We don’t pressure ourselves to sound like any genre we just want to add something to the conversation that our heroes started.” “But I do hope we’re carrying the torch of the rock ‘n’ roll that was fun, catchy, soulful, but still grimy and uncompromising. “Honestly, I don’t know where we fit in or don’t fit in!” says Dirty Honey’s John Notto. “We do, however, stand by that we want to push the production of our music into the 21st century, not be carbon copies of the past.” “We embrace it,” says the Struts’ guitarist Adam Slack of the New Wave of Classic Rock label. “It was probably frustrating and weird for all of them to be labeled under this one thing together, but they were better off for it in the end. “Much like the '90s when bands were penned ‘grunge,’ you had a group of bands that honestly didn’t sound very similar or maybe didn’t even really share the same ethos, but they all were under that umbrella,” Holiday says. Scott Holiday of Rival Sons (Image credit: Per Ole Hagen/Redferns) But one unify-ing thread unites them: their sound is built on a firm foundation of guitar-based rock ‘n’ roll that’s full of big riffs, intoxicating grooves, spine-tingling vocals and stadium-sized ambitions. They’re exploring a range of styles – from bluesy and rootsy to glam, progressive and straight-up speaker-rattling rock – and tackling distinctly personal lyrical themes unique to their own experiences and world views. The bands that make up the NWOCR scene are also a diverse bunch, both musically and philosophically. NWOCR bands are inking major-label deals, soundtracking superhero TV shows and Levi’s campaigns, performing at fashion shows and playing Coachella, topping the Billboard charts, receiving Grammy nods, earning millions of digital streams, attracting legions of world-wide fans and galvanizing a strong grass-roots online community (many of whom congregate on the popular New Wave of Classic Rock Facebook group). What makes this current renaissance particularly interesting is that these bands are starting to experience mainstream crossover success and taking over prime cultural real estate that – for the better part of the last decade or two – has been largely occupied by hip-hop and radio pop.
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