ocean avenue

More than two decades after their peak, the music of Yellowcard is a pop punk message in a bottle. The note that washed ashore from a simpler time describes the image of a young, sharply-dressed band full of aspirations, thrashing on their instruments — violin included — in the echoey tomb of an underground parking garage in the music video for “Ocean Avenue” as the chorus kicks into overdrive.

“If I could find you now, things would get better, we could leave this town and run forever, let your waves crash down on me and take me away,” frontman Ryan Key sang ecstatically at the top of his lungs.

That hit song, the title track of 2003’s “Ocean Avenue,” created a tidal wave of success that changed the course of their career from struggling artists to a world-touring headliner and darlings of MTV’s Total Request Live.

“The first time it happened, we were really young,” Key said, gingerly grasping a spoon with his heavily tattooed hand while stirring a cup of hot tea. “We were quite literally a garage band one minute, and then we were playing on the MTV Video Music Awards and David Letterman and whatever else the next minute.”

It’s a moment that hasn’t escaped his memory 22 years later. Now, he and his bandmates — violinist Sean Mackin, bassist Josh Portman and guitarist Ryan Mendez — are far from the ocean but not too far from water as they look out at a sparkling pool from the window from a suite at the Yaamava’ Resort and Casino in Highland. A couple hours from now, the band will play a splashy pool party gig for 98.7 ALT FM. The set will include a raft of all the old hits, including “Ocean Avenue” of course, as well as their first new songs in almost a decade.

Before the release of the first singles for the new album, “Better Days,” it might’ve been easy to write off their 11th album as another release destined to be overshadowed by their early catalog. However, with the right amount of internal inspiration and outside help from Blink 182 drummer Travis Barker, who produced and played all the drums on the album, the result was a batch of new songs that haven’t simply been washed out to sea. Quite the opposite, actually.

Prior to the album’s release, the title track “Better Days” reached No. 1 on the Billboard Alternative Airplay chart. This achievement came after a 22-year wait since their first appearance on the chart with the “Ocean Avenue” single “Way Away.” Key also notes that it’s the first time fans are using the band’s new music for their TikTok videos instead of “Ocean Avenue.”

“That’s crazy,” Key said. “Everyone is using ‘Better Days.’ I don’t think we’re alone in that. I think for bands in our scene, new music is getting a lot of love and a lot of attention again, and it’s amazing to see.”

It’s been about three years since the band reemerged to play a reunion set at RiotFest in Chicago, following their 2017 farewell show at the House of Blues in Anaheim. At the point they were ready to call it quits, the band was struggling to sell enough tickets to their shows to keep the dream alive. For Mackin, fatherhood forced him to also consider his family’s financial stability, prompting him to enter the corporate workforce as a sales rep and eventually becoming a service director for Toyota. At one point, he was responsible for managing 120 employees. “I just thought that was going to be what I was going to do to take care of my family for the next 20 years,” Mackin said.

After Yellowcard’s hiatus, Key continued playing music in several projects that distanced themselves from the pop punk sound — including recording solo work under his full name William Ryan Key, touring with bassist Portman at his side. Key also produced a post-rock electronic-heavy project called Jedha with Mendez, and the pair also does a lot of TV and film scoring work. For a long time, Key and his bandmates mourned the loss of what they had with Yellowcard. It was the most important thing in Key’s life, though he said he didn’t realize how much the band truly shaped him until it was over.

During their hiatus, band members took day jobs. One member managed 120 Toyota employees before the 2022 Riot Fest reunion reignited their passion.

(Joe Brady)

“Ungrateful is not the word to use about how I felt back then. It’s more like I didn’t have the tools to appreciate it, to feel gratitude and really let things happen and and stay in the moment and stay focused. Because I was so young, I was so insecure about my place, my role in all of it,” Key said.

But after some time away, the raucous 2022 Riot Fest reunion show relit the band’s fire in a way they hadn’t expected. They followed up with a 2023 EP “Childhood Eyes” that pushed the band to take things further with a new full album. Along with these plans came the stunning news that Barker would sign on to produce and play drums for them on the project. For a band that grew up idolizing Blink 182 and Barker specifically as the band’s red-hot engine behind the kit who spent the last 20 years evolving into a music mogul, it was a surreal experience.

“We look at him like a general. It was never lost that the best drummer of our generation is playing drums with us,” Mackin said. “We know him as Travis now, but man, this guy is just oozing talent — he’s doing all these amazing things and he doesn’t seem overrun by it, not distracted one bit. While we were recording, he was right there with us.”

Key says he was initially intimidated singing in front of Barker in the studio and had a few moments where negative, self-conscious thoughts were getting the better of him in the vocal booth during recording. Instead of getting annoyed, he says Barker helped ease his anxiety with a few simple words.

“Travis came into the booth, closed the door, put his hand on my shoulder, and he said, ‘You’re gonna do this as many times as you need to do it. I’m gonna be here the whole time.’” Barker was truly speaking from experience. He told Key at the time that he’d just recorded 87 rough takes of his parts on “Lonely Road,” his hit song with Jelly Roll and MGK. “That was a real crossroads for me,” Key said.

The aspect of the album that feels most akin to “Ocean Avenue” was that Barker never really allowed them to overthink anything when it came to songwriting, a skill the band had unwittingly mastered as kids back in the “Ocean Avenue” days by writing songs on the fly in the studio with little time to care about how a song might end up before they recorded it.

“There’s something about the way we did this record with Travis, where we would walk in and did it in a way we haven’t done in 20 plus years with him saying ‘We’re gonna write and record a song today,’” Key said. “ It was a return to that style of songwriting where you have to kind of get out of your comfort zone and just throw and go.”

The final product moves swiftly over 10 songs, the track list starts with a flurry of energy from the bombastic opening drums of “Better Days” that propel a song on inner reflection on the past. It moves on to the high-energy heartbreak of “Love Letters,” featuring Matt Skiba of Alkaline Trio. Avril Lavigne lends her soaring vocals to the unrequited love song “You Broke Me Too.” Songs like “City of Angels” and “Bedroom Posters” track episodes in Key’s life where his band’s hiatus took a negative toll on his outlook on life but also about looking for a way back to rediscovering himself. The album wraps with the acoustic lullaby “Big Blue Eyes,” which Keys wrote as a tribute to his son.

Though the songs on “Better Days” frequently wrestle with self-doubt and uncertainty, the response from fans has been surprisingly supportive, Key said.

“I cannot recall seeing this level of overwhelming positive feedback. People are just flipping out over these songs,” the frontman said. “The recording was such a whirlwind. When I listen to it, it’s still kind of like ‘When did I write that song?’ It happened so fast, and we made the record so fast, but I’m glad we just did it.” Despite the success, Key is hesitant to label the band comeback kids, “probably because we are officially passed kids label,” he said.

“Maybe it’s the return of the gentlemen?” Mackin joked.

Blink-182 drummer Travis Barker produced the album, helping the band recapture the spontaneous energy that defined their 2003 breakthrough “Ocean Avenue.”

(Joe Brady)

Whatever they call themselves, coming back to the band after so many years of different experiences has made Yellowcard’s second shot at a career feel all the more rewarding.

“Because you feel like you know you’re capable of something other than being in this band, capable of connecting with your family in a way that you couldn’t when you were on the road all the time,” Mackin said. “There’s things that happened in that break that set us up for success as human beings, not just as creative people.”

For Key, it’s about taking all the lessons they’ve learned as a band and applying them to their future, realizing that the album’s title refers not just to the past behind them, but what lies ahead.

“This record needed to be the ultimate revival, the ultimate redemption song for our band,” Key said. “And so far it’s, it’s proven to be that.”