For every watered down 'rock' track that broke into the charts during the last decade, there were still those working in the underground to keep the genre alive.
Nevertheless, the genre always seems to be in jeopardy.
During the 2010s and particularly towards the end of the decade, rock tropes started to find themselves being appropriated by pop acts, it's no new thing, but pop rock was definitely having its moment.
Unfortunately this commercialised form of music seems to appeal to the masses. We saw a bunch of 'rock bands' receiving adulation in the charts, and although the term rock has always been fairly loosely defined, this took some liberties, with many playing hard and fast with the genres definition. Apparently, if a band features some guitars and a drum kit that's enough reason to give them precedence.
But it wasn't all pop centric rock music that drew peoples attention, we did get some pretty interesting sub genres starting to develop, the problem was, these sounds soon became so over done that they soon felt unrelenting and tedious. Innovation and genre blending has always been key to the survival of rock music, but you have to keep it moving.
These were the acts that received all the praise in the world but you knew, somewhere in the back of your mind, they didn't deserve it.
10. The 1975
On the surface, there are many redeemable aspects to the 1975: catchy vocal hooks, fun '80s synth melodies and a backing band who really knows how to play, but if you aren't one of those people who have a weird obsession with Matt Healy, then it just doesn't come together.
Matt Healy can be credited with writing some pretty engaging lyrics about a number of universal subject matters. But he's also guilty of channeling all those irritating pop punk characteristic's into a synth pop brand of indie rock.
You'll all have those friends who preach about the sensitive allure of Healy's lyrics, they always mention his struggle with addiction and the tender way he's able to reflect about lost loves. But those arguments fall on deaf ears after the third time you hear the Cheshire raised singer put on a South London accent.
Perhaps the main gripe with the 1975 is they are essentially a synth pop band that manages to pose as a rock act because they happen to wear leather jackets and occasionally strum a Stratocaster.