Power pop may not necessarily be a genre en vogue, but there is something admirable about an artist who devotes their energy to crafting the perfect pop song with nothing but a guitar and a story to tell.

Like many things in music, its origins start with the Beatles, the Beach Boys, the Byrds, and the Kinks. While the likes of Led Zeppelin, Cream and Jimi Hendrix were pushing the limits (and volume) of the delta blues, power pop upstarts like the Raspberries and Badfinger were trying their best to recapture the sound of Beatlemania. Cheap Trick, whose shows received Beatle-like hysteria abroad, brought power pop to the masses with songs like "Dream Police," "Surrender," and of course their effervescent jam "I Want You to Want Me."

But it was singer/songwriter Alex Chilton and his band Big Star who have remained power pop’s heroes. The band’s first two albums — #1 Record and Radio City — are considered cult classics in the genre. Chilton had a knack for writing catchy, danceable rock songs like  "September Gurls," "When My Baby’s Beside Me," and "In the Street," while at the same time delivering gentler ballads like "I’m In Love With A Girl" or "Thirteen" with the lovesick sincerity of a teenager with a crush.

Their music would go on to influence countless bands, many of whom had commercial success Big Star could only dream of. From Nick Lowe to the Cars, the Bangles to R.E.M., there is a long history of Chilton disciples who have plied their trade creating jangly and bright rock 'n' roll as sweet as candy-o.

Perhaps no disciple was more devoted than Paul Westerberg of Minnesotan misfits the Replacements. For Westerberg, Chilton was both his mentor and muse as a songwriter. "I never travel far without a little Big Star," he sang on the rollicking ode "Alex Chilton" from the Replacements' classic Pleased to Meet Me. On this track, Westerberg envisioned a world in which "children by the million sing for Alex Chilton." Thirty-five years later since that song was written, Westerberg’s power pop utopia has arrived.

2022 saw an explosion of vital power pop releases from artists who both carried that torch and pushed the genre in exciting new directions — a reminder that power pop isn't just fodder for grocery stores or radio replays, but rather music worthy of dissecting and embracing. The beauty of well-executed power pop is how effortless it can sound, and as this year's releases have proven, even a song that clocks in under 2 minutes can make a long-lasting impact. Here are five essential power pop albums from 2022 that you need to check out.

Young Guv – III & IV

For 15 years, Ben Cook was a guitarist for Canadian hardcore punk heroes F***ed Up, a band known for pummeling its listeners with loud guitar riffs and barking vocals. It’s about as far from power pop as you can get, which is why it’s surprising that since leaving that band, Cook has made a name for himself making gentler, catchy power pop under the moniker Young Guv.

In 2022, the band released not one but two albums: GUV III & GUV IV, each of which were recorded in the spring of 2020, when Young Guv’s tour was halted in Texas due to COVID. Cook and his bandmates spent the next nine months living at the foot of the Taos Mountains in New Mexico in an "earthship" made from Adobe clay, tires, and bottles. They spent their days writing music, swimming in the Rio Grande, and listening to a lot of Miles Davis, and emerged on the other side with two album’s worth of new music.

While the album covers may look similar, the two records have different feels. Songs on III like "It’s Only Dancing" and "Couldn’t Leave U If I Tried" offer a more immediate rush of danceable, jangle rock, while IV feels a bit more meditative and lived in — like the wilting "Change Your Mind" or minimalistic "Cry 2 Sleep." To put it in a different perspective, III is made for the days out swimming under the sun, while IV sounds like a night best spent gazing at the bright stars in the middle of the desert.

2nd Grade – Easy Listening

For more than a decade, Philadelphia has become the  hotspot for indie rock. Artists like The War on Drugs, Japanese Breakfast, Kurt Vile, and countless others have made a name for themselves in the City of Brotherly Love before becoming embraced by fans far beyond Broad Street. Peter Gill, frontman of Philadelphia’s 2nd Grade, may not be a household name just yet, but after releasing his band’s excellent new album Easy Listening in September, perhaps album opener "Cover of Rolling Stone" won’t be a work of fiction for very long.

The best power pop doesn’t take itself too seriously, and on Easy Listening, Gill writes with a childlike playfulness about Keith Richards’ guitar and the episode of "Seinfeld" when Kramer moves to L.A. Then there are songs like "Me & My Blue Angles" and "Teenage Overpopulation'' that feel as if they have been around forever — like old friends back in town for a beer. "Strung Out On You," in particular, sounds like a classic left off of one of Big Star’s first two records. Easy Listening is exactly as the album title advertises: a breezy and fun power pop gem that makes power pop sound easy.

DAZY – OUTOFBODY

James Goodson is a music publicist living in Richmond, Virginia who, on a whim during the pandemic, recorded and released songs as DAZY, a solo-project of loud, fuzzy power pop. Following a collection of demos MAXIMUMBLASTSUPERLOUD: The First 24 Songs and 2022’s "Pressure Cooker," the one-off hookfest of a collab single with Militarie Gun, DAZY unleashed a debut full-length.

Clocking in at just over 25 minutes, OUTOFBODY is a quick and dizzying hit of electric dopamine, delivered solely via computer and a guitar. These songs rip with huge refrains, thumping drum machines, and buzzy guitars.

Goodson was a child of punk rock, and grew up listening to the likes of Nirvana, Green Day and Rancid. "I wanted to tap into the music that I’ve always loved and will always love so it will never get old to me," Goodson told Stereogum.  Throughout the record, Goodson uses these  influences as a sort of cathartic expression of the existential dread he maps out on OUTOFBODY. You can hear that early pop-punk, college rock, and grunge on "Split" and "On My Way," as well as Oasis and Britpop within the hooks on "Ladder" and "Choose Yr Ramone."

Within all the noise, however, is the comfort in knowing that music you love will never leave your side.

The Beths – Expert in a Dying Field

It’s easy to take what the Beths do so well for granted. Since they first arrived on the scene with 2018’s Future Me Hates Me, the New Zealand quartet has done nothing but write sincere, lasting power pop. In 2022 the Beths released their best album yet, Expert in a Dying Field, a collection of songs that dive into the anxieties and heartbreak of everyday life.

On "Silence Is Golden," the album's loudest song, frontwoman Liz Stokes propels into the unending noise.  Elsewhere, on "Your Side," "Knees Deep," and the excellent title track, Stokes’ lovelorn characters toggle between relationship autopsies and dreams about what’s next, "mixing drinks and messages." "When You Know You Know" wouldn’t sound out of place next to Avril Lavigne on the radio, and features some of Stokes’ best turn of phrases ("Running down the road to jog the memory"). Whether or not the album title is a bit self-deprecating remains to be seen, but the Beths are the heroes that power pop needs.

Alvvays – Blue Rev

Toronto indie darlings Alvvays first arrived on the scene in 2014 with their self-titled debut that included the indie-pop anthem "Archie, Marry Me." They leveled up on their next record, 2017’s Antisocialites, and then… well… the band went silent. For a little while, it felt like Alvvays would never return, but it turns out that the band had to overcome roadblocks of biblical proportions to record their fantastic new record. Not a pandemic, a studio flood, and stolen demos could derail Blue Rev.

On Blue Rev, Alvvays teamed up with GRAMMY-winning producer Shawn Everett to turn power pop on its head and send it in new directions. Blue Rev is awash in shoegaze-y guitars and lush synths, and songs such as "After the Earthquake," "Many Mirrors," and "Easy On Your Own?" sound like if R.E.M.’s Murmur and Monster were put into a blender.

Meanwhile, singer/guitarist Molly Rankin has a unique talent for making life’s mundanities feel high stakes; she writes about running into an ex-lover’s sibling on "Pharmacist," a tale that lands with a gut-punch, singing "You know it happens all the time, it’s alright. I know I never crossed your mind." It’s endlessly captivating and inviting, and with Blue Rev, Alvvays have established themselves as power pop’s new pioneers.

Like Turnstile And Code Orange? 10 More Bands Expanding The Boundaries Of Hardcore

On a scale of one to 10, how crazy was 2023 for the rock band Alvvays?

“I would say an eight, probably,” frontwoman Molly Rankin deadpans to GRAMMY.com. If that's true, she doesn't show it. “I'm pretty sedate as a person,” she explains during an on-camera portion of the interview, “So, if you want anything with more energy, I can certainly try.”

This belies that Alvvays poured a lot of energy into Blue Rev, their imagination and melody packed third album, which put them on the map for many back in 2022.

Blue Rev's third single, “Belinda Says,” was an instant favorite among the indie set — and now, it's netted a nomination for Best Alternative Music Performance at the 2024 GRAMMYs.). (They're up against Arctic Monkeys (“Body Paint”), boygenius (“Cool About It”, Lana Del Rey (“A&W”), and Paramore (“This Is Why.”)

Sure, Rankin might have a stoic air. But she's clearly also thoughtful, intent on cannily navigating these unfamiliar waters, shoulder-to-shoulder with her bandmates: keyboardist Kerri MacLellan, guitarist Alec O'Hanley, bassist Abbey Blackwell, and drummer Sheridan Riley.

“Just being included or mentioned has been exciting, because when we started, we couldn't even get a show. I just want to have that same mentality,” Rankin says. “I just don't ever want to feel entitled to an award or a review or a piece.”

Whatever happens at the 2024 GRAMMYs, Rankin's holistic attitude will ease the way forward — and we'll always have Blue Rev as an exemplar of lush, witty indie rock, with more hooks than a tackle box.

Read on for an interview with Rankin about Alvvays' [pronounced always] whirlwind 2023, and their road to Music's Biggest Night — along with a bonus, exclusive clip of her in conversation with GRAMMY.com.

This interview has been edited for clarity.

You've said you “didn't want to get swept up” in the GRAMMYs thing. What do you mean by that?

Well, the truth is that you apply for GRAMMYs. So, for anyone to say that they're not intrigued by that, after applying or having someone apply on your behalf, it's a little bit strange.

What do the GRAMMYs mean? We've always watched them as kids. I don't know, in recent years if I've been so up to date, but [there have been] a lot of big performances.

When we were recording Blue Rev, we were sitting on [engineer/producer] Shawn Everett's couch and he had probably four or something GRAMMYs just sitting on his console. It is a large presence.

Where do you personally place the GRAMMYs in your musical universe?

I think that it's cool to see lesser known artists crack into that world, whatever that ends up meaning. But awards as a concept have had such a low bar for expectation, and I've always just thought that every development with us has been this really rare bonus. Expecting anything, for me, has not been the right approach.

What do you remember about guiding the band out of the bar circuit — aiming your arrow a little higher?

We generally tried to play in the United States as much as we could, because staying in Canada and becoming a Canadian band can be limiting. I don't really know why, but it can be.

We always just wanted to crack into other regions and see if we could sustain ourselves. But I have so many friends who are so much more talented than I am that haven't gotten to do things like that with their music. So, again, it's all just exciting to us.

What do you remember about the biz 10 years ago as opposed to now?

It did seem like there were more venues. Maybe it was easier, in a way, to blow up.

Like, if you were mentioned on a blog, that would just be kind of like a platform for you to just take off and tour and be everywhere. But it's not so much that anymore. I think just with the cost of everything, and people [not being] so reliant on reviews, they can pick and choose what they like.

Things have changed. I don't know where things are going to go. We're all just hanging onto the bumper.

As streaming continued its grip on everything and touring became even more of an insane, expensive ordeal, what do you remember about keeping the band ballasted?

We didn't have an overnight success type thing. Our album was out for probably a year before we really felt like we were touring in a really big way. And everything felt so gradual that we did have time to have those growing pains, but we also had jobs.

So, I don't know. Everything has been so incremental for us, even though maybe it doesn't seem like that to some people. But Alec's been in so many other bands and paid a lot of his dues — worked at various poutine restaurants. I'm trying to think of how to extrapolate on that.

What were you aiming to do with Blue Rev, as per your creative and professional trajectories?

Well, first, the goal was to write more songs, and that seems like a mountain to climb sometimes.

And then, to actually complete an album, for Alec and I to have the same opinion on where a song has ended up versus what the demo sounded like. And just coming to a place where we both feel the same way. That is such a process for us, and a labor of love.

But finishing the record was all that I was really pinning my hopes and dreams on, and everything else has so much more to do with the timing and who is believing you and listening to you and understanding what you're saying. And people put out things all the time that don't land, and a lot of it is not really in their hands.

I guess with this album, I did want everything to be a little bit more reflective of our live show, too, because I think that we can be a pretty aggressive band, guitar-wise, and can be an energetic band. But I'm not sure that was necessarily reflected in our previous recordings.

What do you remember about bringing Blue Rev to the finish line?

I think that there were so many different nights where me, Kerri, Alec, and Sean just never slept. And that can bring out the best in you and the worst in you.

But we did have a lot of fun doing it. And we did it in person, we did it on computers, like this [remote video interview], and Sean was there with us the whole way to help us through it.

Just going back at the end of mastering and listening to all the demos that I had lived with for years, and felt so unhealthily attached to, and realizing that every finished song was vastly better than those artifacts — that was really gratifying.

I recently interviewed Adrian from the Black Pumas about working with Shawn Everett; he remembers Shawn cranking up a minor detail until it became the soul of the song. Were there any particular instances like that?

He [Shawn] has such a great sense of moments of impact, and he just understands when something needs to feel moving and when something needs to shift.

I really think that we connected on that in a big way. And he has such a grasp of expansive sound. But yeah, he also hears things. He hears hooks, and is a musician in his own regard. So there were so many things that I feel like we've learned from him.

There's a bridge in this song called “Very Online Guy,” where he created this whole other experimental portion melodically in the chunk of the bridge because he will just take a random thing you say and copy and paste it into a song just as an experiment.

So that was basically what he did, and it ended up working with some editing. But he is a very unpredictable person and not afraid to be rejected, which is so important.

How are you preparing for the GRAMMYs? And what are you looking forward to in 2024 and beyond?

I think just us showing up and going there is really surreal for us. So we're excited to just put on an outfit and sit in a seat for six hours and watch the crazy production that is the GRAMMYs.

But I want to just keep making music that I like and that I feel good about putting out into the world. And hopefully that'll continue to be in the form of albums and pop songs that I like to write and mess around with.

I'm so lucky to have also the people that are in the band with us. And Alec has always been such a fruitful collaborator, and that collaboration is something that I really feel passionately about — and editing each other and bouncing ideas off of one another It's this really intangible element that I really appreciate, and just to continue to do that would be ideal.

Are you planning to go for the full monty on the red carpet? Are you guys going to serve looks or stay out of that racket?

I don't know if we're capable of being polished to that degree, but we'll see what's in store for us. I know that we have a lot of people that care about us. They might come through for us and get us some new pants. God knows we need them.

Meet The First-Time GRAMMY Nominee: Coco Jones On Her Breakthrough Year, Turning Rejection Into Purpose & Learning From Babyface

In the midst of an unseasonably chilly August — a San Francisco trademark — Outside Lands raged once again.

Some 75,000 attendees flocked to the Bay Area to enjoy delicious food and an eclectic array of entertainment — among them Janelle Monáe, Foo Fighters, Kendrick Lamar, and other leading lights of today's music.

GRAMMY.com was there to soak up the tunes and the atmosphere — and film some truly inspired sets. Below, revisit Outside Lands — or, if you weren't there, experience it from afar — with some top-tier performances.

aespa

Lovejoy

Becky Hill

Blond:ish

Matt Hansen

Alvvays

Joy Oladokun

Beyond Coachella: 10 Smaller Festivals Beloved For Their Homegrown Vibes & Huge Lineups

In her latest track "Off Switch," Australian dance-pop artist VASSY captures the exhilarating intensity of a budding romance. She loves the rush but, at the same time, wishes she could fight the feeling, even if only for a few seconds.

"There's something electric between you and I/ The way we connected I can't describe/ We're right on the edge of blurring the lines/ Don't know why I'm scared of this rush inside," she sings in the intro. "I wish my heart, it had an off switch/ 'Cause, boy, I don't know how to stop this."

In this episode of Global Spin, watch VASSY deliver an acoustic performance of her track, playing guitar and using a pair of castanets for added rhythm.

VASSY released "Off Switch" on Jan. 5 with an electrifying music video swirling with vibrant neon lights. 

Recently she wrapped a string of appearances supporting Aqua's United States leg of their world tour and earlier this month, performed a headlining show in San Diego. On May 18, she will take the stage at the BASSINTHEGRASS music festival in Darwin, Australia.

Press play on the video above to watch VASSY's lively performance of "Off Switch," and remember to check back to GRAMMY.com for more new episodes of Global Spin.

2024 GRAMMYs: Kylie Minogue Wins First-Ever GRAMMY For Best Pop Dance Recording For "Padam Padam"

In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee, Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation. Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields, Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife, a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the "mystical lager-eater" the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay, Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles, while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz), they were more than happy to get all nostalgic on Parklife. See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper-esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32, while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies.

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller. It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin, Pitchfork, and Rolling Stone. Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys. Rowntree was even replaced by a drum machine, not that he particularly minded, luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish. Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife.

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt