Time has not dulled Armstrong's irreverent sense of humor or prickly anti-authoritarian streak either. 'This is our last show for a long time. Augmented by touring guitarists Jason White and Kevin Preston and keyboardist and saxophonist Jason Freese, Green Day delivered a multilayered stadium-rock spectacle that still rocked with the nervy, youthful abandon of their 924 Gilman St. Don't let Billie Joe Armstrong's graying hair fool you: His nasally, faux-British sneer and husky, troop-marshaling bellow still pack all the tuneful ferocity of yesteryear, while bassist Mike Dirnt and drummer Tre Cool still kick up a precise, whiplash-inducing wallop that's equally indebted to the Ramones and the Who. Those are not easy feelings to bottle and uncork on command every night for more than a quarter-century, but Green Day pulled it off with aplomb during their breathless, hour-and-45-minute Austin set. They were much happier to hear Green Day plow through disaffected slacker anthems like 'Longview' and 'Basket Case' off 1994's star-making, diamond-selling Dookie and revel in the righteous rage and unadulterated angst of political punk juggernauts like 'American Idiot,' 'Boulevard of Broken Dreams,' 'St. That suited the roughly 100,000 fans in attendance just fine. 21, kicking off a star-studded Formula One race weekend. The final show of the band's two-year globe-trotting campaign - first, the Hella Mega stadium jaunt featuring Fall Out Boy and Weezer, capped by a victory lap of headlining festival slots - featured no songs newer than 2009 2020's Father of All Motherfuckers, which they would ostensibly be promoting on this tour cycle, received nary a mention. Green Day not only came to terms with their legacy-act status but embraced it with sweaty arms pointed skyward during their performance at Austin's Circuit of the Americas on Oct.

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