Following the end of the original grunge movement, post-grunge increased in popularity in the late 1990s and early 2000s with newer bands such as Creed, Nickelback, 3 Doors Down and Puddle of Mudd. Other bands include Foo Fighters, Staind and Matchbox Twenty. These post-grunge artists were criticized for their commercialized sound as well as their "worldview built around the comforts of community and romantic relationships", as opposed to grunge's lyrical exploration of "troubling issues such as suicide, societal hypocrisy and drug addiction." Adam Steininger criticized post-grunge bands' "diluted ditties filled with watered-down lyrics, all seemingly revolving around suffering through romance." Criticizing many bands that have been described as post-grunge, Steininger criticized Candlebox for their "pop-filled" sound, focus on "love lyrics, and writing songs without "versatility and creativity; Three Days Grace for their "diluted" and "radio-friendly music"; 3 Doors Down for focusing on "... snagging hit singles instead of creating quality albums"; Finger Eleven for going in a "pop rock" direction; Bush's "random phrasings of nonsense"; Live's "pseudo pop poetry" that "strangled the essence of grunge", Puddle of Mudd's "watered down post-grunge sound"; Lifehouse, for tearing "... down ... grunge's sound and groundbreaking structure to appeal more to the masses"; and Nickelback, which he calls the "featherweight ... punching bags of post-grunge" whose music is "dull as dishwater".