Tony Soprano once famously stated, “’Remember when’ is the lowest form of conversation.” This sentiment seems to have eluded Kiss’ Gene Simmons, whose recent diatribe declaring “rock is dead” appears to be nothing more than a nostalgic reminiscence of the era when his band dominated the music scene. His comments reveal a lack of awareness and genuine interest in the evolving landscape of the genre today. Instead of engaging with contemporary artists and trends, Simmons seems more focused on the glory days of the past, failing to recognize the vibrant and diverse musical expressions that currently exist.

Simmons shared his views during an episode of The Zak Kuhn Show. When posed with the question of whether he believes rock music is indeed dead, Simmons asserted: “It is. And many people may find it hard to grasp how I can make such a statement considering we all have our favorite songs and cherish our favorite bands. However, let’s play a game. I’ve done this before: From 1958 until 1988, that’s 30 years. What emerged during that incredible timeframe? We had legends like Elvis, the Beatles, the [Rolling] Stones, Jimi Hendrix, and Pink Floyd, not to mention iconic solo artists like David Bowie, whose music we hope will resonate for generations. In the realm of disco, Madonna emerged, while hard rock was represented by AC/DC and Aerosmith, among many others. You had the exceptional sounds of Motown, the groundbreaking talent of Prince, and a rich variety of musical offerings that spanned genres. This era was a treasure trove of artistic exploration, featuring everything from progressive bands like Yes and Genesis to heavyweights such as Led Zeppelin. Fast forward to today, and I question: Who are the new Beatles?”

When Kuhn proposed Nirvana as a contender, Simmons interrupted: “Stop. We are blinded. I’m a huge fan of their work, but if you asked a random 20-year-old on the street, ‘Who’s the bass player in Nirvana?’ they would likely respond with confusion. Or if you asked, ‘Can you sing a Nirvana song?’ the answer would most probably be no. The Beatles were a phenomenon; even those who disliked rock music were aware of their existence. I might be somewhat delusional in believing that Kiss faces are among the most recognized on the globe. I’ve conducted informal surveys before: ask people, ‘Who’s featured on Mount Rushmore?’ They might respond with ‘Uh, Elvis.’ They won’t be able to identify the actual figures, but they do recognize those four iconic faces universally. Even if someone detests the band, their recognition cannot be denied.”

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It was a typically convoluted and self-promoting response from Simmons, lacking any solid evidence to support his claim that rock is dead. Rather, it demonstrated that Simmons’ vision of a “thriving” rock scene is largely based on a commodified version that can be mass-produced and sold as merchandise in department stores worldwide. His perspective seems to equate rock music with a corporate monolith that remains unchanged from its 1977 origins. Despite this view, there remains a vibrant market for rock, as evidenced by numerous legacy artists planning extensive tours for 2025, alongside contemporary acts like Greta Van Fleet, who have entered the Billboard Top 10 and filled arenas through their homage to classic rock aesthetics. However, this limited and outdated understanding of rock barely scratches the surface of the genre’s rich and complex landscape today.

Simmons’ question, “Who are the new Beatles?” reflects a lazy and irrelevant approach to discussing the current status of rock music. To begin with, the Beatles represented a unique sociocultural phenomenon that can never be replicated. (While Taylor Swift may have achieved a comparable global impact, her career unfolds in a vastly different music industry and societal context than that of the Beatles, making it an apples-to-oranges comparison.) Furthermore, the 30-year span Simmons refers to, when record labels had nearly unlimited budgets to nurture emerging talent, represents only a brief moment in the broader timeline of music as an industry. Prior to that period, the music business was not viewed as a lucrative venture, and it seems unlikely it will return to that paradigm, except for a select few pop superstars at the very top. The streaming era has transformed access to music, leading to a fragmented audience and leaving many small to mid-sized artists struggling for survival. A burgeoning rock band today might be crafting the next “A Day in the Life,” yet they will likely not achieve sales of 20 million copies, necessitating dedicated music enthusiasts to discover their work. This poses a significant issue, but it is not the concern Simmons purports to address.

Moreover, Simmons’ quick dismissal of Nirvana based on the notion that casual fans lack knowledge of Krist Novoselic’s name rings hollow, especially when one considers that the same casual listener would likely struggle to name the musicians who have played alongside Simmons and Paul Stanley in Kiss over the past two decades. His similar rejection of Pearl Jam, another of Kuhn’s suggestions, overlooks the inconvenient truth that both Nirvana and Pearl Jam have outsold Kiss by at least five to one when comparing their highest-certified albums. For instance, Pearl Jam’s Ten has sold 13 million copies, Nirvana’s Nevermind has reached 10 million, while Kiss’ Destroyer only achieved 2 million.

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Kuhn also cited the Foo Fighters as an example of a present-day rock powerhouse, to which Simmons countered that Dave Grohl has surpassed both Nirvana and Pearl Jam’s popularity by becoming a Hollywood figure, rather than through his musical contributions. He claimed this was akin to the reason why Snoop Dogg enjoys more fame than other rappers who might be more significant in the rap scene — a statement that can be perceived as ignorant at best and racially insensitive at worst. This perspective illustrates Simmons’ bewildering disconnect from reality, especially considering that rapper Kendrick Lamar’s recent surprise album GNX is currently dominating the Billboard 200, with his presence felt across the entire Hot 100 Top 5 — a remarkable achievement previously seen only with Swift, Drake, and, notably, the Beatles.

If Simmons truly wishes to mourn the perceived demise of rock ’n’ roll as a cultural touchstone, he may have some valid points. However, declaring the entire genre dead demonstrates a lack of willingness to explore beyond his narrow perspective. Were he to broaden his horizons, he might notice that Green Day, whose major-label debut Dookie was recently certified double diamond for exceeding 20 million in sales, is set to headline Coachella next year. He could see that My Chemical Romance has successfully sold out an entire U.S. stadium tour. He might observe that influential bands like Linkin Park and Pierce the Veil have extensive arena tours planned for 2025. He could even marvel at the rise of genre-defying acts like King Gizzard & the Lizard Wizard, one of the most popular cult bands currently captivating audiences and filling theaters and amphitheaters globally. If he genuinely wanted to educate himself, he might take delight in the rock/punk/metal fusion created by bands like the Dirty Nil or White Reaper, who are diligently touring clubs and theaters in a manner reminiscent of how classic rock bands used to operate. (For the record, either of these bands could have served as excellent openers for Kiss’ farewell tour had the band not opted for the easier route by selecting Amber Wild, fronted by Paul Stanley’s son, Evan Stanley.)

Yet, Simmons seems disinterested in such discoveries. He prefers to lament that he and his fellow baby boomer peers no longer hold the reins of the music industry, and if they are no longer at the helm, then no one else should be. He is entitled to express his frustrations regarding the supposed decline of rock music to anyone willing to listen — but he ought to realize that this perspective is indeed a low form of discourse.