Kelefa Sanneh, the New Yorker:
[…] In 2018, the social-science blog “Data Colada” looked at Metacritic, a review aggregator, and found that more than four out of five albums released that year had received an average rating of at least seventy points out of a hundred — on the site, albums that score sixty-one or above are colored green, for “good.” Even today, music reviews on Metacritic are almost always green, unlike reviews of films, which are more likely to be yellow, for “mixed/average,” or red, for “bad.” The music site Pitchfork, which was once known for its scabrous reviews, hasn’t handed down a perfectly contemptuous score — 0.0 out of 10 — since 2007 (for “This Is Next,” an inoffensive indie-rock compilation). And, in 2022, decades too late for poor Andrew Ridgeley, Rolling Stone abolished its famous five-star system and installed a milder replacement: a pair of merit badges, “Instant Classic” and “Hear This.”
I have quibbles with this article, which I will get to, but I will front-load this with the twist instead of making you wait — this article is, in effect, Sanneh’s response to himself twenty-one years after popularizing the very concept of poptimism in the New York Times. Sanneh in 2004:
In the end, the problem with rockism isn’t that it’s wrong: all critics are wrong sometimes, and some critics (now doesn’t seem like the right time to name names) are wrong almost all the time. The problem with rockism is that it seems increasingly far removed from the way most people actually listen to music.
Are you really pondering the phony distinction between “great art” and a “guilty pleasure” when you’re humming along to the radio? In an era when listeners routinely — and fearlessly — pick music by putting a 40-gig iPod on shuffle, surely we have more interesting things to worry about than that someone might be lip-synching on “Saturday Night Live” or that some rappers gild their phooey. Good critics are good listeners, and the problem with rockism is that it gets in the way of listening. If you’re waiting for some song that conjures up soul or honesty or grit or rebellion, you might miss out on Ciara’s ecstatic electro-pop, or Alan Jackson’s sly country ballads, or Lloyd Banks’s felonious purr.
Here we are in 2025 and a bunch of the best-reviewed records in recent memory are also some of the most popular. They are well-regarded because critics began to review pop records on the genre’s own terms.
Here is one more bonus twist: the New Yorker article is also preoccupied with criticism of Pitchfork, a fellow Condé Nast publication. This is gestured toward twice in the article. Neither one serves to deflate the discomfort, especially since the second mention is in the context of reduced investment in the site by Condé.
Speaking of Pitchfork, though, the numerical scores of its reviews have led to considerable analysis by the statistics obsessed. For example, a 2020 analysis of reviews published between 1999 and early 2017 found the median score was 7.03. This is not bad at all, and it suggests the site is most interested in what it considers decent-to-good music, and cannot be bothered to review bad stuff. The researchers also found a decreasing frequency of very negative reviews beginning in about 2010, which fits Sanneh’s thesis. However, it also found fewer extremely high scores. The difference is more subtle — and you should ignore the dot in the “10.0” column because the source data set appears to also contain Pitchfork’s modern reviews of classic records — but notice how many dots are rated above 8.75 from 2004–2009 compared to later years. A similar analysis of reviews from 1999–2021 found a similar convergence toward mediocre.
As for Metacritic, I had to go and look up the Data Colada article referenced, since the New Yorker does not bother with links. I do not think this piece reinforces Sanneh’s argument very well. What Joe Simmons, its author, attempts to illustrate is that Metacritic skews positive for bands with few aggregated reviews because most music publications are not going to waste time dunking on a nascent band’s early work. I also think Simmons is particularly cruel to a Modern Studies record.
Anecdotally, I do not know that music critics have truly lost their edge. I read and watch a fair amount of music criticism, and I still see a generous number of withering takes. I think music critics, as they become established and busier, recognize they have little time for bad music. Maroon 5 have been a best-selling act for a couple of decades, but Metacritic has aggregated just four reviews of its latest album, because you can just assume it sucks. Your time might be better spent with the great new Water From Your Eyes record.
Even though I am unsure I agree with Sanneh’s conclusion, I think critics should make time and column space for albums they think are bad. Negative reviews are not cruel — or, at least, they should not be — but it is the presence of bad that helps us understand what is good.