By the time the new millennium arrived, Green Day were thriving as one of the world’s biggest rock bands.
The ‘90s had been good to the band. After years of building a following as an independent act, in 1994 the trio of Billie Joe Armstrong, Tre Cool and Mike Dirnt signed to a major label and released their third album, Dookie. 
To just about everyone’s surprise, Dookie became a cultural phenomenon, bringing punk rock back to life in the mainstream, winning the band’s first Grammy Award, allowing them to steal the show at Woodstock ‘94, and go on to sell 20 million copies. 
It is credited as an influence on everyone from Blink-182 and Fall Out Boy, to Sum 41 and even Billie Eilish, who has said “growing up, there was no band more important to me.”
But, after fulfilling all of their commitments in 2002, Green Day were at a standstill. The band met up and questioned whether they wanted to even keep going anymore. While their personal lives were in shambles, the band’s existence was on the verge of crumbling.
One idea Green Day decided to pursue was a radical one, based on a dream Armstrong had of writing a punk rock “‘Bohemian Rhapsody’ of the future.” That song would eventually become “Jesus of Suburbia,” which helped shake up the foundations of the band and push them into a brave new world. 
From that point on, Green Day had begun writing a full-on rock opera. Even better: the first ever PUNK ROCK opera. Green Day announced that their seventh album would be called American Idiot.
Released as the album’s first single, “American Idiot” wasted no time declaring Green Day’s mission: to address their sociopolitical concerns and kick-off their new punk rock opera opus with three minutes of politically-charged fire.
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