“It's kind of tough for a group of predominantly white guys in their fifties who've done really well to complain about anything, really,” Barenaked Ladies drummer Tyler Stewart tells Apple Music. That sense of gratitude can be felt throughout the Toronto alt-pop pioneers’ 18th album. Though their band name remains an eternal emblem of their jokey younger selves, In Flight is the work of a veteran group taking stock of their charmed lives and honouring the wives and kids who’ve held down the fort at home while they’ve been out on the road living the dream. And even if you aren’t a member of a massively successful band that’s sold over 15 millions albums worldwide, the songs on In Flight will resonate deeply—this is a record for anyone who’s juggling work and family, managing a long-distance relationship, or becoming increasingly conscious of time’s ceaseless passage. But if Barenaked Ladies are less interested in being outwardly funny these days, they’re still having a lot of fun. In Flight is a testament to the idiosyncratic yet complementary relationship between the band’s three principal songwriters, with Ed Robertson’s festival-ready bops (“Lovin’ Life”) giving way to bassist Jim Creeggan’s drifting, dubwise reveries (“Wake Up”) and keyboardist Kevin Hearn’s quirky, synth-spun odes to local Toronto landmarks (“See the Tower”). Here, the Barenaked brain trust provides a track-by-track guide to your In Flight entertainment: “Lovin’ Life” Ed Robertson: “I wanted to write something simple, honest, celebratory, and right away I was like, 'This is going to be so fun to play live!' Halfway through our [2023] summer tour, the audience already had choreographed dance moves to this song, and that's pretty cool. It's reminiscent of 'Lookin' Up' [from 2017's Fake Nudes], which became a live staple.” “One Night” ER: “We were digging in for a little Thin Lizzy/Queen vibe on this, going more classic rock." Kevin Hearn: “There’s a bit of Cars in there too, with the keyboard sounds. Some songs you don't want to think too hard about—you just want them to be fun and catchy and feel good.” “Enough Time” ER: “I love the humour in this song. It's got a couple of really choice little lines that make you smile. It's got some melancholy, too, but it's also pretty wryly delivered.” Tyler Stewart: “I love the idea in there of the virtuous band that's going to write you a song that's going to make your life better and solve the world's problems—but we just don't have enough time to do that.” KH: “We could’ve written that song instead of this one!” “What Do We Need” TS: “When all your dreams come true and you're still doing this 30-plus years in, the complaints are minimal, really. The last thing you want is a complaining-old-guy road song. But this one takes another view of it. It's like: We really don't need much. We're pretty happy. It's kind of a thank-you.” “Just Wait” Jim Creeggan: “I'm so guilty of just rushing out the door. And as the time is ticking, and there's pressure to get something done, it's important to remember to acknowledge your friends and family in those moments. This song was inspired by a moment where I did miss that opportunity—I said to my daughter as she was leaving, 'Can you just try to be on time for school?' And then that was the last thing I said to her—not 'I love you.' I wish I'd done a better job then, so this song is sort of an answer to that.” “Waning Moon” ER: “I was just trying to paint a picture of my favourite place on the planet, which is up at our lake spot where I've done a ton of writing over the years. The tranquility of that place is really special to me. And this song is sort of a bridge to that place. I was writing about those times when I'm not there, but I know my wife is there, and I'm wishing I was there, and then she's coming to meet me somewhere on the road, and she's happy to be on the road, but I wish I was up at the lake. It's about the anchoring to those special places and people.” “Fifty for a While” ER: "I was certainly thinking about parenting. I'm trying to say to my kids, 'I don't know what you're going through. But I've been through it, and I didn't know what was happening then, and there's not much I can tell you right now other than: I'm here. I'll always be here. And you think I don't understand you right now, but I do, and you're gonna figure that out later.’” “Too Old” ER: “This is not about ‘the kids and their strange ways’—the kids are pretty cool! It's about looking at [online] culture in general and saying, with a little bit of perspective, ‘I don't think this is good for anybody.’ At some point, someone's gonna have to say, 'The algorithm is destroying everything, and we need to pull back from the brink'—that's what this song is about. When I say, ‘I'm too old for this shit,’ I'm saying, ‘I'm too old to stand by while tech companies destroy social interaction and communities and culture.’“ TS: “It's way less 'old man shouts at cloud' than 'old man counsels fellow old man.'” “See the Tower” KH: “I was just basically having fun with the CN Tower concept, and drawing on memories all through my life, because I've seen that damn tower every day of my life pretty much!” TS: “I love the civic angle to the song—it's a celebration of Toronto culture, and it's a chronicle of my life, essentially.” “Wake Up” JC: “This started with a sentiment of 'What do you do when you really want to help someone, and you don't really know how to, because you don't know what they need?'” ER: “There's a very painterly approach to the composition. The four of us were just in a room, watching Jim's mouth and keying in on the lyrics, and just trying to support this thing that is quite tentative and beautiful. And I think the picture we painted around it perfectly supports the emotion: 'I have a lot to give—I just don't know how to help, but I'm here.'” “Clearly Lost” ER: “I had this crazy, productive, creative day where I wrote eight songs, and this is one of the songs that just came out so effortlessly. It's about stuff I've been thinking about a lot, so when it came time to articulate it in poetry and song, it just kind of came tumbling out. I was thinking of Willie Nelson and Lyle Lovett, and how they do these very cinematic songs.” “The Dream Hotel” KH: “The Dream Hotel in New York is next door to this place we've stayed, which is more of a quiet hotel. But one time there was no rooms available there, so we ended up at the Dream Hotel. And it's very loud there and there's always a big party in the lobby. And one night, I saw Leonardo DiCaprio going down to the sushi restaurant with this large entourage, so those elements are in the song. But I thought: 'How fun would it be to picture an actual “dream hotel” where everything warps and mutates and changes?' So that's what I did in the bridge of the song. But then after the bridge, I wake up and my girlfriend has run off with Leonardo DiCaprio, and I can't blame her one bit!” “I Am Asking You To” ER: “‘I Am Asking You To’ is an anthemic song, but it's a recognition of an imbalance. It's an acknowledgment of how this life and this love that we have has never been fair or balanced, because I'm gone so much. It's sort of saying, 'I recognize that it's not fair, it's not equitable, but I'm asking you to [go along with the plan] because it's the only option I have.'” “The Peace Lady” KH: “I can't ever drive up the DVP [highway in Toronto] and not think about the Peace Lady. Her name was Pauline, and she chose to live in a ravine for 25 years and [stand on an overpass making a peace sign to motorists] every day. She passed away [in 2017], so this song is a way of carrying on her message and celebrating her. There's another fellow I mention in the song named Johnny Barnes, and he was a guy who stood on the corner in Bermuda during rush hour traffic just waving at everybody. So this song is celebrating those people you see out there in the world. They're kind of odd characters, but not doing anything to harm anybody. Quite the opposite, in fact.”