Green Day hopes latest release proves ‘savior’ to musical career decades in making

‘90s and ‘00s punk band Green Day made yet another comeback this year with their new album, SAVIORS, released on January 14. Following punk tradition, the album features strong political themes, but also touches on things like love, aging, fatherhood and personal battles with alcoholism. The award-winning band, whose tour will kick off in May, got its humble start on the California punk scene in the late eighties as a high school garage band, sticking to small venues and local gigs, and is now still selling out stadiums almost four decades into its existence.

Green Day’s fourteenth studio album has seen massive success in just its first month, having even been called ‘the next Dookie,’ a poignant comparison as 2024 marks thirty years since Dookie’s release. As these musicians age alongside their music, they are reflecting on what the art means to them. For members of the band, it was never about the fame or the money. In an interview with CBC, lead vocalist and guitarist Billie Joe Armstrong affirmed this, stating, "We still care about the kinds of songs that we write and how much effort that we put into it. I think you can get old, just don’t stop caring. That’s where I come from when it comes to making music […] For us, that’s kind of what Green Day’s about." 

It’s clear in the music that they try to take this sentiment to heart, but it’s no secret that old bands struggle to maintain relevance. Many a band has fallen victim to the pressure, twisting their music in hopes a fresh take might change things. Perhaps there’s a happy medium. SAVIORS reimagines Green Day’s style, blending the nostalgic elements of previous music- like in “Look Ma, No Brains!” which encapsulates a quintessential punk-era song-- with different, newer styles-- like “Fancy Sauce” or “Goodnight Adeline,” which utilize more of a Brit-pop style-- giving the music a whole new feel. Some have criticized the change. At times, the music does seem to parody itself, with the guitar distorted past the point of tastefulness and drowning out the bass. Tré Cool’s typically independent, artful drumming style is notably absent for much of the album, replaced with simple time-keeping beats. As such, for fans who enjoy the 90’s era melodic punk albums, this one might not strike a chord, so to speak. But for more experimental listeners, those who enjoy the pop-rock genre, or perhaps new fans and those who won’t compare old to new, this album might become a favorite. 

Along with a new style, SAVIORS also features fresh subject matter, namely in personal experience regarding addiction, fatherhood and love. In the song “Dilemma,” Armstrong sings about his experiences with alcoholism as a performer- a profession known for its culture surrounding substance use-  and how it affects his life and his family. This kind of personal insight isn’t often seen in the band’s music as most songs with personal meaning are hidden under ambiguous lyrics, such as in “Wake Me Up When September Ends,” a song about the death of the singer’s father. Since that song’s release in 2005, things have come full circle. Armstrong dedicates the song “Father to a Son” to his sons, and it is another deeply personal track on the album. He addresses them directly, wishing he could give them everything, promising not to break their hearts. 

Another track on the album dedicated to a loved one, “Bobby Sox,” is also crafted with similar attention. Dedicated to his wife, the song is written from the point of view of both a boy and a girl, telling the story of an awkward teenage relationship. Removed from context, the song has also been praised as a bisexual anthem, an interpretation that the band has encouraged despite it not being the original intent. In any case, SAVIORS has featured some strikingly honest tunes, perhaps opening a new door for the band.

The rest of the music plays into a different theme. Although not taking the form of a true rock opera, the album seems to call back to older ones like American Idiot and the lesser known 21st Century Breakdown with a pseudo-plot in a zombie apocalypse setting. This theme appears throughout multiple songs as a commentary on the reality of living in today’s world. The music video for “The American Dream is Killing Me” follows a fearful woman through zombie infested streets in search of safety, and a group of men armed with rifles who’ve tasked themselves with fighting against the zombies. In the end, the woman is mistaken for a zombie herself and shot from afar, which, given the title of the song, can symbolize the pitfalls of American culture. “Coma City” describes an apocalyptic city, carrying similar political and anti-establishment undertones. 

Green Day’s music has always been political, but some critics aren’t buying it this time. In comparison to past albums, the messages do indeed seem somewhat sanitized and over-generalized. Perhaps the album’s half-baked politics can be blamed on complexity and nuance, but does complexity and nuance make good music? It’s hard to say. In the end, there will always be lovers and haters no matter what.

SAVIORS could either be a last ditch effort by a dying band to maintain relevance, or it could be a fresh start for Green Day, ushering in a new era of fans just like they did back in 2005. With upbeat instrumentation, great vocals and a wide range of subject matter, it’s an easy album to listen to for a quick pick-me-up or some catchy driving music. In just the few weeks since its release in mid-January, the album has seen notable success in streaming, and although it might never live up to certain expectations, it’s hard to deny the fact that Green Day still can make good music. 

A-

Although Green Day’s newest album SAVIORS could be the “savior” the band has been looking for, critics question whether its appearance is genuine or another cash grab in the age of striving for relevancy.

by GJ Zahner

Published February 26, 2024

Oshkosh West Index vol 120 issue V