Review Summary: Why NFG’s Coming Home has become a classic in time
When Floridian pop-punks New Found Glory gate crashed the scene at the turn of the millennium with their bouncy and infectious single “Hit or Miss”, few would have envisaged the mellow, at—ease sound of their fifth LP, Coming Home that followed just six years later. The band, who formed in the Coral Springs suburbs in 1997, had already carved out their niche hardcore—infused pop sound by the time Catalyst was released in Spring 2004. With this release, NFG had reached its commercial peak, seeing Catalyst debut at a career-high number 3 on the Billboard 200, and selling well over 600,000 copies by the following summer. This Neal Avron produced fourth record, largely followed the same energetic formula laid down by it’s predecessors (19995 Nothing Gold Can Stay, 20005 self-titled breakthrough, and 2002’s Sticks and Stones). Despite the angrier tone and introduction of synthesizers, it felt like the five—piece had reached an inevitable cross road in their career.
Whether a product of design or purely coincidental, Coming Home seemed to align perfectly with pop-punks wane from mainstream attention, following its meteoric rise in the early 20003. Although the band would largely return to its roots in subsequent releases, it genuinely feels like this was the album they were destined to make. Coming Home was different from the start. Following an extensive supporting slot on Green Day’s smash American Idiot tour in 2004, the quintet moved into a rented house in Malibu, California to write new material. This was instead of the usual “tour bus jam sessions” that would largely serve as the blueprint for their back catalogue. Additionally, lead guitarist Chad Gilbert and vocalist Jordan Pundik contributed lyrics for the first time alongside long-time lyricist/rhythm guitarist (and since departed member) Steve Klein. Four months later, the band emerged with demos that would catch the attention of classic rock stalwart Thom Panunzio (Bruce Springsteen, U2, Bob Dylan), who subsequently signed on to produce the album.
What makes the album a resounding success is the fact it still retains the core DNA of New Found Glory, despite an obvious shift in tone. All the bands most endearing attributes are at the forefront here; taut song structures, big choruses, and souring melodies. Musically, the band has never sounded tighter, and the influence of Panunzio is apparent throughout. The production is superb, and lends itself to the album’s clean and classic rock-inspired sound. Lead single “It’s Not Your Fault” is perhaps the best example of this. It’s chiming piano and memorable chorus makes for an effortlessly inspiring song. Title track “Coming Home”, rich with hooky guitars are a great example of how well the multi—tracked harmonies work throughout the album. “Make Your Move”, the first of three excellent power ballads showcase matured song writing not evident in their previous studio efforts. The poignant yet uplifting “When I Die”, written by Gilbert about the death of his father, serves as the album’s emotional core. Its orchestral undertones and flawless harmonies allow the band to sound bigger, and better than ever before.
Elsewhere, the insanely catchy and 80s inspired “Hold My Hand” delights, Whilst the acoustic campfire jamming on “Too Good to Be” does little to dampen the mood. Opener “Oxygen”, with its stuttering rhythms and anthemic chorus, is the perfect introduction and ultimate example of why Coming Home works; the tempos may be dialled back, the guitars less distorted, but it still effortlessly rocks. Each track is allowed to shine and gives the set huge replay value. The emotive closer “Boulders”, with its melancholic verses and sky-scraping guitars, showcases great depth that was perhaps hinted at, but never fully explored before. The underlying theme of being away from home and loved ones helps create a cohesive and wholesome feel to the 13 tracks. It’s also worth noting that the artwork, shot by Autumn de Wilde, perfectly encapsulates the spirit and narrative of the music.
The groups lyrical approach, whilst always heart-on-sleeve and perhaps even a little cheesy, ultimately forms part of the charm that shines through on Coming Home. It’s a shame then, that despite critical praise at the time, the band have seemed reluctant to fully revisit this sound later in their career (hardcore fans at the time were not initially receptive). Notwithstanding, I have no doubt that this is absolutely their best work, and despite the bands firm roots in pop— punk/melodic hardcore, this mid-tempo and breezy collection remains the pinnacle of their career.
Ultimately, Coming Home will likely always be the black sheep of NFG’s discography. Whether it be the calming influence of the seasoned Panunzio, the general optimism of the band at the time, or even the sparking backing vocals of the DuPree sisters scattered throughout, Coming Home finds the band inspired and at their wonderfully infectious best. Of course, in the eyes of the cynical pop- punk enthusiast, this could easily be Viewed as the inevitable “mid—life crisis” for the band. But don’t be fooled; This spirited, charming and often moving collection is worthy of any music lovers’ attention.
