significant success, Sum 41 is gearing up for their last concert on January 30 at the iconic Scotiabank Arena in their hometown. This final performance marks a bittersweet culmination of their journey.

Reflecting on the end of this chapter, Whibley admits, ?I never had an idea of when to end it or how to end it or if I?d even end it.? He confesses that at times he believed this would be his lifelong pursuit. However, a profound sense of change emerged, compelling him to acknowledge that it was time to move forward. This realization took him by surprise.

His unexpected decision also took his bandmates by surprise. Whibley describes their reaction as ?blindsided,? emphasizing the shock that accompanied the announcement.

Among his bandmates are bassist Jason ?Cone? McCaslin and lead guitarist Dave ?Brownsound? Baksh, whom he has known since high school. The other members, drummer Frank Zummo and guitarist Tom Thacker, have also contributed significantly to the band’s legacy. Together, they have reached a peak in performance that has propelled them through challenges, including the pandemic, towards an album that stands out in their impressive discography.

The band?s concluding album, Heaven :X: Hell, has surpassed expectations, achieving notable chart positions such as No. 37 on the Billboard Canadian Albums chart and No. 23 on the Top Rock & Alternative Albums chart. In 2024, their single ?Landmines? reached No. 1 on the Alternative Airplay chart, marking a remarkable 22-year gap since their previous No. 1 hit, ?Fat Lip,? in 2001. Another single, ?Dopamine,? also achieved similar success shortly after.

Deciding to end the band now empowers Sum 41 to take control of their future after years of navigating the complexities of the music industry. Whibley?s journey has been filled with ups and downs, from groundbreaking record deals to battles with addiction and tabloid notoriety, culminating in a triumphant exit that includes an induction into the Canadian Music Hall of Fame on March 30, alongside a final televised performance during the Juno Awards.

?There?s a story there, and I?m proud of the whole story,? Whibley asserts, emphasizing the pride he takes in their journey. ?It?s a validation of everything we?ve been working for, from playing in the basement as teenagers to now ? here we are. We?ve navigated all the highs and lows, and we?ve reached a point where we can craft our own ending.?

For Whibley, writing this ending has involved a deep reflection on everything Sum 41 has experienced as a band and on his personal journey. This introspection has provided a fresh perspective on the band?s history and the challenges they have faced.

In 2024, as Sum 41 celebrated the success of their single ?Landmines,? Whibley launched another significant project.

His autobiography, Walking Disaster: My Life Through Heaven and Hell, published by Simon & Schuster in March, delves into the intricate history of the band. Whibley reveals his transition from a high school student to a member of one of Canada?s most significant punk bands, intertwining tales of rock stardom with raw reflections on his struggles with addiction and possible PTSD.

Throughout this exploration of the band?s past, Whibley revisits a painful chapter he had previously kept private. He shares the harrowing experience of being groomed and sexually abused by Greig Nori, his mentor and Sum 41?s former manager, who began this abuse when he was just 16 years old. This dark experience often overshadowed the band?s successes and achievements.

It took years for Whibley to come to terms with this trauma. He credits his then-partner, Avril Lavigne, and his now-wife, Ariana Cooper, for helping him understand that what he experienced was indeed abuse. Rather than labeling it explicitly, he chooses to share his journey through recounting his experiences without defining them strictly.

?This was my first time truly confronting it [in the book],? Whibley elaborates. ?Hearing other people?s stories made me question my own experiences. I recognized the manipulative nature of what I went through, especially reflecting on how easily that 16-year-old kid could have been misled.?

Nori, previously the frontman of Treble Charger, has denied all allegations against him. Reports indicate that he has filed a legal notice seeking over $6 million in damages from Whibley and Simon & Schuster for claims of libel and breach of confidence. In response, Whibley has filed his own notice of action seeking $3 million from Nori for damaging his reputation.

Through his representatives, Whibley has chosen not to comment on the legal proceedings that arose shortly after their discussion. However, he did express his hopes that the matter could be resolved in court.

?In a way, I hope it does,? he states. ?I?d love for him to go under oath and discuss this matter in front of a jury. I have nothing to hide. Everything is out in the open now. Let?s see what you have to say, Greig.?

While he anticipates the possibility of a courtroom battle, Whibley emphasizes that sharing his story is as much about personal healing as it is about helping others who may have endured similar experiences.

After publishing his memoir, Whibley took the time to engage with his audience on social media. He wanted to connect with those who resonated with his story, making sure he was available for those who reached out.

?I?ve received numerous messages from people sharing their own stories,? he reveals. ?Many individuals, including those I know personally, have approached me to say, ?I went through something similar.? It?s immensely rewarding to know that my experiences can provide support to others.?

When initially approached about writing his autobiography, Whibley was skeptical of its necessity.

?I thought it would be incredibly dull,? he recalls. ??High school band makes it.? How interesting is that??

However, as he began documenting his journey, he was struck by the unpredictability and excitement that has characterized Sum 41?s career.

?There?s always something happening, good or bad, and we?ve hardly ever taken a break,? he noted.

Whibley first crossed paths with McCaslin and Baksh, along with original drummer Steve ?Stevo32? Jocz, during their high school days in Ajax in the 1990s.

Their inaugural performance as Sum 41 took place at a battle of the bands event at the Opera House in Toronto. They devised a strategy to sell the most tickets, hoping to secure a professional photo shoot. Despite bringing a bus full of friends, they were scheduled to perform first at 5 pm and ultimately did not receive the promised prize.

It was during this event that they solidified their connection with Nori, whom Whibley had invited after sneaking backstage at a Treble Charger concert, as well as with Marc Costanzo of the band Len, known for their hit ?Steal My Sunshine.?

These crucial connections paved the way for Whibley to secure a publishing deal with EMI Publishing Canada at just 17 years old. This opportunity allowed the band to record their demos, which they sent out to major Canadian labels, receiving rejections from all of them. Whibley recalls that Universal Music Canada deemed them the worst band they had heard in a decade, while only a smaller label, Aquarius Records, showed interest.

Determined to showcase their live energy, they believed that performing in front of industry executives was the key to securing a deal. They organized a five-week residency at Ted?s Wrecking Yard, inviting all the industry heavyweights to witness their electrifying performances, which included trampolines and pyrotechnics. This was their chance to reach beyond the Canadian market.

The residency became legendary, attracting other aspiring bands eager to make their mark.

Whibley recalls, ?There were bands who wondered who this young group was getting all this attention. They felt overshadowed by us, and when labels started showing interest, suddenly they were all our best friends. One band even tried to convince labels to sign them instead of us.?

By the end of 1999, Sum 41 had secured a groundbreaking $3.5 million record deal with Island Def Jam, making them the first rock act to land such a deal. It was a historic moment for a Canadian band.

Their debut album on the label, 2001?s All Killer No Filler, achieved tremendous success, earning platinum certifications in both Canada and the United States. The hit single ?Fat Lip,? with its iconic music video, captured the essence of the era, dominating the Billboard Alternative Airplay chart, while tracks like ?In Too Deep? and ?Makes No Difference? also garnered significant airplay on MuchMusic and MTV.

Sum 41 emerged as a defining band of their time, coinciding with the rise of mainstream acts like Blink-182 and Green Day, and the popularity of the Warped Tour, which provided a platform for punk music to flourish. Their youthful energy and rebellious spirit resonated with fans during a time when skate culture was on the rise and shows like Jackass were bringing juvenile humor to mainstream audiences.

They were four high school kids, engaging in pranks and wild parties, inviting fans into their chaotic world. Long before social media, they documented their antics on camcorders, capturing outrageous moments that would become their calling cards.

While their antics delighted fans, critics often dismissed them as trivial or derivative, focusing more on their playful behavior than their musical talent. Whibley reflects, ?In a way, your initial impression shapes how people perceive you. If everything seems like a joke, it?s hard to be taken seriously. I wished for a balance; I?ve always valued the depth of our lyrics and music, but it often got overshadowed by the humor.?

As the band matured, their music evolved, embracing darker and more profound themes. Albums like 2002?s Does This Look Infected? and 2004?s Chuck explored topics such as depression, existential struggles, and societal issues?reflecting a shift from their earlier, more carefree image. Whibley acknowledges that some of these lyrics may have subconsciously mirrored his own battles.

The album Chuck was particularly influenced by a near-death experience the band faced while on a humanitarian trip to the Democratic Republic of the Congo, where they encountered gunfire. They named the album after a Canadian