Is music criticism becoming a playground for uncritical consensus?

Music · Published 18 October 2026 Swipe more like this →

In short: For decades, music journalism was defined by 'rockism'—the belief that authenticity and guitars denote true art. But a new era of 'poptimism' has arrived, celebrating commercial giants. Now, critics warn that this shift might be replacing rigorous debate with a dangerous, hyperbole-driven cheerleading for superstars.

The tension in music journalism centers on two competing ideologies. 'Rockism' emerged as a way to value rock music's perceived authenticity, seriousness, and sociopolitical intent, often viewing pop as a disposable 'guilty pleasure'. The term was coined in 1981 by musician Pete Wylie during his 'Race Against Rockism' campaign. Critics like Kelefa Sanneh argued that rockism used a caricature of the genre to mock modern pop stars, often through lenses of sexism or racism.

In contrast, 'poptimism' arose as a corrective, asserting that pop music deserves the same professional scrutiny and respect as rock. This movement, championed by voices like Paul Morley, values the new, the inclusive, and the 'overground brightness' of pop. By the 2010s, poptimism had become a dominant force in influential circles.

However, this shift is heavily contested. Critics like Michael Hann of The Guardian suggest poptimism has created 'sacred cows'—artists like Taylor Swift or Beyoncé who are shielded from negative reviews. Some argue that poptimism has devolved into an 'arms race of hyperbole,' where critics feel pressured to credit pop stars with dismantling entire social patriarchies just to justify coverage. Others, like Saul Austerlitz, warn that this era of 'cheerleading' may simply be a product of click-driven journalism that avoids challenging the tastes of the masses.

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