So.
I took my 13 and 15-year-olds to this stadium concert. “When had I last been to a stadium concert?” Well, there was Depeche Mode last year at Twickenham. But when last at… Wembley?!
And I wasn’t quite expecting this.
Green Day has clearly discovered how to whip up the crowd before entering. First, play Queen’s Bohemian Rhapsody over the loudspeakers. Then, play the Ramones’ Blitzkrieg Bop while getting someone in a pink bunny suit to dance across the stage.
Finally, play Star Wars’ The Imperial March.
Green Day are in the midst of their Saviors tour, and, back to playing this kind of stadium-sized punk rock. It was fun seeing them start with The American Dream is Killin’ Me, bringing it along with stage fire displays and Billie Joe Armstrong singing lyrics such as:
“We are not well
Are we not well? Cracked up into the wild. We’re pedophiles for…
The American Dream is killin’ me.”
“Saviors” is their best album since 2004’s “American Idiot” bar none, and they play a few snippets from it later on.
After The American Dream is Killin’ Me, we launch straight into 1994’s “Dookie.” I have to say, this one kind of passed me by (argh) while I was in college in the UK, but okay, oh Lord, yes, it is justifiably amazing.
“Dookie” is characterized by its raw, high-energy sound, which epitomizes the essence of punk rock. It starts with Burnout, a track that sets the tone with its fast tempo, aggressive guitar riffs, and Armstrong’s distinctive nasally vocals. The powerful rhythm section is the driving force behind their sound. Mike Dirnt’s punchy basslines and Tré Cool’s frenetic drumming provide a solid foundation for Armstrong’s guitar work.
One of the standout tracks is Basket Case, which remains one of Green Day’s most iconic songs. Its infectious melody and relatable lyrics about anxiety and mental health struck a chord with listeners and showcased the band’s ability to blend punk rock with pop sensibilities. The guitar solo in Basket Case is a powerful testament to Armstrong’s skill, delivering a memorable and emotionally charged performance.
Another notable track is Longview, which features a prominent bassline that became an instant classic. The song’s lyrics delve into themes of boredom, loneliness, and self-gratification, capturing the disenchanted spirit of youth. The interplay between Dirnt’s bass and Armstrong’s guitar creates a dynamic and engaging listening experience on stage, while Cool’s drumming adds a sense of urgency and intensity.
Welcome to Paradise is another highlight, with its blistering pace and anthemic chorus making it a quintessential punk rock anthem, and its lyrics about leaving home and finding one’s way in a new environment resonating with a sense of youthful rebellion and adventure.
But hey, that was 1994?
And to think – I missed them playing When I Come Around as I had momentarily left my seat hunting for goodies and snacks, darn it!
After finishing their “Dookie” set and having a fan join them onstage to sing Know Your Enemy from “21st Century Breakdown” before leaping into the audience (safely), Green Day turned to a few tracks from “Saviors,” my favorite being Dilemma (clip below, with the lyrics, “I was sober now I’m drunk again, I’m in trouble and I’m in love again, I don’t want to be a dead man walking, I don’t want to be a dead man walking” – a signal of the alcohol abuse issues Armstrong has had… and may still?), Minority from the album “Warning,” and Brain Stew from “Insomniac”.
I think that was somewhat deliberate… delaying the start of 2004’s “American Idiot” until closer to sunset.
The band barely stopped.
“American Idiot” is more than just a collection of songs; it’s a rock opera that encapsulates the disillusionment and frustration of an entire generation.
It’s also one of my favorite albums of all time.
The title track sets the tone with its scathing critique of American media and politics. The song’s explosive energy and catchy chorus immediately grab the listener’s attention, serving as a rallying cry for those disillusioned with the status quo. The lyrics, “Don’t wanna be an American idiot. Don’t want a nation under the new media,” highlight the pervasive influence of media on public opinion and the growing sense of discontent among the youth.
The nine-minute epic Jesus of Suburbia is the centerpiece, divided into five distinct sections. This track showcases their versatility, blending punk rock aggression with melodic hooks and introspective lyrics. Each section of the song flows seamlessly into the next, creating a mini rock opera (within the larger narrative of the album).
Other standout tracks include Holiday, an anthemic critique of American foreign policy, and Boulevard of Broken Dreams, a sad reflection on loneliness and self-discovery.
Armstrong paused the set during the latter song amid fears a fan had passed out and thanked those for helping. He joked he would start his comedy career during the delay and told a “knock knock” joke minus a punchline, singing “99 bottles of beers on the wall” before thanking fans for their patience. His stand-up comedian career is clearly non-existent.
Are We the Waiting / St. Jimmy’s brought out the smartphone lights to full effect, and you can tell Armstrong is enjoying himself here.
“I think this is the biggest ever show we’ve played in London!” he yelled to the audience. I’m sure it was.
With further amazing songs like Give Me Novacaine and Wake Me Up When September Ends, and then completing the album with Homecoming and Whatsername, it ends on a reflective note.
Green Day turned to Saviors one last time to play Bobby Sox, another one of my favorite tracks from their new album.
Then, as their encore, finally, Armstrong came out on his own and said to everyone, “Well, if you’re going to get down on one knee and propose, now’s the time to do it…” and … concluded the concert, just on his own – solo acoustic guitar – with Good Riddance (Time of Your Life), from “Nimrod.”
This was probably one of the best large concerts I’ve been to. It was energetic to the end, and the songs were all great.
…And that’s not just because of the fireworks as well. 😀
Chris Garrod, July 13th, 2024