In 1995 Green Day were riding high on the success of the multi-platinum Dookie, released the previous year. Their follow-up, Insomniac, would cement them as the kings of the rising punk-pop scene, whilst simulateously alienating some of those who had fallen under Dookie’s spell. Twenty-five years on from its release, Nathan Whittle makes the case for why this bastard younger brother is Green Day’s high-water mark.
When Green Day rolled through town in support of Dookie, I was too young to make the show. But, a year later, in September 1995, they were back and, on the back of the success of the album, they were out of the clubs and playing theatres. Thus, their Manchester Apollo show on September 22nd popped my gig-going cherry (not counting the local Lanky nights through the years). It may have officially been the Insomniac tour, but the album was still a month from being released and songs from its bubblegum punk older sibling dominated the set.
The band bounded on and wailed straight into Welcome To Paradise. In the middle of a crammed mosh pit, my feet didn’t