United States of Rage and Love

Green Day's 'American Idiot' - "Boulevard of Broken Dreams"

by Jordan Blum

23 September 2014

The fourth track on American Idiot finds our hero alone and lost at the start of his journey. Ten years later, it's still as catchy, tragic, and affective as ever.
cover art

Green Day

American Idiot

US: 21 Sep 2004
UK: 20 Sep 2004

Review [14.Oct.2004]

When we last left Jesus [of Suburbia] (on April 1st), he was embarking on a journey to find his figurative fortune whilst declaring his freedom from both the condemnatory nature of his town and the tyrannical pretense of his country. In other words, he was enjoying his “Holiday” from the lies and limitations of the world around him. However, much like the dramatic realization that strikes the impulsive lovers at the end of The Graduate, the party ends as soon as reality hits (on April 2nd), and Jesus is suddenly confronted with loneliness and hopelessness as he faces the future alone. He has no company or guidance as he ventures down the “Boulevard of Broken Dreams”, and it’s quite the bitter pill to swallow.
In terms of its musical edifice, the song is fairly straightforward. It fades in from its predecessor with electric guitar feedback and a silky smooth phasing effect that alludes to the central acoustic guitar chord progression. Behind it, Dirnt and Cool provide powerful but modest rhythmic accompaniment, echoing the six string passion Armstrong puts forth without ever seeming flashy. Finally, the concluding dissonance symbolizes Jesus’ heightened discontent perfectly. This arrangement, combined with the song’s catchy melodies and affective backing harmonies (during the chorus), made the song a massive hit back in 2004. It’s a perfect example of how a simple structure and great songwriting can produce the best possible artistic statement.

Of course, like every song on American Idiot, the true depth and timelessness comes from the lyrics and vocals of “Boulevard of Broken Dreams”. Like the music that complements them, Armstrong’s voice and words are blunt and relatively unpoetic (at least by conventional standards); however, their directness, honesty, and universality make them unforgettable. Jesus spends the entire track lamenting his situation, and nowhere is this more apparent than in his first outcry: “I walk a lonely read / The only one that I have ever known / Don’t know where it goes / But it’s home to me and I walk alone.” Here we see that despite the devastation and fear that he feels, Jesus accepts his current predicament. As is typically the case, the life of a leader/martyr fighting for social change is often met with cognitive dissonance and necessary isolation. He elaborates on this notion by mentioning that the rest of the city sleeps while he walks.

Interestingly, the second verse serves as subtle foreshadowing. Jesus says, “I’m walking down the line / That divides me somewhere in my mind / On the borderline of the edge / And where I walk alone / Read between the lines / Of what’s fucked up and everything’s alright,” which suggests the possibility of a new persona taking over. Taken to its literal extreme, Armstrong may be telling us that Jesus suffers from Borderline Personality Disorder, which is categorized by an unpredictability in relationships, emotions, and self-image. This moment also signifies another connection to the Who’s Quadrophenia.

As for the chorus, it’s arguably the best part of the song. Memorable, profound, and, like the verses, linguistically modest, it pinpoints what Jesus (and, by association, the legions of disenfranchised teenagers he represents) senses. He bellows, “My shadow’s the only one that walks beside me / My shallow heart’s the only thing that’s beating / Sometimes I wish someone up there will find me / ‘Til then, I walk alone.” On the surface, he’s likely speaking of the desire for a romantic connection, but he could just as easily be searching for anyone to give him comfort and purpose. Again, the way the backing vocals echo “find me” makes it even more urgent and sorrowful.

“Boulevard of Broken Dreams” was always the standout track of American Idiot in terms of commercial appeal and accessibility, and it’s easy to see why. Its simple structure and words are instantly gripping in a superficial sense, yet its sentiments speak to much deeper and more tragic circumstances. At this point, Jesus has committed himself to following through with his ideals, even if that means also committing to a solitary life. Fortunately, he won’t have to suffer alone for long, as others are “waiting” to follow him.

Previous Installments:

Introduction and “American Idiot”

“Jesus of Suburbia”


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