Yellowcard Gives Back To The Fans With ‘Better Days’

The pop-punk legends Yellowcard have returned with their eleventh studio album, with ‘Better Days’. This marks their first release since 2023’s ‘Childhood Eyes’ EP, and their first album in almost a decade since 2016’s self-titled album. This record highlights a lot of what makes this band as special and memorable as they have been since the early 2000’s. From the catchy melodies to the heartfelt lyrics, they know what they’ve been cooking on this album.

The record opens with the title track of the record, as it should since it really feels like a traditional Yellowcard track. It’s grown on me with more listens, as it’s got such an anthemic chorus and a nostalgic feel (especially with that main riff). The production helmed by Blink 182’s Travis Barker feels very apparent here, and really makes it feel polished and modern in 2025. 

We follow up with another one of the singles, with “Take What You Want”. The melodies on this feel very pop inspired, especially during the chorus. Like this track feels more reminiscent of modern pop punk bands are doing in terms of a more radio type of sound. It gives me the vibes of someone like Simple Plan honestly. The violin by Sean Mackin really shines during the bridge here, and it’s definitely not gonna be the last time it’s a stand out. 

We continue on with my personal favorite from the record, with “Love Letters Lost”. It starts off with a great riff from guitarist Ryan Mendez, as it feels nostalgic of older Yellowcard in my eyes. The chorus is absolutely massive, and probably the best on this whole album for me. Matt Skiba of Alkaline Trio’s feature fits pretty nicely on this track, as him and vocalist Ryan Key do sound great together. It just makes for a fun, fast pop-punk juggernaut of a song. And it’s this band really firing on all cylinders. 

We keep up the fast vibes with the second single from this album, with “honestly i”. The violin by Mackin once again stands out as it leads off this track nicely, and shines all throughout. The drumming on here by Travis Barker feels very akin to his drumming in Blink, it’s just so signature to him. At the same time, it feels like such an essential sort of song from this band. That makes it one of their best songs in years if I’m being honest, and easily the best of the singles. 

We slow it down a bit with a 2000’s sort of ballad, with “You Broke Me Too”. It feels so reminiscent of that time period, and it definitely gives off the vibes of the artist featured on this. Speaking of, Avril Lavigne’s feature on here fits nicely because of the atmosphere and vibe of this song. I think it slows down the album in a nice sort of way, giving a little variety and paces the record nicely. The violin by Mackin once again thrives during the bridge, as well as Avril and Ryan’s voices sounding great together. 

We keep the slow vibes going with the most out there track on the album, with “City of Angels”. It gives off huge pop-rock vibes throughout this one, and it definitely makes for one of the band’s more experimental tracks to date. It feels fitting following the last track, and the orchestral elements really elevate this song as a whole. Ryan’s voice I think shines pretty bright on a song like this too, and I’m all for it. 

We jump to another one of the singles in a more nostalgia coded tune, with “Bedroom Posters”. It gives off vibes of their 2012 record, ‘Awakening’, and it just has the feeling of walking on a sunny day in the 2010’s. The lyrics dive deep into not wanting to let go of the past, and holding onto the memories through tough times. One line I thought was a simple but clever one here is “if love’s a currency, I’m running low these days”. 

We pick up the energy in a big way, with “Skin Scraped”. The sunny sort of vibes continue here in a more fast type of song from them. It gives off more of that nostalgic and you can hear Barker’s influence production wise as well, since it gives off such Blink vibes. The bass by bassist Josh Portman also stands out pretty nicely on a track like this. And I can definitely see this being a fan favorite off of this record in general. 

We jump to more darker pop-punk vibes and one of my favorites, with “Barely Alive”. I noticed here that Ryan’s vocal delivery during the verses feel inspired that of Mark Hoppus, even if having a different vocal range than him. I’m just a sucker for a song like this, where it’s on the gloomier side of pop-punk. The orchestral elements on this song really do it so many favors, and it comes in clutch during the bridge especially. A line that stood out for me here also is “silence is deafening, and sorry’s just a word”. 

We close out the record with a song more on the acoustic and unplugged side, with “Big Blue Eyes”. I appreciate just how crisp the production sounds on a song like this one, and it makes for a fitting closer. The lyrics feel very sweet and genuine in its delivery, and it just feels like classic Yellowcard when it comes to the songwriting. And I do love the violin by Mackin during the bridge one last time, it’s once again fitting and really pleasant to hear.

All in all, I think ‘Better Days’ feels like a pretty solid return for Yellowcard. It rewards the fans with the band they remember so fondly, and it definitely has the potential to please and impress newer fans as well.