We can take it as a given that the Alliterative Revival is underway. I am far from being prescriptivist (as others who are well-versed in the medium per its historical manifestations tend to be) but there are two things that kind of raise my hackles even when a poem is reasonably well-written.
One is what i think of as SCA-Renaissance Faire subject matter and/or diction. (I have a soft spot for those who dig deeper into Old Norse, Anglo Saxon, or even Tolkienistic (or HPL—) myth-systems, & this is maybe inconsistent.) Pastiche has its place, of course. I just don’t want it to become the default. Let’s just say: if the emotional situation you are writing from, resonates with something in the past, then go for it. But i still have to be persuaded it’s genuine.
The second is harder to talk about. There is a natural tendency in English (& has been for at least 500 years, BTW) to jog along in loose, four-beat couplets, when the aim is not lyric finesse but to complete an action or a picture in a hurry. Beginning poets frequently hit upon this; there is ancient children’s verse in it; songwriters who never passed English 1301 will still fall back on it when their ballad-machine isn’t working. (Rappers have an altogether sharper sense of meter, & the archetypal rap “foot” is something like an anapest + an iamb, or vice versa, with pronounced syncopation.) The best name for it i have found is “Tumbling Meter”.
People are starting to write “alliterative verse” without having read a lot of it (especially in earlier forms of English), & what comes out is alliterating Tumbling Meter.
Now, if you want to go back & tinker with the wording till you don’t have quite so many overt anapests (especially on the second part of a half-line), it will sound noticeably more authentic. Learn a little about vowel quantity & clashing stresses, too. That’s not so hard. But i’m beginning to accept it just as it is. It’s not the old “alliterative meter”. It might well be the new one.