Clown Princes Of Punk
GREEN DAY
Wednesday July 17th, 2002 Wembley Arena, London
With it's choreographed explosions, plumes of fire and a two-piece brass
section in fancy dress - one was a bumble bee, the other a large yellow
duck - a Green Day concert is modern rock pantomime in the raw.
The Californian trio are relative veterans, having made their first record in 1990.
But their influence on a younger generation of bubblegum rockers, including
Wheatus and Blink 182, has seen their popularity soar in recent years, and
thousands of fans overcame Wednesday night's Tube strike to witness this
show, the first of two sold-out dates in London.
Wearing black drainpipe trousers and contorting his face into an array of silly
expressions, singer and guitarist Billie Joe Armstrong is a cartoon-like frontman
who placed the onus on having a good time. Despite their punky roots, Green
Day are not averse to using tried-and-trusted crowd-pleasing tactics to entertain
their fans: in addition to a call-and-response singalong, there was one interlude
in which three members of the audience were invited onstage. The ease with
which the three lucky fans were briefly allowed to assume the instrumental roles
of Billie Joe, bassist Mike Dirnt and drummer Tre Cool underlined the  
essential simplicity of Green Day's hard, fast and loud formula. Underneath the
repetitive thrashing, however, the trio are skilful musicians. Many of their songs
hark back to the taut, ballad-free blueprint established by Seventies punk acts
such as the Ramones. But there are plenty of lilting, Celtic-tinged melodies too, occasionally making Green Day sound like a speeded-up version of Shane MacGowan's
Pogues. Early hits, including juvenile tracks such as 'Basket Case', were among the most well-received songs of the night. But it was the more mature numbers,
'Waiting' and 'Minority', both from 2000's Warning album, that provided a fitting finale, suggesting that even the most impertinent punks grow up one day.
(Daily Mail, Friday July 19th 2002)
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