The day is finally here! Today marks the highly anticipated release of Green Day‘s fourteenth album, Saviors—a momentous occasion as the legendary trio unveils their first collection of new music in almost four years. As we delve into the 15-track album, each listener is bound to form their unique opinions, fall in love with and possibly loathe tracks based on moods, messages, and the overall approach to the sound and style. To add to the excitement, we’ve taken the liberty of ranking all the tracks based on our early listening experience—from favorites that resonated deeply, like “Bobby Sox” and “Father To A Son,” to those that didn’t quite hit the mark. Keep in mind that rankings are inherently subjective, and while you may find some alignment with our choices, music is, after all, a personal journey.
Regardless of what your favorite and least favorite songs may be on Saviors, we’ll be basking in the stadium punk rock goodness brought to life by Billie Joe Armstrong, Mike Dirnt, and Tré Cool across the album on repeat until further notice. Happy listening!
1. Bobby Sox
The third track on the group’s fourteenth studio album kicks off with a mellow guitar melody, accompanied by Billie Joe Armstrong questioning, “Do you wanna be my girlfriend?” Transitioning from the gentle introduction to full-throttle enthusiasm, Armstrong passionately belts out the question, transforming it into a bold declaration, “Do you wanna be my girlfriend?” The track takes an unexpected turn as the lyrics shift to the equally powerful statement, “Do you wanna be my boyfriend?” As Armstrong spits this unexpected twist in our direction, the track takes on a new identity and adds a layer of queerness to its DNA, which is a particularly poignant message given Armstrong has publicly identified as bisexual for nearly 30 years.
The song captivates with its gritty and introspective vibe, emerging as an absolute anthem that leaves no room for doubt. Armstrong‘s dynamic vocal performance, coupled with the unexpected lyrical progression, contributes to the track’s unique and compelling energy. This might not be everyone’s favorite track from the album, but it’s ours. We’re hoping to hear this one blasted through Pride parades across the nation this coming summer.
2. Living In The 20’s
Immersing listeners, lifers and newcomers, in the essence of the 21st century, “Living In The 20’s” encapsulates the dichotomy of today’s society: the sublime and the sordid, the beauty and the grotesque. The song ignites dialogue from its opening line, lamenting the harsh reality of “another shooting in the supermarket” and delving into the unsettling backdrop of school shootings, juxtaposed with the monotonous structure of everyday life, like the thrill of chance while playing the lotto.
From the opening notes to the final crescendo, the track is a tour de force, propelled by robust instrumentation, Armstrong‘s impassioned vocal shrieks, and an electrifying guitar solo that serves as the pinnacle of the unrestrained chaos defining our current era. Across the entirety of the album, this song effortlessly delivers on the expectations associated with the iconic trio: a sturdy stance on social issues and politics, a wry sense of sarcasm, and an unapologetic punk rock attitude that persists despite the, quite frankly, shitty landscape of our society.
3. Saviors
Clocking in as the fourteenth track on the album bearing its namesake, “Saviors” emerges as a thundering blend of blues-infused punk rock, establishing itself as an anthem of raw energy with the group’s signature rebellious spirit. Further strengthened by the commanding resonance of its chorus that echoes the plea, “Call all strangers tonight/Will somebody save us tonight?” and coupled with a defiant self-proclamation as “the last rockers making a commotion,” the track suggests that perhaps Green Day themselves could be the saviors of the punk rock generation. Whether they’re cocky enough to say it or not, we certainly will. Without Green Day, punk rock, hell, even pop-punk (a term Armstrong isn’t fond of), wouldn’t be what it is today and likely never would have risen to such prominence.
4. Father To A Son
Across this heartfelt ballad which appears as the thirteenth track on the album, Green Day takes a departure from their high-energy punk roots with a slow, gentle guitar strum opening. Armstrong’s crooning vocals unfold a soul-stirring narrative that feels like a love letter to his sons, Joey and Jakob. The lyrics delve into the trials and tribulations of the journey of fatherhood, capturing the essence of learning how to be a parent while witnessing his sons evolve into the men they are meant to become. The tender lines, “Well, I made a few mistakes, but I’ll never break your heart/I promise/Father to a son,” encapsulate the vulnerability, sincerity, and commitment Armstrong has toward his family. The track showcases a softer side of Green Day, revealing a depth of emotion and reflection that enriches their repertoire. It’s an instant favorite, as the band authentically level with themselves, offering an honest and compelling perspective that so many can relate to.
5. Dilemma
“Dilemma” undoubtedly emerges as a standout track on the album, offering a take-no-prisoners anthem that details Armstrong’s days of substance abuse. In a stark departure from the days when Armstrong was crooning “Welcome to paradise” in the group’s 1991 hit, he now delivers “Welcome to my problems…Welcome to my nightmare.”
The unfiltered journey begins with gentle guitar strums, setting the stage for Armstrong’s delivery to take center stage. The song then erupts with full force, unleashing a powerhouse of electric guitar riffs and thunderous drums that amplify Armstrong’s vocal prowess. In perfect harmony with the escalating instrumental intensity courtesy of Cool and Dirnt, the details of Armstrong’s benders become more obvious: “I was sober now I’m drunk again/I’m in trouble and in love again/I don’t want to be a dead man walking.”
6. 1981
We may have all collectively forgotten since we weren’t in “album mode” just yet, but “1981” was actually the first taste of Saviors. This gem was unveiled back in July 2023 at Festival d’été de Québec in Canada, providing an early glimpse into the album’s urgency and fun. Nestled in the album’s first half, “1981” is a relentless burst of energy, provoking a fast-paced, headbanging experience with an infectious chorus that begs to be chanted, “She’s gonna bang her head like 1981!” The track stands out not only for its instrumental prowess but also for the sheer fun it exudes. It’s a celebration of good times, and let’s face it, who wouldn’t want to revel in that?
7. Goodnight Adeline
“Goodnight Adeline” unfolds with deliberate grace, initiating with a measured, slow opening that seamlessly evolves into a magnificent crescendo of sound, all in perfect harmony with Armstrong’s layered crooning. The synergy between the frontman’s vocals and the meticulously arranged instrumentation and production is nothing short of captivating, creating a harmonious flow.
The chorus, its sound and essence taking on a Weezer quality, introduces a masterful convergence where vocals, including Armstrong’s intoxicating falsetto, and intricate instrumentation intertwine effortlessly. The guitar work, featuring a particularly notable solo in the penultimate chorus, adds layers of depth and intensity, amplifying the song’s impact. Meanwhile, the driving drums and crashing cymbals during the guitar solo contribute to a grand, anthemic quality that envelops the listener in a tidal wave of immersive sound.
8. Strange Days Are Here To Stay
One of the biggest and most universally recognizable pop culture touchstones across the album: “Ever since Bowie died/It hasn’t been the same…” And the trio’s assertion couldn’t be more accurate. Think about all of the strange days we’ve had since Bowie’s passing on January 10, 2016? From the beloved Alan Rickman passing away just four days later to Donald Trump being elected president in November 2016 to the unprecedented attack on the U.S. Capitol in 2021… Need we say more?
“Strange Days Are Here To Stay,” in particular, feels like a callback to the band’s earlier work with deeper punk roots than some of its peers on the album and an infectious, sing-along-worthy chorus. While Bowie is the most obvious cultural reference point of the track, it feels like the group is able to cast a larger net over society as a whole with the mention of superheroes playing pretend, how everyone is racist, and “Uber is running late.” If you didn’t know that the world around us is freaking weird these days, Green Day is here to remind you.
9. Fancy Sauce
As the curtain falls on Saviors, the closing track, “Fancy Sauce,” emerges as the perfect conclusion. The slow guitar intro gracefully ushers in a descent into sonic madness, painting a vivid portrayal of a world on the brink of losing sanity, caught in the grips of a metaphorical “looney bin.” The lyrical narrative contemplates the inevitability of our mortality, offering a thoughtful reflection on the transient nature of existence. Despite its somber undertones, “Fancy Sauce” stands as a powerful summation of the contemporary chaos that envelops our world and society. Its melancholic tone lends a grand and relevant resonance, marking a fitting conclusion to the 15-track opus that is Green Day’s fourteenth full-length album.
10. Corvette Summer
“Corvette Summer” takes the listener on a captivating ride from the very first note, marked by a robust opening instrumentation featuring dynamic guitar and drums, accompanied by the subtle yet distinctive presence of a cowbell. Who doesn’t love cowbell?
The track shares its namesake with the 1978 film, which stars Mark Hamill and Annie Potts and is described via IMDb as “A high school grad and a hooker-in-training try to track down his stolen Corvette.” This summation of the film feels like something the Green Day guys would watch.
Amidst the spirited instrumentation, the croony chorus adds a touch of nostalgia, creating a harmonious blend of past and present sonic sensibilities we’d expect to hear from the trio. The deep basslines provide a solid foundation, grounding the composition and enhancing its overall depth.
11. Coma City
“Coma City” opens the second half of the album, unleashing an explosive fusion of robust guitar and bass work seamlessly paired with a thunderous drum intro that echoes Armstrong’s lyrical description of “A gunshot, gunshot heads/Shooting in the distance.” The track masterfully navigates a rush of controlled chaos, cleverly masking its bouncy nature beneath layers of social commentary.
Despite its seemingly lighthearted facade, “Coma City” delivers a poignant narrative on societal imbalance, unraveling the complexities of power, corruption, and the toll it takes on society. With unapologetic fervor, “Coma City” serves as a sonic mirror reflecting the exhaustion and frustration felt by communities navigating the disorder created by those in positions of influence and power.
12. Look Ma, No Brains!
Chances are high that you’ve likely heard this track countless times since its release, especially with its recent stint in a Taco Bell ad for the $5 Cravings Box. The song initially took center stage on the second night at When We Were Young Fest in Las Vegas, NV, before making its official entrance into the world approximately a week and a half later with the announcement of Saviors.
“Look Ma, No Brains!” emerges as a pop-punk-fueled banger, complete with a tongue-in-cheek chorus that embeds itself in your mind on an unstoppable loop. We’ve crunched the numbers, and trust us, it’s relentless. Beyond the infectious lyrics and Armstrong’s spirited delivery, Cool and Dirnt make their mark with seamless driving drum rolls, cymbal work, and melodic, pulsating basslines. The track effortlessly radiates fun while encapsulating Green Day‘s signature rebellion.
13. The American Dream Is Killing Me
The debut preview of Saviors, “The American Dream Is Killing Me,” is a deafening reminder of how frankly fucked up our country is and the challenges we face. Would it even be a Green Day album if they weren’t bringing social awareness to the forefront of their music through an array of snark and sarcasm? We’re guessing the answer is no. Their critique of our country’s politics and policies is an integral part of their signature style, and this track is no exception.
Having made its official debut at the trio’s undersell showcase in Las Vegas, NV, at the Fremont Country Club, the song came to life in subsequent back-to-back performances at When We Were Young Fest. Drawing inspiration from the spirit of their 2004 hit “American Idiot” (which was released in the midst of former President George W. Bush running for presidential re-election against John Kerry) and infused with echoes of their 2016 full-length, Revolution Radio, “The American Dream Is Killing Me” rises as an anthemic rallying cry.
Armstrong takes the lead with an infectious chorus, repeatedly singing, “The American dream is killing me.” Amidst powerful melodies, the group brings sharp awareness and criticism to our country through lines such as “Bulldoze your family home/Now it’s a condo,” “People on the street/Unemployed and obsolete,” “Don’t want no huddled masses/TikTok and taxes,” while declaring “We are not home/Are we not home.” This potent message unfolds across a punk backdrop, characterized by Dirnt‘s punk-fueled bass work and Cool‘s electrifying drum fills. The track pulsates with the heart and soul of a classic yet modernized Green Day anthem, something we desperately need as we enter another terrifying election season.
14. Suzie Chapstick
Let’s just say it now: “Suzie Chapstick” is a fantastic little number, but the rest of the album captures so much brilliance and strength that this track gets overshadowed a bit. Overall, the track is a bit of a slow burn soaked in a 1960s surf-punk-pop Beach Boys meets Warning California vibe that feels right for Green Day to dabble in. The fusion of sound and influences across the track feels nostalgic and familiar yet exciting and new at the same time. While this one may be ranked, for us, at No. 14 out of 15 tracks on the album right now, this is the kind of song that feels like it’ll grow on us immensely. Ask us again in 6 months; it’ll probably be one of our faves.
15. One Eyed Bastard
The final single to arrive ahead of Saviors’ album release, “One Eyed Bastard,” has drawn quite a bit of criticism due to its comparison to other songs such as P!nk’s 2008 chart-topping single “So What,” Iggy Pop’s “The Passenger” (1977), and even Deep Purple‘s “Black Night” (1970). Does any of this matter? Possibly for the artists, yes. And possibly for the listeners as well if it’s hard to separate the comparisons and art from the artists.
The track is a lively anthem with a ton of enthusiasm. But, ultimately, it feels like the weakest link in a sea of strong tracks from the trio. Personally, this is the group’s fourteenth album, which features 15 songs: Lose this one altogether, and Saviors emerges as one of the collective’s strongest in a long time with a ton of powerful messages.
