TX2 music haters actually had a valid point back in the day, but their arguments have aged terribly. Looking at Evan’s earliest material, it was honestly hard not to cringe—flat synthetic beats, unpolished vocals, and tracks that he later scrubbed from streaming platforms because he felt embarrassed by them. But getting stuck on that early era is just straight-up ignorance. Since signing with Hopeless Records and locking down a full, dedicated lineup with Cam, Church, and Corky, this project went through a massive glow-up. It stopped being an awkward solo venture with hired session players and turned into a heavy, dynamic band driven by sharp guitars and raw drum energy.
A ton of backlash around the band comes from people who fundamentally do not understand what vent art is. Songs like Burn, Vendetta, or I Would Hate Me Too were never meant to be pretty radio tracks or flexes about personal flaws; they were raw, unfiltered emotional purges written in the middle of mental breakdowns. On top of that, there is the social media hustle. Instead of grinding in obscurity for decades, Evan leveraged TikTok algorithms, ragebait, and satire to grab attention. Does it look cringe sometimes? Sure. But when that noise is deliberately channeled into shedding light on defunded NGOs that help victims of abuse, like through tracks like The Rain or I Know What You Did, calling it malicious is ridiculous. Activism is not meant to look polished or please everyone, it is meant to cut through apathy.
The tired claims about live vocals and alleged plagiarism spread by self-proclaimed industry experts are just as weak. Alternative shows are not about sounding like a sterile studio master; they are about screaming your lungs out, letting loose, and sharing raw catharsis in a pit. Evan’s vocal progress over the years is undeniably solid, peaking in poetic releases like The Human Disease. Going from a twenty-minute opening slot to headlining major European festival runs within a single year does not happen by accident. This is not about putting musicians on pedestals, because celebrity worship is inherently toxic. It is simply about giving credit where it is due to artists who had the nerve to push through an avalanche of hate and prove their worth on stage.
