section_path: 1990s–2000s: Rise of alternative culture/Post-grunge
section_name: Post-grunge
paragraph_text: Post-grunge
  
  The term post-grunge was coined for the generation of bands that followed the emergence into the mainstream and subsequent hiatus of the Seattle grunge bands. Post-grunge bands emulated their attitudes and music, but with a more radio-friendly commercially oriented sound. Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-punk, alternative metal or hard rock. The term post-grunge originally was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement. Originally, grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge. From 1994, former Nirvana drummer Dave Grohl 's new band, the Foo Fighters, helped popularize the genre and define its parameters.
  
  Some post-grunge bands, like Candlebox, were from Seattle, but the subgenre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially viable subgenres of the late 1990s. Although male bands predominated post-grunge, female solo artist Alanis Morissette 's 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit. Post-grunge morphed during the late 1990s as post-grunge bands like Creed and Nickelback emerged. Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by newer acts including Shinedown, Seether, 3 Doors Down and Puddle of Mudd.