The pop-rock band threw a secret house party (which actually took place in a Greenpoint, Brooklyn warehouse) for the release of their fifth studio album (and first full-length in 14 years), Sandbox. It’s the first time The House Party Tour has made a stop in NYC, and, judging by the wraparound line RANGE saw when we pulled up to the venue, stripping back the artifice of a shiny, over-produced, overpriced show with a grittier, sweatier, authentic gig is exactly what we need right now. After skipping the line (respectfully, what is this, Jack’s Wife Freda?), we were greeted by spray-painted signs, kids in flannel, and an electric surprise set from Telescreens, who can now count me among their fans. There was a small break between sets, and then, to the tune of Frank Sinatra’s “Theme from New York, New York” and cheers, underneath a makeshift sign, The Rejects appeared.

“‘I don’t think we ever played fucking Brooklyn, have we?’” frontman Tyson Ritter told the packed crowd after a quick antidote about performing their mega-hit “Move Along” in Manhattan for the VMAs in 2006, and then trying and failing to get into after-parties. We love an underdog story almost as much as we love an underplay — and according to a friend I ran into at the gig, fans only had to pay $10 to get into the band’s release party — which is unheard of in this day and age, where most commentary around tickets includes words like resale, gouging, and expletives. That, and they gave us each drink tickets for “Dirty” (you know, like “dirty little secret,” I wink) Mike’s Hard Lemonade, and by the time I had my second, I was talking to strangers with the familiarity of running into someone who’s soon to be your friend at a house party, as you discuss how you really love that song and — “Oh, wait? You love that band too?!”

Speaking of knowing songs, I love that AAR (can I call you AAR?) came in hot to the stage with “Dirty Little Secret” before sharing tracks from their new album, Sandbox, with Ritter telling us, “I know ya’ll don’t wanna hear none of that shit, but that’s what we’re gonna do!” before pulling us into their new era. I’ll say (pushes back glasses), “King Kong,” with its melodic indie-pop backing track and Ritter’s sassy whisper-vibrato-meets-lullaby vocals, plus a building refrain before an echoing chorus, was a hit for me (obviously). And “Get This,” with its proclamation that “falling hard never felt so good” over spiralling distortion, also hit for me, respectively.

But nothing, NOTHING, will ever go as hard as a live rendition of “Gives You Hell” or “Move Along.” I’m no scientist, but these tracks are proven (trust me, I’ve tried) to get you over any unworthy ex or toxic situation — “Even when your hope is gone, move along, move along just to make it through!” Yes, will do. “And when you see my face, I hope it gives you hell, gives you hell. When you walk my way, I hope it gives you hell, hope it gives you hell.” Literally all I could hope for. These words are recited in my mind the way I assume the prophets replayed the words of the saints. It’s been decades, and The All-American Rejects have been giving faith to the faithless, indie pop’s promised sons, reminding us that feelings are best expressed loud, viscerally, and with guitars in tow.

Speaking of prophecies, last March, backstage on park benches in Arizona during Innings Festival, The All-American Rejects told yours truly that they were recording new music. At the time, Ritter joked, “What the fuck do we have to say now that we’re 40?” and guitarist Nick Wheeler said, “If we’re going to do something, we’re going to do something different that hopefully resonates with [old fans], as well as a new audience.” Walking home from their house party, smile on my face, bands on my wrist, it’s safe to say they’ve accomplished that mission.