MILWAUKEE — Technically, Roki Sasaki was available to pitch in relief for the Dodgers on Tuesday night.
Realistically, he wasn’t.
“I wouldn’t say unavailable,” manager Dave Roberts said before the game. “But it is unlikely that we will use him.”
Without the most electric arm in their unreliable bullpen, how could the Dodgers record the final outs required to win Game 2 of the National League Championship Series?
Here’s how: By making their bullpen a non-factor.
Yoshinobu Yamamoto tossed a complete game, becoming the first Japanese pitcher to do so in a postseason game. The offense spared Roberts another late-inning scare by tacking on insurance runs in the sixth, seventh and eighth innings.
The result was a 5-1 victory over the Milwaukee Brewers at American Family Field that extended the Dodgers’ lead in the NLCS to two games to none.
Two more wins and the Dodgers will advance to the World Series for the third time in six seasons. Two more wins and they will be positioned to become baseball’s first repeat champions in 25 years.
Ninety-three teams have taken a two-games-to-none lead in a best-of-seven postseason series. Seventy-nine of them have advanced.
In other words, this series is over.
If the Philadelphia Phillies couldn’t overturn a 2-0 deficit against the Dodgers, these overmatched tryhards in Milwaukee certainly won’t.
With the next three games at Dodger Stadium and Tyler Glasnow, Shohei Ohtani and Blake Snell scheduled to start those games, the most pressing question about this NLCS is whether it will return to baseball’s smallest market for Game 6.
Don’t count on it.
The Brewers’ bullpen was supposed to be superior to the Dodgers’, but that advantage has been negated by the Dodgers’ superior starting pitching.
Reaching this stage of October has forced the Brewers to exhaust their relievers, so much so that by the time closer Abner Uribe entered Game 2 in a sixth-inning emergency, he might as well have been Tanner Scott.
“We’re more depleted than the Dodgers are,” Brewers manager Pat Murphy said.
The workload made the Brewers’ bullpen as rickety as the Dodgers’, and that was with Sasaki just spectating.
What decided the game was that Murphy had to rely on his bullpen and Roberts didn’t.
Brewers starter Freddy Peralta pitched 5 ⅔ innings. A day after Snell faced the minimum number of batters over eight innings, Yamamoto registered every one of the 27 outs required to win a game.
Roberts said he didn’t hesitate to send back Yamamoto to the mound for the ninth inning. The night before, he called on Sasaki to close, and the decision to remove Snell nearly cost the Dodgers the game.
“Obviously,” Roberts said as diplomatically as he could, “there’s been things with the bullpen.”
Things now include Sasaki, whose ability to shoulder an October workload has come into question after he failed to complete the ninth inning in Game 1. In the game in question, Sasaki gave up a run and had to be replaced by Blake Treinen.
Sasaki’s form in Game 1 sounded alarm bells, and rightfully so. The converted starter still looked exhausted from his three-inning relief appearance against the Philadelphia Phillies in Game 4 of the NL Division Series. His fastball velocity has gradually declined over the postseason, and he’s not the type of pitcher who can be as effective throwing 96 mph as he is when he’s throwing 100 mph.
Sasaki has never pitched as a reliever in the United States or Japan. He spent 4 ½ months on the injured list this year with a shoulder impingement. Just as the Dodgers didn’t know what they could expect from him when they first deployed him out of the bullpen, they don’t know what they can expect from him now moving forward.
“It’s one of those things that we’re still in sort of uncharted territory with him,” Roberts said.
At various stages of the season, the Dodgers have asked themselves the same questions about their downtrodden bullpen: How could they survive when their firemen on their roster were also arsonists? How could they win a World Series with such an untrustworthy group of late-inning options?
In this NLCS, the Dodgers have shown how. They will use them as infrequently as possible.
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.”
