Photos (L-R): J. Shearer, M. Caulfield, Dimitrios Kambouris, Jeffrey Mayer, Theo Wargo (all for WireImage)
Why 2002 Was The Year That Made Pop-Punk: Simple Plan, Good Charlotte & More On How "Messing Around And Being Ourselves" Became Mainstream
As pop-punk finds a new generation, veterans Good Charlotte, Sum 41, Bowling For Soup, and Simple Plan celebrate by looking back on the year that brought the genre to the pop world — and beyond.
On May 6, Simple Plan released their sixth album, Harder Than It Looks — less than two months after the pop-punk group's debut album, No Pads, No Helmets…Just Balls, turned 20. While it's a feat for any band to still be around 20 years after their debut, Simple Plan may find it the most remarkable of anyone. Because, according to what they were told in the early 2000s, pop-punk wasn't supposed to last this long.
"When we got signed, a lot of labels passed on us and [were] saying, 'Hey, this pop-punk thing, you're at the tail end of it. It's just about to go out. This is not gonna last,'" Simple Plan's frontman, Pierre Bouvier, remembers. "We were like, 'Nah, this is here to stay for much longer than that.' People thought it was gonna be the end, and it was really just the beginning."
To the naysayers, perhaps it did seem like the genre was losing steam. Though Blink-182 and Green Day (whether they like to claim the pop-punk label or not) were arguably bigger than they'd ever been at that point, their style of rock hardly broke into the pop- and rap-dominated mainstream. Yet, it was Bouvier who had it right — pop-punk was only getting started.
No Pads, No Helmets…Just Balls was one of several albums to arrive in 2002 that are now considered pop-punk/emo-pop classics: Avril Lavigne's Let Go, Good Charlotte's The Young and the Hopeless, the All-American Rejects' self-titled debut, New Found Glory's Sticks and Stones, Bowling For Soup's Drunk Enough to Dance, Taking Back Sunday's Tell All Your Friends, the Starting Line's Say It Like You Mean It, and Something Corporate's Leaving Through the Window, among others.
Sure, fast-forward a few years, and you'll find albums (and artists) that were arguably even more monumental in the pop-punk/emo world, from Fall Out Boy's 2005 blockbuster From Under The Cork Tree to Paramore's 2007 game-changer Riot. But it was 2002's crop that took the genre from a cult following to a true movement — one that wasn't as fleeting as some may have thought.
The groundwork had been laid in the years leading up to 2002. Blink-182's "All The Small Things" became a crossover smash in 2000; 2001 birthed two of pop-punk's biggest anthems, Sum 41's "Fat Lip" and Jimmy Eat World's "The Middle" (though the latter made it big in '02, peaking at No. 5 on the Billboard Hot 100 that June). And before that, bands like Green Day, the Offspring, and the Descendents helped prove that an audience was there.
What was different about 2002, though, is that mainstream music was in the wake of the super-pop explosion of the late '90s and early 2000s. After a few years of manufactured boy bands and hyper-produced pop stars, the carefree nature of pop-punk was both refreshing and eye-catching.
"It felt novel compared to what people were listening to, and it was very organic," Good Charlotte's Benji Madden says. "Kids who start listening to music pretty young, they start digging a little bit deeper; they start wanting new sounds, new vibes. And pop-punk was there."
That young crowd is exactly what fueled the pop-punk takeoff. Not only was it a fresh sound, but its lyrical content spoke to teenagers — who may have been underserved by popular music around that time.
"A lot of our songs have always been about struggling and trying to get through it," Bouvier says. "When the band started, we were like, 19 years old, so we were fresh out of those really tumultuous teenage years. Maybe it was a blind spot that other songwriters hadn't quite tapped into yet. It felt like this needed to be said, and to us, it was genuine. And the listeners felt the same thing."
As Bouvier's bandmate, Chuck Comeau, argues, pop-punk didn't just have "pop" in the name because it was popular. "I always said if you meet somebody and they're like, 'What kind of music do you guys do?' I say, 'Well, it's kind of like the Beatles, but just played faster with distortion,'" he quips. "It's the same catchy melodies, but the lyrics were very heartfelt, very honest, and very real — also very vulnerable, in a way that pop music really wasn't at the time."
The new pop-punk demographic was among the same group that was religiously tuning into MTV's Total Request Live, one of the main music trendsetters at the time — if not the trendsetter. Sum 41 singer Deryck Whibley credits MTV for helping launch "Fat Lip" into the stratosphere, and embracing pop-punk music videos in general. "It was a pivotal moment," he says. "I think that was really the biggest reason why the genre exploded."
The "Fat Lip" video encapsulates the authenticity that made pop-punk so appealing. Filmed in a few locations in Pomona, Calif. (just outside of L.A.), the clip captured what was essentially a parking-lot Sum 41 show, complete with a mosh pit, crowd surfing, and even a halfpipe. "We were just gonna film everybody doing dumb s<em></em>* and see what they do… there was no treatment," Whibley recalls. "It represented that age group across the country — and kind of across the world, really."
"It was a very big contrast from all the boy bands and pop stars, [where] everything is controlled and they're shown in the perfect light," Bouvier adds. "Here we are, just messing around and being ourselves. I think people were hungry for that."
Several of Simple Plan's videos shared a similar vibe, from a high school gymnasium rock show in "I'm Just a Kid" to a destructive living room performance in "Addicted." Good Charlotte offered a near-identical aesthetic to "Fat Lip" with the video for "The Anthem," proving the concept resonated: "The Anthem" is the fifth most-requested video in TRL history, according to Screen Rant.
But the pop-punk scene wasn't just a guy's club. Avril Lavigne reigned the TRL countdown for several weeks in 2002 thanks to her signature singles "Complicated" and "Sk8er Boi." The former marked her debut, and almost instantly crowned her pop-punk's princess, reaching No. 2 on the Hot 100 that August.
"Complicated" and "Sk8er Boi" both reached No. 1 on Billboard's Pop Airplay chart that year as well — a feat none of her 2002 pop-punk peers would ever achieve (well, at least not until 7 years later, when the All-American Rejects' 2009 belter "Gives You Hell" reached the top). Still, Simple Plan, Good Charlotte and Bowling for Soup had plenty of pop radio hits around that time, each scoring at least one top 10.
Lavigne is also among the coveted ranks of pop-punk artists who have received GRAMMY nominations. In addition to "Sk8er Boi" and "Complicated" both receiving nominations at the 2003 GRAMMYs — the latter earning a Song Of The Year nod — Lavigne's debut album, Let Go, was up for Best Pop Vocal Album, and she was nominated for Best New Artist. (Bowling For Soup's "Girl All The Bad Guys Want" also received a nom that year in the Best Pop Performance by a Duo or Group with Vocal category — further showing pop-punk's crossover appeal.)
"Avril was a great example of a young artist looking to express herself, and [she] created something that was a lasting impression of what an artist can be in the mainstream and what the music can be," Good Charlotte's Joel Madden says. "Whether it was conscious or not, it was really authentic. And each [pop-punk] group was authentic to themselves. It was kind of that moment in time."
If you ask Lavigne about what made her music resonate so widely, her answer is simple: "People were just loving rocking out, having fun, wearing low guitars, and jumping and bouncing around on stage."
Despite any rebellion that may have emanated in the videos, lyrics, and outfits — or just the demeanor — of any pop-punk act at the time, one thing rang true: it was good, clean fun.
"It was safe rock 'n' roll," Bowling For Soup frontman Jaret Reddick says. "I remember my agent saying, 'You guys are not cool, but you're the first band that parents let their kids buy your album even if you say 's<em></em>*' on like, half the songs.' Kids liked it because it was fast, and it pleased parents because they could understand the lyrics — and, topically, we weren't alienating anybody."
Reddick points out that the pop-punk craze became a full-on frenzy in 2003. And by that point, the fan base extended beyond teenagers. "We started to notice that there were people who brought children to see us. It was like, 'I think our fans have a curfew,'" he laughs. "But people who liked us as a rock band continued to support us, it's not like we lost people. We gained a movement."
And the movement continued to grow. The next year saw the rise of My Chemical Romance thanks to their second album, 2004's Three Cheers for Sweet Revenge (which spawned now classics "I'm Not Okay (I Promise)" and "Helena"). The year after that, Fall Out Boy's "Sugar We're Goin' Down" became an immediate pop-punk standard, beginning a hit-filled career that has helped them remain a touring giant 20 years later — and, along with MCR, ushering in the emo era.
Although it didn't completely erase the spirit and sound that pop-punk's leaders had established, emo became the dominant genre by the mid-2000s. As its name hints, emo (short for emotional) introduced a darker vibe to the brightness of pop-punk. Yet, that didn't stop it from crossing over into pop: Fall Out Boy, My Chemical Romance, Paramore and Panic! At the Disco all scored top 10 hits on the Billboard Hot 100 with songs that were branded as emo.
By 2005, emo became a full-blown subculture. And while the genre label had changed, pop-punk clearly had an influence on emo's more pop-leaning acts like We The Kings, All Time Low and Mayday Parade.
Today, the bands that were considered emo are often pooled in with early 2000s acts, and pop-punk and emo have become umbrella terms. Whatever the "correct" name, most of the acts have cohabited in several ways — particularly on the now-defunct Warped Tour — and, above all, have strived to ensure that the spirit endures. But according to Whibley, it has never dwindled.
"Something interesting that I've noticed over the years is, it's almost like the crowd never changes, and never grows up," he suggests. "The front row always looks the same as it did in 2001."
Pop-punk has seen a strong resurgence in recent years, with artists like Machine Gun Kelly, Olivia Rodrigo and Meet Me @ the Altar taking cues from their predecessors. And many of the genre's pioneers are still going: Along with releasing a new album, Simple Plan is co-headlining a tour with Sum 41; Lavigne triumphantly returned to her roots on her latest album, Love Sux.
Lavigne is also one of 65 pop-punk/emo acts on the newly minted When We Were Young Festival — an event that not only caused an internet frenzy upon its announcement, but was extended from one to three days due to demand. One Instagram commenter may have summed up the lineup best: "It's like high school all over again."
A 2021 TikTok trend also proved that pop-punk and emo have staying power. Soundtracked by All Time Low's 2006 classic "Dear Maria Count Me In," TikTokers proudly proclaimed, "Mom, it was never a phase — it's a lifestyle!"
Between the new music and the nostalgia, the essence of what began in the early aughts is certainly alive and well.
"This music speaks to a younger generation, and the new generation always gets into it," Whibley continues. "Whether it's in the mainstream or not has never seemed to affect what I see from the stage. There's just something about this kind of music that is youthful and exciting. It's always going to be here."
How 'Love Sux' Led Avril Lavigne To True Love, Her First Fangirl Moment And An Album Process That Was 'Just Stupid Fun'
Photo: Jack Bridgland
Blink-182 Essentials: 15 Songs That Prove They're Rock's Most Serious Unserious Band
As the classic blink-182 lineup hits the road for their massive world tour, get ready to rock out with a mix of iconic blink hits and hard-hitting deep cuts.
It's been a minute since we've seen the classic blink-182 lineup of Mark Hoppus, Travis Barker, and Tom DeLonge together — eight years, to be exact. While the band has gone through some hardships and personnel changes during that time, their music has remained ubiquitous and engrained in today's music landscape.
With new single "Edging" in tow, blink-182 ushered in the latest era of the group — one that kicks into full gear on May 4, when their world tour launches in St. Paul, Minn. After spending the summer rocking arenas throughout the US and Canada, they'll hit Europe in the fall and resume in Australia, New Zealand, Peru and Mexico in 2024.
The trio teased a hit-filled set list with two surprise sets at Coachella, where they were welcomed as heroes. The performances showed that blink-182 still sound (and look) like those punk-rock kids who went streaking in the streets of LA in their music videos — and while they may be a little older, they're still not ready to act their age.
As the beloved rock group begin their latest tour together, GRAMMY.com revisits 15 of blink-182's essential tracks.
"Carousel," Chesire Cat (1995)
When blink-182 first started, Hoppus and DeLonge were just kids who bonded over a shared love of punk rock bands like Bad Religion, NOFX, and The Descendants. They played high schools and small clubs throughout San Diego, creating a buzz in the SoCal punk rock scene.
The first album, Chesire Cat, is a bit rough around the edges, but it is undeniably the start of blink as we know them now. Album opener, "Carousel," moves at a frenetic pace of pent-up energy, and it's our first taste for what was to take over the world a little later on. They sound young and spunky, ready to get the party started.
"Dammit," Dude Ranch (1997)
Forget "Smoke on the Water" — for kids learning guitar in the early 2000s, it was the "Dammit" riff they wanted to master. And in the same vein, "Dammit" as a whole was the perfect introduction to blink-182. Everything we know and love about them — the bouncing guitars, the breakneck drums (albeit not recorded by Barker, who didn't join the band until 1998), the juvenile gossip, the singalong chorus — is all there.
In "Dammit" is the blink-182 too-cool-for-school philosophy. They don't want to go out with you anymore? Whatever. Just tell yourself they'll regret it and shrug, "I guess this is growing up."
"Josie," Dude Ranch (1997)
A fan favorite from blink-182's Dude Ranch, "Josie" doesn't waste any space. It's loud and fast, just like the music that shaped the band growing up in SoCal.
Almost like a little cousin to the Ramones' "Sheena Is A Punk Rocker," "Josie" is a punk rock love song hidden behind brash drums and snot-nosed guitars, about a girl who is out of their league — who laughs at their dumb jokes, drives them when they're too drunk, and doesn't get jealous when they hang with the guys. With her they know that everything is gonna be fine. Who doesn't want a relationship like that?
"What's My Age Again?," Enema of the State (1999)
Mark Hoppus is 51, and both Travis Barker and Tom DeLonge are 47. So as DeLonge's guitar rang out and the band launched into "What's My Age Again?" at Coachella, it felt more like a protest song — because what is age but a number?
"What's My Age Again?" was the first single released from their pivotal Enema of the State album, and the first official taste of the Hoppus/DeLonge/Barker lineup. It is blink-182's mission statement, an anthem for those who never want to grow up. After all, as Hoppus sings, "No one should take themselves so seriously, with many years ahead to fall in line."
Every line is quotable, every riff is memorable, and not a moment is wasted. Now that's how you make one catchy pop punk song and win over a generation in the process.
"All the Small Things," Enema of the State (1999)
If "What's My Age Again?" was a reintroduction, "All the Small Things" was the song that made damn sure you'd never forget. Sure, blink-182 may not have invented SoCal pop punk, but they were the first band to bring it to the mainstream, and "All the Small Things" was what made them a household name. It propelled them into superstardom.
Since its initial breakthrough as an MTV mainstay in 1999, the song has become a classic pop-punk party anthem with its sing-along hook and catchy undulating verses. It's a song about nothing and everything at once; it's about letting go and being free from any troubles. Work sucks, they know — so why not just sing "Na-na, na-na, na-na, na-na, na, na"?
"Going Away to College," Enema of the State (1999)
On Enema deep cut "Going Away to College," blink-182 perfectly captured what it's like for a kid heading off on their own for the first time — heading into the unknown, leaving family and friends you grew up with behind.
"I haven't been this scared in a long time," DeLonge admits in the chorus, one of blink-182's best, most endearing in their catalog. The song is largely an adorably clumsy valentine to a high school sweetheart, and the words Hoppus sings read like a message hastily scribbled on a note in a locker: "This world's an ugly place, but you're so beautiful to me."
"Adam's Song," Enema of the State (1999)
Van Halen were once challenged to write a song other than hooking up with women or partying, so David Lee Roth wrote "Panama" about a car. In a similar way, blink-182 challenged themselves to write about something a little serious. In comes "Adam's Song," a tune sung from the perspective of a depressed teen thinking about ending his life: "Please tell mom this is not her fault," Hoppus pleads over a subdued, dirge-like guitar.
It's a heavy song that changed the idea of what a blink-182 song should sound like. Though the song was almost left off of Enema, "Adam's Song" ended up becoming one of the more important and cherished singles in the band's discography.
"Man Overboard," The Mark, Tom And Travis Show (The Enema Strikes Back!) (2000)
On its surface, "Man Overboard" might seem a bit like a throwaway song as the only studio track on blink-182's 2000 live album, The Mark, Tom, and Travis Show (The Enema Strikes Back!). The band needed a song to help promote the live album, so they turned to a song that didn't make it on the previous year's Enema of the State. Yet, the single is a bright, driving song that's chock full of hooks.
Upon closer look, there is a deeper story of confliction within, and about watching a friend succumb to alcoholism. In many ways, "Man Overboard" served as a sort of predecessor to the more serious content blink-182 would write about the albums that followed it.
"First Date," Take Off Your Pants and Jacket (2001)
First dates spawn a range of emotion — hope in the opportunity, butterflies in your stomach. Who wouldn't want to make that excitement last forever, and ever?
On "First Date," DeLonge sounds downright giddy at the prospect. He's so nervous he really can't eat, dreading the thought of the first kiss because it's a target he's "probably gonna miss." Barker's frenetic drumming on the track only heightens the feeling of anticipation, and the combo is a vivid portrayal of punk-rock romanticism.
One of the things blink-182 always does so well is getting right to the point in their songs. There's no count in, no slow build, no BS. One swift drum roll and we're off to the races. "First Date" is a prime example of this; a thrill ride from the jump.
"Reckless Abandon," Take Off Your Pants and Jacket (2001)
The hardest part about growing up is that you don't know you're in the "good old days" until you leave them. On the driving Take Off Your Pants and Jacket deep cut "Reckless Abandon," Tom DeLonge waxes poetic about all the good times and those crazy memories from those endless summers gone by. Like a pop-punk "Glory Days," DeLonge looks back at those days with rose colored glasses, practically smirking as he sings in the chorus "we left a scar extra large."
"Reckless Abandon" is a fast-paced, rockin' roller coaster, the blueprint for today's blink-influenced rockers like the Menzingers or Japandroids who write similar anthems yearning for those days of youth. Because of its frenzied pace, "Reckless Abandon" has become a mainstay in blink-182's live setlist — one that is sure to get the crowd rip-roaring.
"Stay Together for the Kids," Take Off Your Pants and Jacket (2001)
"Stay Together for the Kids" is blink-182 at their angriest. "It's so pathetic," Hoppus spits in the opening verse, before a wall of guitars blaze through in the chorus, in which DeLonge spitefully yells, "I hope you enjoyed this time, you gave it all away. It's not right."
Like several of blink-182's songs — and rock/pop-punk songs in general — "Stay Together For the Kids" digs into a very painful, yet relatable sentiment. And as blink-182 air their own grievances out in real time, they gave anyone who has also been there something to scream along with.
"Feeling This," blink-182 (2003)
blink-182 was always about Tom DeLonge and Mark Hoppus. They're the yin and yang at the heart of the band – the McCartney/Lennon of blink-182, if you will. The way they played off each other in their songs and on stage was a major part of blink's appeal.
However, on 2003's self-titled album, it became clear their songwriting was moving in separate directions. That was initially apparent on blink-182's lead single, "Feeling This," one of blink's raunchier tracks. With DeLonge's snarling verse giving way to Hoppus' melodic chorus, "Feeling This" almost sounds like two separate tracks that shouldn't work together — but with the magic of Hoppus and DeLonge, they most certainly do.
"I Miss You," blink-182 (2003)
While "I Miss You" is inarguably one of blink's most iconic songs, it's seen a resurgence within social media and meme culture, particularly thanks to DeLonge's trademark vocal delivery about the voices inside his yyyyeeaaaaad. So, it can be easy to dismiss the song as a novelty — but you'd be wrong.
"I Miss You" is as sentimental as any classic ballad, and blink play it without an ounce of irony; it's as self-aware as it is self-deprecating, but in the end, it's about being lovesick. It's also the first blink-182 track to be recorded with acoustic instruments, with the band unplugging their guitars and using upright bass and drum brushes, giving the song a haunting, ghostly feel — creating a song so affecting that it remains one of their biggest to date.
"After Midnight," Neighborhoods, (2011)
In 2005, blink-182 announced that they would be going on an indefinite hiatus to pursue other projects outside of the group. A few years later in 2008, two incidents brought the band back together: Longtime collaborator and producer Jerry Finn passed away, and Travis Barker was involved in a near-fatal plane crash. The trio reconciled, and in 2009, they appeared at the 51st Grammy Awards together with the announcement that they would be picking up where they left off and a new album was on the way.
That album, 2011's Neighborhoods, sees the band coping with life's near-misses and unpredictability. While much of the album is composed of old demos and separate ideas, "After Midnight" sounds like the band writing as a cohesive unit again. With Barker's skittery drum beat and the song's soaring chorus, it has a sort of grandeur that was a new look for blink-182, but they wore it well.
You didn't think blink-182 grew up yet, did you? The bouncy new single "EDGING" — the first song in over a decade to feature Hoppus/Delonge/Barker together — is proof that blink-182 have clearly not lost their ability to write tight, catchy, sophomoric pop-punk.
Today, blink-182 have become the unlikeliest of elder statesmen, influencing new generations of kids who are creating their own pop punk anthems. But while the blink-182 on "EDGING" may be older, who says you have to get any wiser?
Why 2002 Was The Year That Made Pop-Punk: Simple Plan, Good Charlotte & More On How "Messing Around And Being Ourselves" Became Mainstream
Photo: Frazer Harrison/Getty Images for Coachella
7 Jaw-Dropping Sets From Coachella 2023 Weekend 1: BLACKPINK, Bad Bunny, Blink-182 & More
The first weekend of Coachella 2023 was full of more-than-memorable moments: Rosalía got into the audience; Metro Boomin brought hip-hop's heaviest hitters to the stage; major artists rocked small stages and so much more.
In a sense, every Coachella is an historic event.
Held annually at the Empire Polo Field in Indio, Calif., it’s the first major music festival of the year and often showcases artists’ tour launches, effectively providing a sneak preview of what’s to come. It’s also a place where things happen that can seemingly only happen there. The evidence lies in the sheer multitude of special guest appearances spanning the three-day event, with cameos occurring on nearly every one of eight stages.
The 2023 edition of Coachella — which sold out its first weekend, ushering in roughly 125,000 people from around the globe — was arguably the most consequential in its 22 years. On Friday, Puerto Rican rapper-singer Bad Bunny became the fest’s first Latino solo artist headliner; Saturday’s spectacle from BLACKPINK marked the first K-pop performance to top the bill; and on Sunday, Frank Ocean made history as the first openly gay man to close out the world-class music summit.
The latter artist’s set — his first in nearly six years — was certainly memorable, but not for fond reasons. On the bright side, there were plenty of other dazzling moments, whether enhanced by surprise guests or on their own merits, which made the weekend indisputably unforgettable. Read on for seven of the best sets from Coachella 2023.
The Murder Capital Slays The Sonora Tent
With only two albums under their belt and a relatively packed audience in the Sonora Tent on Friday afternoon (the second slot of the fest), it’s fair to argue that the Irish quintet deserved the nod for one of Coachella’s best up-and-coming bands.
They earned the accolade handily within just seven songs, a no-holds-barred display of searing, snotty-yet-sincere post-punk tunes (à la hometown contemporaries Fontaines D.C. and British sonic kin Idles and Shame) evenly split between their 2019 debut album When I Have Fears and this year’s follow-up, Gigi’s Recovery.
"We don’t give a f— what time is. We want to see you move," said vocalist James McGovern before launching into the maelstrom "Feeling Fades." Every member contributed to the unrelenting energy, expertly building anticipation during slow-burn portions on songs like "A Thousand Lives" and show closer "Ethel," before thrashing through the songs’ cacophonous climaxes.
The Coachella performance marks the end of the Murder Capital's first stateside tour and, based on this exceptional performance, they’ll doubtless return ready to release even more panache and sonic punch. Fans of thought-provoking punk rock would be wise to keep a lookout.
Blink-182 Reunites For An Epic Bout Of Pop-Punk Nostalgia
It was confirmed months ago that bassist Mark Hoppus and drummer Travis Barker would reunite with original Blink-182 singer/guitarist Tom DeLonge for a summer tour — the pop-punk trio’s first shows together in nine years — but seeing the band's name appear on the Friday schedule upon its reveal last week stoked some the weekend’s most spirited anticipation.
Fans reacted rabidly to the news — a group of Mexican friends waiting in front, all decked out in Blink attire and sporting tattoos of the band’s logo, said they scrambled to buy tickets and make the trip to the desert with only a single day's notice. Those fellas and the thousands spilling out of the Sahara Tent were rewarded with DeLonge making his entrance with middle fingers raised high, signaling that we were about to witness the same ol’ charmingly crass charades. They wasted no time tearing into a career-spanning set (plus the live debut of recently released new track, "EDGING") peppered with sarcastic and explicit banter that was as nostalgically satisfying as hits like "I Miss You" and "All the Small Things," and deep cuts "Dysentery Gary" and "Dumpweed."
Despite his near-decade away, DeLonge sounded sharper than ever, especially when the trio took it back all the way to 1997 for show closer "Dammit," mixing in a thrilling snippet of TLC’s "No Scrubs" (which also played in-full as the outro music). It was an odd but appropriate pairing — looking around at several generations of fans singing along to every track with equal enthusiasm, it became clear that for many, Blink’s classic catalog feels just as timeless as that R&B mega-hit.
Metro Boomin Brings The Whole Crew To The Stage
With a resume that includes work with John Legend, Future, Don Tolliver, 21 Savage, and the Weeknd, the anticipation for what might manifest during producer/DJ Metro Boomin’s Friday night set in the Sahara Tent was at an all-time high. And as it so happened, every one of those artists made appearances, in that order, resulting in the most star-studded show of the weekend in an incredibly intimate setting.
Within the first few seconds of Metro Boomin's set, Legend strolled out to belt on "On Time," and from that point, there was only one track without a heavy hitter at the helm. Future for five songs, wrapping up on superhit "Mask Off"; Don Tolliver out for three; 21 Savage for six exhilarating tunes; and finally the Weeknd for another half-dozen. The cherry on top: both 21 Savage and Diddy joined the Weeknd for the live debut of Metro Boomin’s "Creepin'" remix to close out the set. Acting as conductor and conduit, Metro stayed relatively hidden atop a center-stage platform for the entirety of the 23-song set, letting his guests and mesmerizing dancers take the wheel.
This show could’ve and should’ve been on the main stage, and the fact that it wasn’t made it that much more special for the fest-goers wise enough to sacrifice the beginning of Bad Bunny to witness it.
Bad Bunny Makes History
In the moments before Bad Bunny's headlining slot on Friday, footage depicting past lineups and performers — including Prince, Kendrick Lamar and the Black Keys — flashed across the main stage’s massive screens. The suggestion was clear: The Puerto Rican superstar intended to cement his own legacy as Coachellan royalty.
In some ways, that status was predetermined. As the first Latino solo artist to close out the festival, the GRAMMY-winning reggaeton titan had already made history before even setting foot on stage. El Conejo Malo gave his massive audience their money’s worth and more during a 2-hour tour de force that paid tribute to Latin music and dance.
Beginning the show atop a platform designed to look like the gas station roof in San Juan, Puerto Rico where he staged a surprise performance last December, the artist lovingly referred to by fans as Benito (his legal first name) serenaded the audience with several songs off chart-topping 2022 album Un Verano Sin Ti. He rarely showed himself on the stage’s screens, instead opting to display videos of historic Latin and Caribbean musical traditions, plus brightly colored graphics paired with sweeping lasers and spurts of pyro that evoked the feel of an enormous Miami nightclub.
Though hopes were high for Cardi B to appear for her part on breakout single "I Like It," she didn’t show, but no matter. Fans were treated to plenty more surprise guests, including Jowell Y Randy on "Safaera," Jay Cortez on a hat trick of tunes played on a B-stage, and Post Malone accompanying on acoustic guitar for "La Canción" and "Yonaguni." The latter two were diminished by sound issues, but it had little effect on the impact of the show for diehard fans — it was a veritable love letter to Latin culture that his faithful followers will surely hold dear for years to come.
Dinner Party Invites Everyone To The Table
With only a few performances under their belt to date, Dinner Party — the supergroup formed in 2020 by prolific pianist Robert Glasper, saxophonist Kamasi Washington, hip-hop producer/DJ 9th Wonder and renowned producer/musician Terrace Martin — was a must-see in the Gobi Tent on Saturday afternoon.
The outfit was joined by Arin Ray, who sings on their debut full-length Enigmatic Society (released one day prior on April 14) and in this setting also handled vocal parts from Dinner Party’s self-titled EP sung by Chicago artist Phoelix. His voice set a joyful, uplifting tone on opening track "Breathe," which was followed by segments where each contributor showcased their individual talents, including wild sax duels from Washington and Martin, and a hip-hop DJ mini-set from 9th Wonder.
But the group was at their best when all players were seated at the table, so to speak, and when Ray rejoined for the show’s finale, "Freeze Tag," an enlivened, church-like feeling overtook the audience — every person in the packed tent was grooving along, no exceptions.
Rosalía Engages With Her Fans
Over the course of Rosalía's hour-long, main stage set on Saturday night, which pulled heavily from new album MOTOMAMI, the Catalonian singer proved that she’s reached superstar status, not only with respect to her spellbinding vocal delivery and dancing, but also her overall artistic vision.
Even better, she achieved all of it while making her fans feel like an essential part of the show. Case in point: Much of the show’s live feed was shot on stage within the space of three video walls that created an ultra-smooth, almost surreal music video effect. But on "La Noche de Anoche" (a Bad Bunny collaboration), she made her way down to the audience holding a handheld camera and let her fans take turns singing a few of the lyrics. Even if they sounded terribly off-key, it showed unmatched class — a performer who can step down from her well-deserved pedestal to make meaningful connections with her supporters.
The scene was truly touching, and she built on that throughout the set, first by playing a tearjerkingly beautiful rendition of "Hentai" on piano dedicated to her dance teacher, then by bringing out her fiancé Rauw Alejandro for duets on "Beso" and "Vampiros," which wrapped up with the sweetest of on-stage kisses. By the end, there was no doubt of her mastery over balancing raw talent and authenticity.
BLACKPINK Shows Why K-Pop Deserves Coachella Spotlight
Saturday night’s headlining turn from the record-breaking K-pop girl group, the first to top Coachella’s lineup, was unequivocally the most impressive production of Coachella’s first weekend.
Mind-bending elements came into play before the quartet even appeared. A drone-powered light show above the stage — which first depicted a caterpillar transforming into a butterfly, then a paper crane, then an astronaut, a hippo in a spacesuit and finally a heart — all representations of Coachella’s past installation art pieces — had the crowd gasping in astonishment.
Over the course of the following 18 songs, the four members danced, sang and rapped flawlessly while their live band conjured a soundtrack powerful enough to fill several arenas. Right out of the gates, they wowed with a ferocity that matched the title of opening track "Pink Venom," then strutted down the stage’s extended catwalks flanked by a brigade of equally impressive backup dancers to a B-stage for "Kill This Love" — all the while being followed by cameras that made their video element look like a high-end production seemingly unachievable in a live setting. The sequence drove the audience into a shouting, jumping frenzy as flames erupted on all sides.
After a few songs in group format, each member took a solo turn. Jennie went first, effortlessly amping up the fans with deep house-inspired "You & Me"; then Jisoo appeared for a fiery take on "Flower"; Rosé stunned with another effortlessly fierce dance routine down the catwalk; and Lisa wrapped up the segment with an unreleased explicit version of "Money," which began with a seductive pole dance followed by a decidedly hardcore rap delivery that would impress some of hip-hop’s heaviest hitters.
At its core, the performance was the most successful representation of what Coachella set out to do by booking such distinctly diverse headliners: it proliferated inclusivity. Even if you came to Coachella exclusively for another act, Blackpink had something to offer for everyone, from pop to hip-hop to rock to EDM, and it would be no surprise if they converted a new legion of fans in the process. The show concluded with a display of fireworks worthy of the biggest New Year’s Eve celebration, but they really weren't necessary — their performance was explosive enough without them.
11 Electric Coachella Surprise Guest Moments From Weekend 1: Post Malone, Billie Eilish, Rauw Alejandro & More
Photo: Jeff Kravitz/Getty Images for iHeartRadio
The Fall Out Boy Essentials: 15 Songs That Display Their Lyrical Genius & Global Rock Star Status
As Fall Out Boy releases their highly anticipated eighth album, 'So Much (For) Stardust,' check out some of the singles and deep cuts that have helped build their remarkable legacy.
On March 22, two days before Fall Out Boy released their eighth album, So Much (For) Stardust, frontman Patrick Stump and bassist Pete Wentz graced the front of U.K. magazine Kerrang with a short-and-sweet cover line: "The saviours return."
It's a fitting sentiment for the foursome, who haven't released an album since 2018's experimental MANIA. And while some may argue the term "saviors," Fall Out Boy's decades-long success as mainstream rock artists — particularly, a group who started out as pop-punk — is practically unmatched among their peers.
Fall Out Boy's endurance, of course, stems from the music. So Much (For) Stardust will add 13 new tracks to their catalog, but as Wentz told Kerrang, "this is the start of a new thing."
In celebration of their latest album, GRAMMY.com looks back on the songs that have made Fall Out Boy both global sensations and musical masterminds.
Fall Out Boy will be performing as part of A GRAMMY Salute To The Beach Boys on April 9. Click here for more details on the special.
"Grand Theft Autumn / Where Is Your Boy" (2003)
Although "Dead On Arrival" marked Fall Out Boy's major label debut single, "Grand Theft Autumn" first hinted at the band's commercial potential. (They had independently released two EPs before Take This To Your Grave.) While it didn't chart, it featured more polished production than its predecessor, and its undulating chorus is as catchy as FOB hooks come.
Its lyrics of unrequited love are also arguably more straightforward than many other songs in their discography. But, there's still plenty of Fall Out Boy-esque quips, including one that pokes fun at their budding fame: "Someday I'll appreciate in value/ Get off my ass and call you, the meantime, I'll sport my/ Brand new fashion of waking up with pants on/ At four in the afternoon."
Anyone who has seen Fall Out Boy live knows that "Saturday" is an essential part of their catalog, as it has served as their set closer for almost every show since 2003.
Perhaps that's because it's one of their most autobiographical songs, with Stump referencing his and Pete's "mess of youthful innocence" as they navigated band life in their early 20s. Or maybe it's because it was one of the first songs to show off Stump's impressive vocal range. Whatever the case, there's no denying it will forever be one of FOB's classics.
"Chicago Is So Two Years Ago" (2003)
Since forming in a Chicago suburb in 2001, Fall Out Boy have been adamant about honoring their hometown, whether that's in the form of a song called "Lake Effect Kid" or a headlining show at Wrigley Field. The tributes began with "Chicago Is So Two Years Ago" — which is more about a scorned past relationship in the city than the city itself, but is nevertheless about where they came from.
And while the lyrics are oh-so-FOB (i.e. "She took me down and said, 'Boys like you are overrated/ So save your breath'"), the song's arc makes it a signature piece of the band's puzzle. According to a 2013 interview with Alternative Press, Stump and Wentz fought over just about every lyric — and 20 years later, it's seemingly a band and a fan favorite.
"Sugar We're Goin' Down" (2005)
After hardly making waves with their first studio album, Fall Out Boy proved to be a force to be reckoned with upon releasing the lead single from their second album, From Under the Cork Tree. Today, "Sugar We're Down" isn't just known as their defining song — it's one of the defining songs of the emo music era.
"Sugar, We're Goin' Down" is lyrically as abstract and quirky as Fall Out Boy's first releases, but its soaring chorus and roaring guitars presented a new magnetism that helped establish FOB as a pop-punk mainstay. What's more, it's been dubbed as a "game-changer" for the genre and is part of just about every "Best Pop-Punk Songs Of All Time" list out there.
One could argue that "Sugar, We're Goin' Down" took Fall Out Boy from the underground to a household name, as the song reached the top 10 of the all-genre Billboard Hot 100. While some people may never understand the antlered man in the music video or the instant-classic line "A loaded God complex/ Cock it and pull it," there's no denying that "Sugar, We're Goin' Down" is absolutely legendary.
"Sophomore Slump or Comeback of the Year" (2005)
From Under the Cork Tree put Fall Out Boy's knack for witty lyricism on overdrive, both in the songs' lyrics and their titles. That's especially true on "Sophomore Slump or Comeback of the Year," whose title directly acknowledges the theory that second albums are a make-or-break moment for an artist. And while "Sugar, We're Goin' Down" almost instantly proved the album to be a win for FOB, "Sophomore Slump" delivered a cheeky confidence that makes their wit even more appealing.
"We're the therapists pumping through your speakers/ Delivering just what you need/ We're well-read and poised/ We're the best boys," Stump sings on the opening verse, which takes a direct shot at anyone who didn't believe that they were destined for success. "No matter what they say/ Don't believe a word."
"This Ain't a Scene, It's an Arms Race" (2007)
Perhaps surprisingly, "This Ain't a Scene, It's an Arms Race" is Fall Out Boy's biggest chart hit to date. The single landed at No. 2 on the Hot 100 in early 2007 — and as the first song from their third LP, Infinity on High, "This Ain't a Scene" proved that their sophomore success was no fluke.
The irony of it all? The song is a commentary on their freshly minted reign over the pop-punk scene. "Bandwagon's full, please catch another," Stump sings on the second pre-chorus.
"Thnks fr th Mmrs" (2007)
Just two months after scoring a smash with "This Ain't a Scene," Fall Out Boy released what would become another staple in their discography with "Thnks fr th Mmrs." Every aspect of the song is classic FOB, from the haunting melody of its verses to the clever metaphor-heavy lyrics, like "Been looking forward to the future/ But my eyesight is going bad."
Like many songs on Infinity on High, "Thnks fr th Mmrs" featured commentary on fame and their now-mainstream status — down to the song's title, which reportedly mocks their label's request for shorter song titles than their traditional verbose names. And with a music video that features Kim Kardashian, it was very clear FOB knew the game they were now playing.
"Hum Hallelujah" (2007)
Pete Wentz started out as the band's primary songwriter, and his complex, metaphorical lyrics are often pure magic. "Hum Hallelujah" might be one of his most personal displays of his songwriting prowess.
It's believed that "Hum Hallelujah" was inspired by Wentz's suicide attempt, during which he once recalled to MTV News that he was listening to Leonard Cohen's "Hallelujah"; it's also believed that the song touches on Wentz's experience with bipolar disorder. No matter how heavy the story behind the song is, though, he managed to craft a quintessential FOB-esque lyrical masterpiece: "My words are my faith, to hell with our good name."
"What a Catch, Donnie" (2009)
One of the only ballads in FOB's catalog, there are many reasons why "What a Catch, Donnie" is special: It highlights Stump's voice in stunning fashion; the cadence of the chorus makes it a classic sing-and-sway-along anthem; Elvis Costello features on the bridge.
But it's the ending of the song that makes "What a Catch" so memorable and celebratory. The band recruited their treasured peers (and fellow Decaydance Records artists) to sing reprises of some of their classics, including Panic! at the Disco's Brendon Urie singing "Dance, Dance" and Cobra Starship's Gabe Saporta doing "Grand Theft Autumn/Where Is Your Boy."
"The Disloyal Order of Water Buffaloes" (2008)
Sure, by now, Fall Out Boy has countless rock anthems to their name. But at the time Folie à Deux was released, there wasn't anything quite like "The Disloyal Order of Water Buffaloes" in their catalog.
Starting with a balladic intro, reverberating guitars eventually make way into a pounding drum that will send chills down your spine. The 4-minute track just continues to become more and more euphoric, complete with a chant-along bridge of what Wentz has called one of his favorite (and most relatable) lyrics he's ever written: "Detox just to retox."
Though it never fully got its due as a single, it has on stage — and it's hard not to argue that it's a FOB essential.
"My Songs Know What You Did In The Dark (Light Em Up)" (2013)
After a solid streak of hits from 2005-2009, Fall Out Boy did the one thing that every fan dreads: declared a hiatus. Fortunately for FOB diehards, there was a return after about four years — and it was epic.
"My Songs Know What You Did In The Dark (Light Em Up)" is easily one of the most anthemic songs FOB have ever released, from the stimulating "Oh-oh-oh-oh-oh-oh" chants to the explosive chorus with the belt-able climax, "I'm on fire!"
The song also ushered in a new era for the band, literally and figuratively. While its lyrics make several references to their return ("I just gotta get you out the cage, I'm a young lover's rage/ Gonna need a spark to ignite"), "My Songs" introduced a stadium-ready sound that FOB continued on megahits like "The Phoenix," "Centuries" and "Irresistible" — and eventually manifested in two headlining shows at Wrigley Field (including one this summer) and a stadium trek with Green Day in 2021.
"Save Rock and Roll" (2013)
Among all of the dynamic rock tracks that are featured on Save Rock and Roll, it may seem a bit erroneous to choose "Save Rock and Roll" as an essential Fall Out Boy song. But at the same time, its differences are what make it essential.
Another one of the few ballads in their discography, "Save Rock and Roll" is a stunning display of both Stump's vocals and FOB's musicality beyond guitar-driven anthems. It wasn't created for commercial success, and that's exactly the point of the song — declaring that they'll always be making music that holds true to their rock roots and the passion within that.
"Save Rock and Roll" clearly means something to Fall Out Boy themselves, as it's been a setlist mainstay since 2016. Plus, the song features Elton John — how many bands get to say that?
"Uma Thurman" (2015)
How can you tell that a band is pure genius? They turn "the Munsters" theme song into a rock anthem.
That's exactly what Fall Out Boy did with "Uma Thurman," one of two brilliant reimaginings on American Beauty/American Psycho ("Centuries" features an interpolation of Suzanne Vega's '80s hit, "Tom's Diner"). The "Munsters" sample provides a unique surf rock vibe FOB's music hadn't seen before, but with a grungy flair that stays true to their aesthetic.
The song's lyrics are just as clever as "the Munsters"-sampled hook, too. Inspired by the titular actress herself, FOB flipped Thurman's iconic roles in Pulp Fiction and Kill Bill into a narrative about capturing the affection of a badass woman. (And unlike their From Under the Cork Tree cut "Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get Sued," they got permission from Thurman to use her namesake — a move she once called "incredibly chivalrous.")
"Wilson (Expensive Mistakes)" (2018)
Fall Out Boy kicked off their seventh studio album with a rather startling lead single, the EDM-laced "Young and Menace." But by the time they reached their fifth single from the LP, it was clear "Young and Menace" was meant to provide more shock value than a teaser for what was to come.
"Wilson (Expensive Mistakes)" is arguably the most reminiscent of the pop-punk style FOB honed in the mid-2000s, but with the arena-ready echoes — both vocal and instrumental — that they introduced upon their return in 2013. And lyrically, it doesn't get much more Fall Out Boy (or, frankly, more emo) than "I'll stop wearing black when they make a darker color."
"Love From the Other Side" (2023)
At this point, Fall Out Boy has shown that they know how to make an entrance — and "Love From the Other Side," their first single in over two years, was no exception.
Before Stump's thunderous vocals begin, a burning guitar line and racing drums set the stage for a triumphant return. And once the chorus kicks in, we've heard everything that makes Fall Out Boy great: self-effacing lyrics, soaring vocals, face-melting instrumentals, and a hook that makes you want to shout it from the rooftops.
"Love From the Other Side" proves that Fall Out Boy hasn't lost their touch musically or commercially. The song scored the group their first No. 1 on Billboard's Alternative Airplay chart, which also marked a chart record as the longest run from a first-charting song to a No. 1 at 17 years and nine months. To think that FOB is still achieving new feats after all the hits they've scored in that time — they've certainly appreciated in value.
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Photo Credit: CBS ©2022 CBS Broadcasting, Inc. All Rights Reserved.
How To Watch "A GRAMMY Salute To The Beach Boys," Featuring Performances From John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, Weezer & More
The re-aired tribute to the Beach Boys will also feature performances from St. Vincent, My Morning Jacket, Norah Jones, Charlie Puth, and many others, as well as special appearances by Tom Hanks, Elton John, Bruce Springsteen, and more.
Updated Monday, May 22, to include information about the re-air date for "A GRAMMY Salute To The Beach Boys."
"A GRAMMY Salute To The Beach Boys" will re-air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.
After six decades of game-changing innovation and culture-shifting hits, the Beach Boys stand tall as one of the most legendary and influential American bands of all time.
Now, the iconic band will be honored by the Recording Academy and CBS with a star-studded "Beach Boys party" for the ages: "A GRAMMY Salute To The Beach Boys," a two-hour tribute special featuring a lineup of heavy hitters, including John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, St. Vincent, Weezer, and many more, who will perform all your favorite Beach Boys classics.
Wondering when, where and how to watch "A GRAMMY Salute To The Beach Boys"? Here's everything you need to know.
When & Where Will The Special Air?
"A GRAMMY Salute To The Beach Boys" will air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.* A one-hour version of the tribute will air on MTV at a future date to be announced.
Who Will Perform, And What Will They Perform?
The following is a list of artists and performances featured on "A GRAMMY Salute To The Beach Boys":
Andy Grammer performing "Darlin'"
Beck performing "Sloop John B"
Beck & Jim James performing"Good Vibrations"
Brandi Carlile performing "In My Room"
Brandi Carlile & John Legend performing "God Only Knows"
Charlie Puth performing "Wouldn't It Be Nice"
Fall Out Boy performing "Do You Wanna Dance"
Foster The People performing "Do It Again"
Hanson performing "Barbara Ann"
Norah Jones performing"The Warmth of the Sun"
Lady A performing "Surfer Girl"
John Legend performing "Sail on Sailor"
Little Big Town performing "Help Me Rhonda"
Luke Spiller & Taylor Momsen performing "Surfin' USA / Fun Fun Fun"
Michael McDonald & Take 6 performing "Don't Worry Baby"
Mumford & Sons performing "I Know There's an Answer"
My Morning Jacket performing "I Get Around"
Pentatonix performing "Heroes and Villains"
LeAnn Rimes performing "Caroline No"
St. Vincent performing "You Still Believe in Me"
Weezer performing "California Girls"
Read More: 5 Memorable Highlights From "A GRAMMY Salute To The Beach Boys": Weezer, St. Vincent, John Legend & More
Who Are The Special Guests & Presenters?
In addition to the musical performances, the special features appearances by Drew Carey, Tom Hanks, Jimmy Jam, Elton John, Bruce Springsteen, John Stamos, and Recording Academy CEO Harvey Mason jr.
Beach Boys core members Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks are featured guests.
What's The Context For The Special?
Filmed at the iconic Dolby Theater in Los Angeles after the 2023 GRAMMYs, "A GRAMMY Salute To The Beach Boys" airs during the year-long celebration of the Beach Boys' 60th anniversary. Counting more than 100 million records sold worldwide and recipients of the Recording Academy Lifetime Achievement Award, the Beach Boys are one of the most critically acclaimed and commercially successful bands of all time, and their music has been an indelible part of American history for more than six decades.
Keep an eye on GRAMMY.com for more exclusive content leading up to "A GRAMMY Salute To The Beach Boys."
*Paramount+ Premium subscribers will have access to stream live via the live feed of their local CBS affiliate on the service as well as on-demand. Essential tier subscribers will have access to the on-demand the following day after the episode airs.
Watch backstage interviews & exclusive content from "A GRAMMY Salute To The Beach Boys”