Tritone relation is in bold. Half tone occurrences are marked (*):

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The F B-natural (tritone) relation in such a conspicuous place makes it a tricky mode to compose in.

They often flatted the B, making it, in practice, not much different than the Ionian mode.

It's actually pretty easy to do in rock music, anyway. Rush's "Free Will" is an example of what I mean by Lydian being a super major. It's almost as if the opening riff isn't supposed to be in they key of F, but actually C, which never actually happens. It tricks the ear into hanging on an unresolved moment waiting for a shoe to drop. Joe Satriani uses this as well in the main riff of "Flying IN A Blue Dream," which is really pleasing to my ear because I get an F# shoved into a song in C major. It's the same effect; the ear thinks the song meant to be in G (actually that particular song could work in D as well) but the bass player but his finger on the wrong fret and started thumping while everyone was just too nice to tell him he was wrong.

And yes, as I've been told, my knowledge of music theory wouldn't fill a thimble. But I know most basic scales and modes, and have perfect pitch hearing. That's how I shoehorn myself into these conversations...don't worry I won't stay long