Top 10 Bands RUINED by a Terrible Lead Singer

GG Allin


Amidst the subversive politics and showmanship of New York’s hardcore punk scene, GG Allin definitely stood out. The prolific frontman’s twisted act claimed infamy with the Murder Junkies. Their dynamic musicianship was overshadowed by Allin’s guttural raving of the most morbid lyrics. On-stage, he terrified audiences with mad antics, disgusting stunts and self-harm. Off-stage, he was known for extreme views and substance use, leading to his death at age 36. The Murder Junkies carried on, but with less attention. Still, Allin’s deliberately divisive aesthetic had narrowed the band’s following, while revolting critics and audiences. Even some punks feel he cheapened their confrontational culture. Whatever one thinks of Allin, he's considered one of the most shocking rockers to ever defile the stage.

Billy Corgan


There's no denying the Smashing Pumpkins frontman's versatile talent as a songwriter and guitarist. As a singer, though, Billy Corgan has always divided audiences with his weak voice and brash delivery. It never fully fit the band’s otherwise tight sound, despite Corgan’s insistence that he is the band. His notorious ego is evident in live performances of more swagger than actual energy or charisma. Never mind the off-stage drama behind regular band turnover through the years. In the meantime, Corgan has had polarizing vanity projects, a scandalous love life, pretentious interviews, and more. The Smashing Pumpkins remain a beloved staple of ‘90s alt-rock. Still, even fans say they could have been more if Corgan had the leaderly chops to back up his reputation.

Julian Casablancas


The Strokes’ infectious artistry was indispensable to the rise of garage rock revival in the 2000s. But is Julian Casablancas really so indispensable? Though he’s a talented songwriter, his bombastic and seldom-melodic vocals have divided listeners. The same goes for his slumping about and preoccupation with crowd work during concerts. It may drag down the flashy musicianship for some. One thing people can agree on is that Casablancas’s brazen public image and conflicts with his bandmates are distracting. That he’s given so much attention to his mixed-reviewed side project The Voidz is also an outrage to some fans. Certainly, The Strokes deserve the underground renown. It's just that if they've lost a wide audience, consistently or over time, Casablancas stands at the center.

Ivan Moody


Five Finger Death Punch exemplifies inflammatory mainstream metal, with a frontman to at least match that brand. Ivan Moody’s harsh songwriting, vocals and stage presence are definitely not for everyone. But even the band’s niche has been disheartened by his volatility, compounded by alcohol abuse. This has compromised live performances and led to serious conflict within the band. Even more disturbing is a history of violence against women. When Moody finally went to rehab in 2017, guitarist Zolton Bathory referred to him on Facebook as a “cancerous painful toxic useless anchor”. The 5FDP community has become more welcoming of Moody since he got sober. Of course, that community remains limited by his heavy style and even heavier past.

Patrick Stump


From the recesses of Chicago’s hardcore scene, Fall Out Boy rose to stardom as a pop rock act. Fans can thank the rich voice and showmanship of Patrick Stump. So too can the critics. He became an independent brand who dragged his energetic bandmates out of their punk roots from the beginning, then kept dragging after their reunion in 2013. This came in the wake of Stump’s mediocre-at-best solo career, marked by online backlash and other multimedia enterprises. Many rock traditionalists have long dismissed Stump for his unconvincing swagger and shrill soul influences. The talent is there, earning Fall Out Boy mainstream popularity behind a contrived icon. But just as many listeners believe they’ve fallen from grace under Stump’s ill-fitting leadership.

Wes Scantlin


Highlighting the post-grunge craze of the 2000s, Puddle of Mudd was never a hit with critics. The heavy hooks were overpowered by Wes Scantlin’s trashy, generic lyrics and vocals. As jarring as his register shifts are, his ability and energy in concert are even more inconsistent. Beyond that, a history of bizarre crimes, lip syncing and domestic violence made him a pariah. This volatility has made it to the stage, with Scantlin barging out of a show in 2014, and his bandmates doing the same during a rant in 2016. This is just a taste of the embarrassing public image that devalued Puddle of Mudd after a few early hits. Of course, Scantlin never won over particularly discerning listeners.

Scott Stapp


Multi-platinum Grammy winners Creed have been very commercially successful. Critically, however, they're a popular punching bag through frontman Scott Stapp. His taste for power ballads and religious overtones leave grunge purists baffled. Still, Stapp maintains the genre clichés in his exaggerated vocal style, complemented by a dull and self-aggrandized stage presence. Finally, his struggles with mental health and substance use temporarily ended Creed in 2004. The instrumentalists would go on to form Alter Bridge to great renown behind vocal virtuoso Myles Kennedy. Meanwhile, Stapp has had a middling solo career and been sued for underpromoting the group Art of Anarchy. He surely deserves respect for his philanthropy and turning his life around. But Stapp may be beyond redemption with many rockers.

Johnny Borrell


Critics felt that Johnny Borrell’s vision was not as stylistically creative as it should have been in the heyday of British indie rock. Razorlight still earned a strong following, but Borrell himself is a different story. His boisterous, haphazard vocal style doesn’t exactly hook. And for all his conventional bouncing around the microphone, he’s a limited live showman. Nonetheless, Borrell is infamous for an obnoxiously high opinion of himself. He never lived down an NME interview in 2004, in which he referred to himself as “the greatest songwriter of [his] generation.” The reviews and sales for his 2013 solo album suggest otherwise. Borrell may have owned up to his ego over the years, but his many critics offer quite the humbling.

Ian Brown


Co-founding the Madchester scene of the ‘80s and ‘90s, The Stone Roses achieved immortality with just two acclaimed albums. This was due to Ian Brown’s songwriting, and in spite of his musicianship. He’s practically legendary for contrasting the band's rich sound with flat vocals. No less bizarre is the tediously weak dancing when this dance-rock icon performs live. When The Stone Roses first disbanded over legal, personal and performance issues, not even fans expected much from the frontman’s solo career. He wound up being a commercial and critical success, still criticized for how he performs his versatile material. Brown’s resilience is nothing less than a phenomenon. His innovative vision has cultivated a loyal niche, but his much-maligned execution has limited wider appeal.

Fred Durst


If nu metal haters single out Limp Bizkit, they're usually singling out Fred Durst. At the center of admittedly heavy grooves are crass lyrics that range from laughable to disturbing. Durst’s smug, angry rapping hasn't appealed much to hip-hop fans either. All of this and an overwrought stage presence would be more forgivable if not for his public reputation. Durst allegedly escalated the infamous riots of Woodstock ‘99, and has certainly had a long history of feuds and violent behavior. Getting in on the right movement at the right time, Limp Bizkit remains a cult force on the talents of the instrumentalists. But less nostalgic listeners have trouble getting past one of the most divisive frontmen of his day.




What bands are a new singer short of being one of your favorites? Step up to the comments.