Ann Powers

Ann Powers is NPR Music's critic and correspondent. She writes for NPR's music news blog, The Record, and she can be heard on NPR's newsmagazines and music programs.

One of the nation's most notable music critics, Powers has been writing for The Record, NPR's blog about finding, making, buying, sharing and talking about music, since April 2011.

Powers served as chief pop music critic at the Los Angeles Times from 2006 until she joined NPR. Prior to the Los Angeles Times, she was senior critic at Blender and senior curator at Experience Music Project. From 1997 to 2001 Powers was a pop critic at The New York Times and before that worked as a senior editor at the Village Voice. Powers began her career working as an editor and columnist at San Francisco Weekly.

Her writing extends beyond blogs, magazines and newspapers. Powers co-wrote Tori Amos: Piece By Piece, with Amos, which was published in 2005. In 1999, Power's book Weird Like Us: My Bohemian America was published. She was the editor, with Evelyn McDonnell, of the 1995 book Rock She Wrote: Women Write About Rock, Rap, and Pop and the editor of Best Music Writing 2010.

After earning a Bachelor of Arts degree in creative writing from San Francisco State University, Powers went on to receive a Master of Arts degree in English from the University of California.

If they're lucky, talented and charismatic, young musical men in Nashville can find themselves playing a game of musical Let's Make A Deal. Behind Door No. 1 is a truck, a beer cooler and a lady in snug jeans; the challenge is to make anything out of these party-anthem ingredients that feels fresh and isn't insipid. Door No. 2 conceals the tools of traditionalism — a cowboy (or, currently, trucker) hat, an acoustic guitar and a solid but burdensome set of assumptions about what authentic storytelling can be. Behind Door No. 3? That's the hot spot for people who like to dance.

Donnie Fritts knows what it's like to be held in the silver shimmer of celluloid, and he's had years of experience playing wingman to a heartthrob. That's why "Errol Flynn," a song written by the cabaret raconteur Amanda McBroom for her actor father, David Bruce, works perfectly as the lead single from Oh My Goodness, Fritts' new album. Contemplating the tattered poster she's tacked to her wall of her dad standing with the song's titular leading man, McBroom ponders fame and mortality and cautions listeners to treasure personal connections over Hollywood fantasies.

When Leon Bridges sings, he often raises his arms in a chest-opening gesture that might resolve in a benediction or a finger snap. Like the music the 25-year-old Fort Worth soul sensation has carefully crafted for his debut, his signature move seems simple, but hold many meanings.

Where do music historians go to find the sounds that shape the stories they tell? There are some obvious places, like the Library of Congress, whose National Jukebox offers more than ten thousand songs from the dawn of the modern age, or the Internet Archive, which overwhelms with its vast array of material and is especially rich for live recordings.

Digital Underground

Jun 3, 2015

The music sharing platform imeem thrived from 2004 until its shuttering in 2009 as a safe haven in the wilds of the semi-legal Internet. It was Napster without the piracy, a legal space for music makers and fans to share bedroom composition, videos of their latest dance moves, and the latest streamed — not downloaded — hits.

Love your old uncles while you have them. Mine used to hang around near the drinks table at family gatherings, comparing the weird bumps growing on their ears, sharing jokes they'd learned in the Army, and blowing the kids away with stories culled from decades' worth of interesting exploits. Most have gone to the next beyond by now, but I hold my uncles' devil-may-care spirit close to my heart. People have a lot to learn from those among them who've lived long enough to not worry about any particular outcome.

Rickie Lee Jones needs no introduction. Seriously. The singer-songwriter is so elementally articulate, so gifted at grasping both the rawest and the most complicatedly cooked emotions in her compositions, that critical framing best comes after the experience of listening to her.

The nominees for the 2015 Americana Honors and Awards were announced today at the Country Music Hall of Fame and Museum in Nashville. This year's slate shows how the definition of Americana is gently expanding to include more generationally, racially and stylistically diverse stars, while remaining grounded in its country-leaning, singer-songwriter-dominated definition of roots music.

In the six years I've lived in the region, I've developed a mantra: Southern freaks are the best freaks. For me, the word "freak" can be both positive and downright spiritual. It describes serious individualists who are tolerant of others whose own paths may diverge from their own; people whose ways of thinking connect to form an antidote to the deep conventionality that often surrounds them.