As you quoted the son of an audio engineer as an authority in the article, I'll wade in. My father was also one in what's alluded to here as a golden age of audio fidelity - analogue audio in the 70s recording the likes of Thin Lizzy. He's still doing it professionally 40 years on. His hearing's gone downhill (just hit 60) but he's still got a better ear for a good mix than any of the youngsters coming into the business so he's not short of work.
These days he works in TV, but as a kid I used to help out recording everything from studio bands to the classical concerts he'd record in churches in his spare time. His guidance was that engineering and production is a job - and the focus isn't on audiophiles, it's on making sure what you're putting out is going to match what your audience is going to be listening on. Hence the old studio test of going outside and playing the mix on your car stereo at full blast. If it still sounds good, you've got it right.
So any audiophile argument about pop music is basically doomed to failure. You're trying to hear it as the artist intended... but the artist (and the engineers) put a ton of work in to make sure you could enjoy it the way you heard it. Calm down, and just enjoy the music.