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Power pop (also typeset as powerpop) is a subgenre of rock music and a form of pop rock[2] based on 💸 the early music of bands such as the Who, the Beatles, the Beach Boys, and the Byrds.[3][4] It typically incorporates 💸 melodic hooks, vocal harmonies, an energetic performance, and cheerful sounding music underpinned by a sense of yearning, longing, despair, or 💸 self-empowerment. The sound is primarily rooted in pop and rock traditions of the early to mid-1960s, although some artists have 💸 occasionally drawn from later styles such as punk, new wave, glam rock, pub rock, college rock, and neo-psychedelia.

Over subsequent decades, 💸 power pop continued with modest commercial success while also remaining a frequent object of derision among some critics and musicians. 💸 The 1990s saw a new wave of alternative bands that were drawn to 1960s artists because of the 1980s music 💸 they had influenced. Although not as successful as their predecessors, Jellyfish, the Posies, Redd Kross, Teenage Fanclub, and Material Issue 💸 were critical and cult favorites. In the mid-1990s, an offshoot genre that combined power pop-style harmonies with uptempo punk rock, 💸 dubbed "pop-punk", reached mainstream popularity.

A recognizable movement of power pop bands following in the tradition of the Raspberries started emerging 💸 in the late 1970s,[3] with groups such as Cheap Trick, the Jam, the Romantics, Shoes, and the Flamin' Groovies, who 💸 were seen as 1960s revivalist bands. Much of these newer bands were influenced by late 1960s AM radio, which fell 💸 in a rapid decline due to the popularity of the AOR and progressive rock FM radio format. By 1977, there 💸 was a renewed interest in the music and culture of the 1960s, with examples such as the Beatlemania musical and 💸 the growing mod revival. AABA forms and double backbeats also made their return after many years of disuse in popular 💸 music.

Spurred on by the emergence of punk rock and new wave, power pop enjoyed a prolific and commercially successful period 💸 from the late 1970s into the early 1980s.[10] Throughout the two decades, the genre existed parallel to and occasionally drew 💸 from developments such as glam rock, pub rock, punk, new wave, college rock, and neo-psychedelia.[4] AllMusic states that these new 💸 groups were "swept along with the new wave because their brief, catchy songs fit into the post-punk aesthetic."[3] Most bands 💸 rejected the irreverence, cynicism, and irony that characterized new wave, believing that pop music was an art that reached its 💸 apex in the mid-1960s, sometimes referred to as the "poptopia". This in turn led many critics to dismiss power pop 💸 as derivative work.

In 1991, the Los Angeles Times's Chris Willman identified Jellyfish, the Posies, and Redd Kross as the leaders 💸 of a "new wave of rambunctious Power Pop bands that recall the days when moptops were geniuses, songs were around 💸 three minutes long and a great hook--a catchy melodic phrase that "hooks" the listener—was godhead."[43] Members of Jellyfish and Posies 💸 said that they were drawn to 1960s artists because of the 1980s music they influenced. At the time, it was 💸 uncertain whether the movement could have mainstream success. Karen Glauber, editor of Hits magazine, said that "The popular conception is 💸 that these bands are 'retro,' or not post-modern enough because they're not grunge and because the Posies are from Seattle 💸 and don't sound like Mudhoney."[43]

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