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Post-punk (or postpunk) is a loosely defined music genre and period that emerged in the late 1970s in the wake of punk rock. The concept was originally outlined by Jon Savage in his "New Musick" editorial for Sounds magazine in November 1977. The term has been noted for lacking a universally agreed-upon definition. Post-punk musicians departed from punk's fundamental elements and raw simplicity, adopting instead a broader, more experimental approach that incorporated a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethic but determined to move beyond rock clichés, artists drew influence from German krautrock and experimented with styles such as funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from modernist art, cinema, literature, and politics. They also established independent record labels, created visual art, staged multimedia performances, and produced fanzines. Among the early post-punk bands, only Siouxsie and the Banshees and Public Image Ltd. achieved commercial success in 1978, with debut singles reaching the top ten of the UK Chart.

Regional scenes developed across Europe alongside new wave music, the most notable being the Netherlands' Ultra movement, Germany's Neue Deutsche Welle, Spain's La Movida Madrileña, and the coldwave scenes in France, Poland, and Belgium, as well as the Soviet and Yugoslav new wave. The original post-punk era emerged in parallel with the no wave and industrial music scenes, and later provided a foundation for British new pop and the Second British Invasion in the United States. Post-punk also influenced the development of numerous alternative and independent music genres, including gothic rock, neo-psychedelia, dark wave, dance-punk, jangle pop, ethereal wave, dream pop, and shoegaze. By the mid-to-late 1980s, usage of the term post-punk in music criticism and journalism waned as well as emergence of acts.

During the 2000s, several New York bands incorporated post-punk influences into contemporary indie rock, leading to the dance-punk and post-punk revival. By the 2010s, European, Nordic, Canadian and American post-punk acts inspired the South London scene, termed "gristle rock", which led to the Windmill scene and crank wave or "post-Brexit new wave", who were defined by a predominant style of "talk-singing". Some post-punk acts became briefly associated with the internet microgenre "doomer wave", sometimes associated with Russian post-punk and darkwave acts in the early 2020s. Around the same time, regional scenes developed in Russia and Latin America.