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Billie is playing guitar on St. Jimmy for a change! Enjoying the livestream.

Yesterday (15 October 2024), Green Day played the Corona Capital festival in Mexico. 19 years ago (15 October 2005), Bullet in a Bible was released and Green Day attended the premiere at the Arclight Theatre in Los Angeles. More photos: 27 years ago (15 November 1997), Green Day played Lupo's Heartbreak Hotel in Providence, RI on the Nimrod Tour. "Back in '97 I was sharing an apartment in Providence with Art Tedeschi, drummer for a now-defunct band called Waterdog. They sounded very much like Green Day and were on the same label. A couple of times they'd shared the stage. So one Saturday, Green Day was scheduled to play at Lupo's and Billie Joe had our address and decided to track Art down. So Art answered the door to find him standing there. He came in and sat around for a bit. Then he and Art went to Berk's Shoes on Thayer Street to buy himself some new shoes. I had other things to do. That's about it. Nothing much more to say about that one." — MyaloMark 30 years ago (15 November 1994), Green Day played the Mammoth Events Center in Denver, CO on the Insomniac Tour. More pics: 33 years ago (15 November 1991), Green Day played Flex in Vienna, Austria. ------------------------- On this day 7 years ago (16 November 2017), the Back in the USA music video was released. Some other behind the scenes photos: 20 years ago (16 November 2004), Green Day played the Everett Events Center in Everett, WA on the American Idiot Tour. 29 years ago (16 November 1995), Green Day played the Cobo Arena in Detroit, MI on the Insomniac Tour. More photos: 30 years ago (16 November 1994), Green Day played the Cotillion Ballroom in Wichita, KS. 33 years ago (16 November 1991), Green Day played Kapu in Linz, Austria. 36 years ago (16 November 1988), Larry Livermore invited Green Day to play at a kid's house in Garberville, CA. "Lawrence Livermore, the guy who owns Lookout, was also impressed by the fact that we came to play at his house. He lives about 300 miles north of San Francisco. The last 10 miles of which are on a dirt logging road. We played, powered by a portable generator, in the rain for about six people. It was so cold that Bill almost had to stop playing because his hands were numb. Lawrence paid us with a six pack of beer and we didn't get home until five in the morning. I think that experience convinced Lawrence that we were worth the money." — Mike Dirnt "They never 'auditioned' for me. That is a story that was more or less made up by Ben Weasel when he wrote the band bio for Dookie. The real story is that they came up to play a show with my band, the Lookouts. This was in 1988, when Tré was still in the Lookouts, and John Kiffmeyer aka Al Sobrante was drumming for Green Day (then called Sweet Children). It wasn't actually a real 'show', more of a party for a bunch of kids that went to high school with Tré. But because the weather was bad, and there was some snow on the roads up in the mountains where the party was supposed to be, almost none of the kids showed up. Even the kid whose house it was didn't show up, so the other kids ended up breaking into the house and setting up a generator, because there wasn't any other electricity. So Sweet Children/Green Day ended up playing for literally five kids, and yet they played as if they were the Beatles at Shea Stadium. I mean they played their hearts out, and I was thinking, 'I don't care whether anyone buys it or not, I'm putting out a record by this band.' As for what songs they played, I couldn't totally remember, except that they played most or all of the songs from 1,000 Hours and some of the songs that ended up on 39/Smooth. ...I watched from the back, only half paying attention at first. But before they'd finished even one song, I was absolutely riveted. I'd seen this level of performance before, but only in giant, packed arenas or stadiums, delivered by bands at the peak of their careers. 16-year-old Billie Joe exuded the casual self-confidence of a superstar, offset slightly but not entirely by a shy, self-effacing humility. Stopping every few songs to thank his minuscule audience, he sang and played as though he'd been doing this all his life - which, I would learn, wasn't far from the truth. Walking up to me afterward, he offhandedly asked, 'What did you think?' 'I want to make a record with you guys,' was all I could say. They were barely getting started - this might have been their third or fourth show ever - but I'd seen and heard all I needed to. They were like a modern, updated, punk rock version of the Beatles. They could seriously be that big, I caught myself thinking. Crazy talk? Of course. Yet at that moment it made perfect, undeniable sense. The Lookouts never played that night; by the time Sweet Children finished, it was midnight and our 'audience', worried they'd get in trouble with their parents, said goodbye and headed home. On the long drive back to Spy Rock, twisting the radio dial in search of an audible signal and thankful for my aging truck's slightly more than adequate heater, I had barely an inkling of how the night's events were about to change my life forever." — Larry Livermore

I think the festival thing is a bit of a double-edged sword for a band like Green Day. Playing big festivals is a great way to reach music lovers who aren’t necessarily into your music but who loved the performance and then maybe turn to your music, on the other hand, the fans want to see you on your own. Also, once you have played stadiums and been so lauded for so long as a great live band, it’s pretty hard to scale back just because your genre isn’t so popular. Did you all see Ryan Bailey’s post from the other day? Can’t find it to share, but he was saying he hadn’t realised before touring the GD that they have no backing or click track, he couldn’t believe it. I think it explains the lack of variation in set lists but if you want to compete with other huge productions (often part fake) then you have to make compromises. I can totally see why they do what they do.

That was such a delightful, joyful show. So happy they live-streamed it in such good quality, what a treat!

"Gracias, Ciudad de México"

I do get this touring "more effectively" thing to a degree. I mean I wouldn't want GD to exhaust themselves and just decide to not tour or play live at all. They are getting older after all, (and so am I!🤣). I also get why playing festivals is important to attract new fans, and also why playing them is easier. What I don't particularly understand though is this seemingly muddled mixture of the two. You either decide to do just a run of festivals next year and no solo headline shows, or play a decent string of solo headline shows. That way people are less disappointed and frustrated, or feel short changed at 'only getting a festival show'. (Yes I am including myself in this, even though I'm sure I'll be buzzing after the festival and just feel so damn grateful that I got to see the guys play again!😆)

The fact they have no click track is phenomenal considering how in sync they are. Tré keeping everyone in line 😯

Well, that doesn't necessarily mean that it couldn't have had a underlying theme going through it. But yes, likely it did not. I'm pretty sure I'd have loved it if songs like Everyones Breaking Down, Shoplifter and The Pedestrian is the style there were going for, though. I personally have a soft spot for that Green Day era, especially Billies vocals.

Thinking I might go to the Stockholm one as well. Had decided I wouldn’t bother for another festival but it looks like the trip won’t be so expensive so it’s tempting.

It had to be this weekend where I am away from home..

first recording to pop up, cuts in during Longview

From Palestine to the Middle East ”oh, la Luna” sorry, I’m just enjoying these small moments in Spanish.

I just picked up a copy at my local record store! I got the see thru red version

From Tre and his wife's Instagram stories

Yes, I've been streaming it. I love the entire record and Mumbles is my favorite because with it's weirdly specific descriptions of moments and of the person, I really feel like I might know who Mumbles is! And with the song Asheville being a skip and hop up the road for me....it's entirely possible. Very weird.

Best of both worlds I suppose. Bought for 2nd night in Vienna 😱😱😂😂 never been so that’s my excuse!

You're welcome

Thank you!😍

https://www.kerrang.com/pinhead-gunpowder-i-was-looking-at-everyone-like-holy-f-ck-i-think-we-just-made-our-best-record-green-day-billie-joe-armstrong-east-bay-punk-unt-interview I know this is from October 15, just stumbled across it and couldn't see it in previous posts. Copied just in case to share with you.

Yay! ❤️🥰

Thanks, just waiting for a full recording

Mexican moustache for Mexico….had to be done 😂

In Holiday: some protesters have crossed the line to see the money‘s on Elon Musk….

Merch

Sorry to hear the album got lost in transit. I assume you've been able to stream it in the meantime. Another awesome album. Being trying to carry on your tradition of putting tracks in order of preference. But like Saviors, all Unt songs are so good I've struggled. So as a cop out my top 5 are Hola Canada (can't stop playing this song) Difficult But Not Impossible Mumbles Shine Unt

Still enjoying the heck out of my American Idiot 20 CD box set. Still WAITING on UNT to show up. Amazon has given me a refund with the package being lost in lala land and 1234 is on the opposite side of this strange island called America, so I guess I'll get a copy of Unt sometime between tonight and when we get another president.

Tre's moustache

https://www.instagram.com/p/DCZjOx0vRnx/?igsh=MWw5cTkxNmhhbGtpdw==

i know this interview, it was the time when they joined CRUSH their "normal" touring ended since then, it looks like they aim for making money in the first place (cant blame them, still shitty for their fans) they play their huge solo shows in the US (ticket prices are over the top in the states), but in europe you can get more money if you are a big headliner, plus no need for all the infrastructure/organisation stuff when doing a complet solo tour i dont think that they got exhausted from normal solo touring, because they still have a very packed touring schedule, so yeah i guess money is the biggest reason we have a expression in germany for what greenday are doing the recent years in europe: they became "festival bitches"

father of all is quite scary 💔 (kidding....kinda)

Love the video. Whoever you are wherever you're from, friendship is special coz your special.

Just released on GD website

I‘ m really grateful for the few solo shows, especially the ones in Vienna. But I can imagine that playing a festival is relatively „carefree“ for a band as it needs less organizing. The stage is already there, someone else is responsible for selling the tickets, organizing security etc. On the other hand, isn’t it more gratifying to play for your real fans…?

Hi everyone! Long time lurker. Feels like this fits here: Ever since the 20th anniversary came out I have been trying to put together a timeline of the recording of American Idiot and the process that it went through prior with Cigarettes and Valentines. That is until I started reading lyrics back, quite literally with that in mind. One connection that emerged was a connection between one of the most famous lyrics that they have written: "I'm the son of rage and love, The Jesus of Suburbia." How could this connect to Cigarettes & Valentines you might ask? Think of it literally, with "rage" being the rough, rebellious side represented by "cigarettes", and "love," the sweeter, sentimental side represented by valentines. In art, cigarettes often symbolize defiance or a kind of gritty realism in art, after I did a bit of digging finding this article. Another connection was the first part of that lyric "I'm the son..." which could literally represent American Idiot emerging as the "son" of Cigarettes and Valentines after the creative process. The way that I interpreted it is that American Idiot is the “offspring” of what Cigarettes and Valentines would have been. What better way to start a fresh slate than to continue the start or introduction of the first part of the album by declaring this? We know for a fact that the band's feelings of frustration, disillusionment were carried from Cigarettes & Valentines to American Idiot, so maybe this could fit? This could be a big stretch but I'm open to hearing other interpretations of this in the same vein.

What songs that was intended for the scrapped album do you think eventually made it's way to the final American Idiot album anyway (perhaps a few songs was brought back, and slighlty reworked, sometime during the process) as well as the demo CD with previously unheard songs? Personally, I feel that Everyone's Breaking Down is the oldest recording on the demo CD. That's primarily because of the way he sings and emphasizes words, which really sounds unmistakably "Warning-esque" for someone like me, who just adores the whole let's say 1999-2001 era. My bet is it's recorded sometime 2002, perhaps even during the first half. Other than that, I more and more feel that Novacaine could've been something that already was on the 2002 batch of songs presented for Rob and that other guy. Extraordinary Girl and maybe even She's a Rebel, although I feel more uncertain about that (well, the former is pure speculation too of course). Then of course demos can have been recorded numerous times over the course of a longer time span. A demo chosen for the AI demo can have existed in a earlier recording as well, but simply wasn't the one they picked here for whatever reasons. Lowlife I feel can likely have emerged sometime early 2003 when they've scrapped the other material and tried to come up with new, maybe bit more ambitious, song ideas. And since they didn't necessarily have any plans on bringing back Cluster Bomb from the Warning sessions at this point in time, they included some similar sounding melodies and ideas from that song. Eventually, Cluster Bomb found it's way back from the dead obviously (perhaps even very late, considering it seems to be in Ocean Way -- in other words: 2004 -- he's changing the lyrics to fit the AI story), Lowlife was scrapped sometime along the way and the verse melody found it's way into Jesus of Surburbia -- a song I also suspect might have been finishedmuch later in the process than one first might expect. In it's final form, that is -- it could very well have been included in it's original shorter form (like the demo), long prior to that.