Back in the early aughts, pop-punk was largely homogenous: a sea of predominantly white men who took over the stages of Warped Tour in their black Converse, lamenting their ex-girlfriend or small-town existence with few exceptions. But 20 years later, the genre has shape-shifted and redefined itself — and it may be more omnipresent than ever.
While pop-punk isn't necessarily at the forefront of mainstream music the way it was in the mid-2000s, it's undoubtedly permeating culture. Two of the biggest artists in 2023 — Olivia Rodrigo and SZA — incorporated the pop-punk playbook into their songs; Travis Barker has become a go-to collaborator for a slew of rising acts blurring genre lines; pop-punk stalwarts like blink-182, Fall Out Boy and Sum 41 are returning to the genre with massive albums and tours; and When We Were Young Fest continued leaning into the nostalgia of it all, while celebrating both legendary acts and newcomers.
One of the most remarkable aspects of the new wave of pop-punk popularity is that it's no longer defined by white cisgender males. The genre has become a more inclusive place than ever, with some of the most interesting and impressive music coming from women or people of color. Bands like Meet Me @ The Altar, Magnolia Park and Pinkshift have been pivotal to making the scene more inclusive.
As pop-punk continues to evolve, what will it look like? How will it continue to take steps toward diversity and inclusion? GRAMMY.com invited several leaders and luminaries of the industry to discuss its current state, how it infiltrated the mainstream, and the genre's ever-growing community.
Quotes from these interviews have been edited for brevity and clarity.
What has 2023 meant for pop-punk?
Ada Juarez, Meet Me @ The Altar drummer: 2023 has been a great discovery year for pop-punk. Lots of pop-punk bands have been touring and playing festivals and getting their names put out there for new people to hear!
Sean Mackin, Yellowcard violinist: 2023 is maybe the biggest year for the genre. There are new bands that are inspiring and changing what music means to them – and it was strong enough to bring Yellowcard back from the afterlife, so for me personally it means a lot!
Joe Horsham, Magnolia Park drummer: 2023 is a pretty good year for pop-punk because it's officially getting mainstream recognition, and I keep seeing more and more pop-punk bands getting on rock festivals. So the demand is high.
Louis Posen, Hopeless Records founder: Pop-punk continues to be an important sub-genre in our community. In the 2000s, the community broke into the mainstream which expanded the community to a level where you can see now, in the most full circle way, the impact it had on fans then.
Morgan Freed, Emo Nite co-founder: Who would have thought that 2023 meant anything for pop-punk 10 years ago? The fact that it's alive and well, growing and thriving with younger artists who've turned what their version of pop-punk is into their own, as well as bands we've loved forever either making a comeback, reuniting or throwing together new tours with newer artists, is remarkable and meaningful. It says a lot about where we are as a country, as a community and as people that are going through their teens now or have been alive long enough to see its return.
Ben Barlow, Neck Deep singer: 2023 was a great year to revitalize the genre and give it a platform for even more in 2024. We saw the return of blink-182, Green Day and Sum 41 releasing new music, as well as a whole bunch of smaller, up-and-coming artists doing good things, too.
Jon Foreman, Switchfoot singer: [It] feels like every decade or so a younger generation discovers the beautifully dissonant energy that we all loved when we were young — and pop-punk returns from the grave like a phoenix reborn. 2023 has felt like the crest of that wave, with guitars and drums finally ringing out loud and proud once again.
In 2023 pop-punk seemed to reach an even more ubiquitous level. How have you seen the genre regain relevance in recent years?
Juarez: Pop-punk has been a genre that tends to come and go in mainstream society. These past few years I've seen pop-punk get really popular once again — especially with blink-182 having their comeback and festivals like Adjacent Fest, Riot Fest, and When We Were Young having such pop-punk-filled lineups. Not only that, but trailblazers like Travis Barker collaborating with artists outside of the pop-punk realm and introducing their listeners to a whole new sound bring a whole new generation of pop-punkers.
Tristan Torres, Magnolia Park guitarist: Pop-punk has been bubbling since 2020, especially because of Travis Barker collaborating with new artists like KennyHoopla. But now pop-punk is pretty much synonymous with rock/alternative. It seems to be the go-to move for even pop artists when they do a rock song, such as Demi Lovato.
Mackin: 2023 is really a culmination of listeners showcasing their passion and love for music. I think it's a time of celebration and healing after a couple of sheltered and dark years.
Johnny Minardi, Head of Fueled By Ramen: Bands are having fun again and I think that's contagious. The tours are selling more tickets than ever even without gigantic mainstream hits.
Fefe Dobson, singer/songwriter: I saw that pop-punk was being championed and celebrated much more. It wasn't only musically through charting, but through fashion and culture.
John Feldmann, singer/songwriter and producer: Hearing Fall Out Boy on Sirius[XM] Hits 1, selling out the When We Were Young Festival, watching the Punk Rock Museum blow up, seeing both blink-182, and Green Day have bigger live numbers than ever. it's undeniable!
Dayna Ghiraldi-Travers, Big Picture Media founder: For me personally, it never went away. I have been working with New Found Glory since 2014's Resurrection and with Neck Deep since 2012's Rain in July EP, and haven't stopped since. I do think the return of Tom [DeLonge] in blink-182 did a lot for the genre, but overall the genre has held its ground quite nicely over the last decade.
Barlow: Nostalgia and youthful exuberance will always be a part of pop-punk. It's a broad spectrum in terms of the sound, the message and the subject matter, and so it appeals to people on a number of levels. [It] also maybe [has] something to do with rap, pop and electronic music taking inspiration from the genre allowing it to slowly filter into the mainstream.
Why do you think this music — whether old or new — is resonating so strongly again?
Juarez: Old pop-punk never truly "died" or "got old." We hear the iconic pop-punk songs we all loved growing up constantly in today's day and age! Personally, I spend a lot of my time listening to older pop-punk, such as blink-182, Green Day, and Simple Plan; even newer than those, like The Story So Far, Knuckle Puck, and Neck Deep. It never fails to send me through a whirlwind of emotions, happiness, angst, nostalgia. It's a great genre to feel different emotions, and that's why it'll never truly get old.
Mackin: Music does go through cycles, and we are in a really refreshing time where the energy and the angsty sort of nature just collide, and it feels new again.
KennyHoopla, musician: History always repeats itself. On top of that, the world is going through a lot right now and pop-punk/emo music has resembled that. People are naturally in an emotional state right now.
Dobson: For myself, I crave songs that I can sing at the top of my lungs and let all my emotions hang out unapologetically. I think we just needed that release, and pop-punk has that rebellious and raw, honest quality to it.
Vince Ernst, Magnolia Park keyboardist: I think this style of music is pretty relevant because it just has a youthful energy. The messages of those songs such as heartbreak, feeling like you don't fit in and wanting to be your own person will always resonate with the younger generations. Also, the classic songs of the past like "Misery Business," "Sugar, We're Going Down" and "All The Small Things" are just great songs. And great music will always stand the test of time.
Minardi: Lyrically, the genre has always been relatable for any mood. I don't think other genres do that as much, especially for younger fan bases.
Foreman: Sometimes it's helpful to step back and look at the broad strokes of adolescent development or even to associate a Jungian archetype to a specific age demographic. Post-pubescent humans are challengers, dreamers: questioning the established rules, pushing back on boundaries and societal norms. Punk music provides a perfect venue for these doubts and questions. Punk thrives when society is riddled with hypocrisy, greed and injustice. Punk rock is an organism that feeds on the dark, ugly, shameful parts of our culture, exposing these social ills to the light. Punk rock asks questions and challenges the status quo. Fortunately for punk-rock, (and unfortunately for humans) these dark times provide ample fodder for punk songs.
Freed: I think we're going through a time where the world is so f—ed, and the information we receive is so quick and vile that we yearn for something like nostalgia (I wish there was a better term). There are also always going to be teenagers, and teenagers need something to listen to that speaks to them in a way they can understand and relate to. They're smart and see through manufactured, overly-produced s—. And that time is now. The teens have discovered emo and pop-punk, and that rocks.
Ghiraldi-Travers: I think this music brings an energy that other genres do not. After a worldwide pandemic and the political climate, we need that high-energy and politically charged anti-establishment inspiration that we get out of pop-punk to keep pushing us along.
Barlow: There's a realness and an honesty to pop-punk, as well as energy. Something undeniably fun and catchy, the soundtrack to your best times and the arm round the shoulder in your worst times.
Feldmann: I think people want to have fun again at shows, and now that the pandemic is over people are actually going out and living their lives! I think the indie bedroom thing, (i.e. music to do homework to) is still super relevant, but people want to see live instruments being played and actually have an experience.
Posen: Pop-punk has a very close connection between artist and fan. They're almost one and the same and they are in it together. That makes for an incredibly connected community that wants to help and promote each other.
How can pop-punk make more space for marginalized artists?
Dobson: When my first album came out, I remember feeling like I didn't quite fit in, which I was already kind of used to growing up. I didn't really know where my space was at first but I did find a sense of community in the genre with a few other artists. I think it was because we celebrated each other's individuality. We shopped from similar stores, we enjoyed similar influences and we just wanted to be truly seen and heard — some of us for the first time ever.
Foreman: If punk rock is the definition of anti-establishment, then the genre has an obligation to be leading the way forward in making room for the marginalized and championing the causes of the ones who don't fit in.
Juarez: Pop-punk can always make more space for marginalized artists by just being open-minded with show lineups, festivals and even with communities! The more we talk about the bands around us, the more those bands get opportunities, too. Many people and artists from various walks of life listen to and/or play pop-punk — we all deserve these opportunities.
KennyHoopla: By doing it in the places that really matter. Helping local bands and giving your support to local scenes. I've seen fundraisers for dying venues, free shows, collaboration within the scene [help].
Josh Roberts, Magnolia Park singer: Pop-punk, as we all know, has been dominated by mostly white guys, so it's been a little difficult for marginalized artists to have a space. For example, we get a lot of racist comments. But I think we can make the space safer by just taking the time to educate ourselves and being open to the messages that these artists bring to the table, even if it makes you uncomfortable.
Barlow: With pop-punk being part of the alternative scene, it's very inclusive and welcoming. Everyone is bound by the shared love of something that often feels like more than music. However, it's historically been pretty white and we can always do better, so, no matter who you are, who you love, the color of your skin, welcome, you'll love it here. Start a band, get involved in your local scene in whatever way you can [and] know that this is a world where everyone can thrive and have a voice.
Posen: We can be more aware of artists and fans who share the same passions, interests and values but find themselves outside the community. If we raise awareness, both those in the community would reach out and those outside would feel more welcome. At Hopeless, we make it part of all our conversations about signings, hiring and other decisions to make sure we aren't unconsciously leaving anyone out. One of the results is a current artist roster where front people are more than 50% female or non-binary identifying artists.
Ghiraldi-Travers: If the most established artists take younger bands out on the road with them, it is the best way for the marginalized bands to gain new fans. It would also be great for the more popular artists to give a space for features on songs they are releasing that connect directly to that new band's Spotify account.
Freed: I feel lucky that this scene is the most accepting community I've ever encountered. My wish is that as new generations of artists emerge into the scene and create new spaces within the pop-punk community, [so] inclusivity will be so ingrained into the scene that it won't even be a question.
How has When We Were Young helped give pop-punk a more mainstream boost?
Juarez: A festival as exclusive and influential as When We Were Young was a huge boost for pop-punk in the mainstream — it's a great opportunity for such a community of people to come together and listen to their favorite artists in the same place and create memories. Everyone talks about it, everyone posts about it, people who missed out wish they were able to be there.
Posen: The When We Were Young Festival has played a significant role in the rise in popularity and excitement around iconic artists from our community and the connection they have to the newer generation of artists.
Mackin: Yellowcard grew up dreaming to one day be on the Vans Warped Tour, and in our career we were included in their lineup nine separate times. So playing WWWYF really felt nostalgic, and getting to share the stage with so many of our friends in one place, I think it showed other people and listeners (who may not have already been familiar with the scene) how many people love this sub-culture of music.
Minardi: Beyond the 85,000 [people] in attendance each day, the social media presence that goes viral with announcements covers a lot of ground that standard roll out plans for music don't always hit.
Feldmann: When my band Goldfinger played When We Were Young, we had close to 50,000 people watching us. I would say 80% of them had never seen our band. I think it was a great place for young people to see some of the legacy acts and also see some of the new current pop-punk bands. That festival was huge.
Foreman: I love to see a lot of my friends on the bill, bands that haven't really toured for years are getting back together to play the festival. And I love that the world is getting to hear their songs again.
Ghiraldi-Travers I was lucky enough to attend When We Were Young in 2022 and was hired to run the press room at the 2023 festival and the energy of this festival is palpable. You walk the grounds and see ages of fans who are small enough to be on their parents shoulders and fans in their sixties. It has brought together all types of music lovers and is incredible to witness a sea of emo/pop-punk/rock fans flood the streets of Las Vegas.
Freed: I think When We Were Young took all the best bands and brought them back into the spotlight. I hope that people who have been hooked back into the scene by WWWY's nostalgia focus are also able to check out the passionate and heartfelt work that other artists/creatives are doing to push the needle forward on emo.
Which artists do you believe are bringing pop-punk into the future and why?
Juarez: There are many artists out there bringing the genre into the future and some of them are us, Olivia Rodrigo, Anxious, Willow Smith, KennyHoopla, Daisy Grenade, Pool Kids, Pollyanna, and Citizen! The list goes on and on. All these artists are bringing something new to the table, whether it be a new sound or merging pop-punk with other genres. It's refreshing and new — as it should be.
KennyHoopla: Neck Deep, Hot Mulligan, Magnolia Park, Knuckle Puck are taking pop-punk into the future.
Freddie Criales, Magnolia Park guitarist: TX2 is someone who is bringing pop-punk to the future. Not only is his music good, but he also makes it a point to make his shows a safe space for marginalized groups. He speaks out against a lot of the injustices that are put on people in the LGBTQIA+ community, and I think that's pretty important. Stand Atlantic is another band that comes to mind. They are really good at infusing a lot of futuristic sounds into their music, and I think that's important because that keeps the music modern, fresh and inspiring to the next gen.
Minardi: Games We Play, jxdn, Meet Me @ The Altar, Hot Mulligan and Anxious are all doing it in their own authentic way and kicking ass.
Feldmann: Turnstile, Hot Mulligan, Heart Attack Man, KennyHoopla, Alexsucks, 408...there's too many to mention here!
Ghiraldi-Travers: I see incredible potential in House Parties, NOAHFINNCE, Greyson Zane, Hot Mulligan, Felicity, Action/Adventure, Magnolia Park, Spanish Love Songs, and of course, Meet Me @ The Altar.
Dobson: I think Avril [Lavigne] continues to bring the genre into the future. I love that she's always been herself and stuck to her vision, which is something that isn't always easy to do in this industry.
Freed: Title Fight, Meet Me @ The Altar, Noelle Sucks, Pile of Love, Captain Jazz, Home is Where, charmer, Egbert the nerd, Petey, awake but still in bed, Heart Attack Man, Alien Boy, Carly Cosgrove, Dogleg, Hot Mulligan and tons of already popular artists switching their styles to pop-punk/emo.
Barlow: I think KennyHoopla, for sure. To see a Black-fronted pop-punk band — shout-out Magnolia Park — is hugely inspiring and nothing but a good thing for the scene. [Josh Roberts] has insane energy and a captivating stage presence. He writes from the heart and takes little drops from other genres which will absolutely push the genre forward.
Posen: From the Hopeless roster, artists like Scene Queen, NOAHFINNCE, TX2, LOLO, Pinkshift, phem, and others are leading us into the new chapter of our scene. They are not stuck on sounding a certain way, looking a certain way or saying a specific thing. They represent how young people feel today.
Where do you think the genre is headed in 2024 and beyond?
Dobson: Pop-punk, though [it] wasn't in the spotlight or "mainstream" for a minute, never really went anywhere. It's always been there.
KennyHoopla: It's either going to blow up, or show that it was truly just a just a moment that paired well with the world's events. Only time can tell, but there will always be a space for those who grew up listening to pop-punk and just never grew out of it.
Juarez: I think pop-punk will continue to mold itself into a genre that many different people want to be a part of. It's more than a genre — it's also a community. The pop-punk community is vast and should be accepting and open-minded.
Minardi: Hopefully it's headed to a place that can help launch the next batch of great artists versus only supporting the legacy.
Roberts: I think pop-punk will be something that people use to infuse into their sound — like a hyper-pop artist who uses a pop-punk vocal cadence. Or, a pop artist using a pop-punk guitar riff. At this point, artists aren't really making one type of genre. They infuse a bunch of different genres together to make something new. So I think pop-punk will be more of an integration than a standalone genre. But of course, there's still gonna be a few artists just doing the classic sound.
Posen: The newer pop-punk and other related genres in our community are becoming more diverse with less boundaries [in terms of] sounds, look, historical culture and other differences. It's so cool to see the melting pot of people, sounds and ideas create music and a scene with far less limitations creatively and otherwise.
Ghiraldi-Travers: The genre is more solidified than ever and is only going to continue to grow. The established talent is cranking out some of the best albums of their career which is only going to inspire up-and-coming musicians to keep playing and keep growing. They see longevity, and it is inspiring.
Barlow: The current crop of bands are the best they've ever been, and the heavy hitters are still very active which makes for a healthy scene. The scene is strong enough right now to keep making waves and growing, old fans rediscovering and new fans being made. Plus, it's only a matter of time before the next blink-182 are found in the mountains of California, farting and laughing at dick jokes.