Mayday Parade return with Sugar, the final installment in their three-part album series celebrating 20 years as a band. Blending upbeat pop-punk, nostalgic emo melodies, and more reflective songwriting, the album feels like a group looking back at where they started without trying to pretend they're still the same people they were in 2006. I haven't really listened to Mayday Parade since around 2008, so revisiting them here was an interesting experience. The familiar vocal melodies and catchy guitar work are still present, but there's a noticeable maturity to the songwriting that makes the material feel less like an attempt to recreate teenage angst and more like an extension of it. The production is clean, the instruments are well balanced, and the band sound comfortable with the style they've spent two decades developing.

“Set Phasers to Bummed” gets things started with a drunken, rambling voicemail about Mickey Mouse and being proud of the band before swelling guitars, bass, and drums take over. It's a funny, slightly bizarre introduction, but the music gives it a surprisingly triumphant feeling. The riffs are clean and straightforward, the production sounds great, and the short runtime means the intro establishes the mood without dragging things out. “Blame It on the Youth” then brings the pop-punk energy front and center. Simple guitar strumming, deep bass, and punchy drums provide the foundation for Derek Sanders' still-impressive vocals. The chorus has a satisfying groove, and the buildup into the repeated line about blaming everything on the youth makes the song feel like a genuine generational anthem rather than something desperately trying to sound rebellious. It's catchy, well paced, and a strong reminder that Mayday Parade still know how to write an effective pop-punk song.

“Sweet Sad Sugar” leans into chunkier, lower-tuned riffs that give the music a little more weight than the brighter material surrounding it. The drums snap nicely, the bass remains thick and present, and the guitars move between ringing chords and more straightforward riffing. Sanders' clean vocals have plenty of range, but what really makes the song work is the emotion behind the performance. There's a lot of heart here, and the band allow the instruments to build around the vocal melodies without overcomplicating the arrangement. “Weekend Music” takes a softer, more reflective approach, introducing gentle piano and slower, emo-style guitar passages before gradually returning to fuller instrumentation. This is where the band's age and experience become an advantage. The song has an older-emo quality without feeling stuck in the past, and the bright synths help lift the arrangement. It feels like music made by a band that has grown alongside its original audience while remaining accessible to younger listeners discovering them for the first time.

“Lying to Myself” keeps things relatively safe, relying on simple but well-developed riffs, tight drumming, and a low, thumping bassline. The guitar work introduces some useful melodic movement, and the band slow things down briefly to give the arrangement some breathing room. Sanders sounds strong throughout, although the song comes close to feeling overly familiar. The guitar work is what keeps it engaging, providing enough detail to prevent the straightforward songwriting from becoming too predictable. “Two Hearts” is a softer and more emotionally driven moment, opening with gentle guitar strumming and restrained vocals before gradually building toward a larger chorus. Some of the more washed-out vocal layers help bring out the sadness in the performance, and the repeated idea of two hearts breaking apart becomes more convincing as the song progresses. The chorus doesn't completely land on the first pass, but the backing vocals and increasingly forceful instrumentation give it more emotional weight the second time around. By the end, the whole band sounds like they're putting more of themselves into the performance.

“Don't Give Up on Me” brings back the deeper, steadier drums and bold riffs, with Sanders delivering a strong, clear vocal performance. The drumming has some nice rolls, and the song is enjoyable enough, even if it doesn't have a particularly distinctive hook or instrumental moment. “Patriotism of First Tiger Called Into Question” offers a slightly heavier-sounding variation, combining softer riffs and background synths with deeper, faster drum patterns during its buildup. The chorus brings more weight to the arrangement, before a piano-led middle section strips everything back and exposes a more vulnerable side of the song. It's a nice dynamic shift and one of the better examples of the band using changes in intensity to give a familiar pop-punk structure more character.

“So the Story Goes” begins with acoustic guitars and clear, conversational vocals before the drums and instrumentation gradually grow in intensity. The buildup is particularly effective, with the drums adding momentum and the backing vocals making the later sections feel bigger. Some impressive guitar work helps give the track a more dramatic finish, allowing the song to feel grand without losing its intimate beginnings. Finally, “What Happens Next” closes the album with soft, deep piano chords and layered vocals that immediately establish a melancholy atmosphere. The piano adds substantial depth, while the harmonies make Sanders' performance feel more vulnerable. When the full band comes in, the arrangement opens up into something bold and emotionally satisfying. It's a fitting closer, bringing together the album's softer songwriting and larger pop-rock moments while leaving the listener with a sense of reflection rather than simply ending on another catchy chorus.

Sugar works because Mayday Parade understand their strengths and don't need to force a reinvention to prove they've grown. The album has its safer moments, and a few songs could use more distinctive hooks, but the combination of strong vocals, punchy drums, melodic guitar work, and reflective songwriting makes it an enjoyable return to familiar territory. Tracks like “Blame It on the Youth,” “Sweet Sad Sugar,” and “What Happens Next” demonstrate how well the band can balance nostalgia with maturity. After years away from their music, this was a good reminder of what made Mayday Parade worth listening to in the first place. Sugar isn't trying to relive the past; it's showing that some of those old feelings still have plenty of life left in them.