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.

Sympathy For The Devils

Feb 28, 2015

It's been five years since Kanye West raised his glass to "the a--holes" in the song "Runaway," a poetic taxonomy of bad behavior that formed the emotional center of his masterwork My Beautiful Dark Twisted Fantasy. It's a sad song about romantic failure, but also a strong statement connecting West to popular music's longstanding practice of being dangerously outrageous.

What does it take for a work of art to become an intervention? In music, any reinterpretation alters the original, if only because different fingerprints touch it. But certain lineages — folk music, for example — are built on the bones of those retellings. Whoever owns a song for a period of time connects it to her lived experience and the world in which she lives, and it changes. It might also change the world, or a small part of it.

What the Icelandic art star Bjork has accomplished at the intersection of pop and the avant-garde cannot be summed up in one detail, but one thing to focus on is the way she sings the word "emotional." Climbing it like one of the cliffs she often evokes in her pastoral lyrics, she lets it open up like a vista on its central, circulatory "o." The word becomes a Valkyrie's cry, a statement of purpose both sacred and humanly thrilling.

2014 was a divisive time in popular music, with no single album or song seeming to capture the year's mood and no trend pointing clearly toward the future. But most music lovers could agree on one thing: Beyoncé was flawless. The 33-year-old powerhouse set every standard by which pop music and celebrity are judged.

When Alynda Lee Segarra of Hurray for the Riff Raff wrote the song "The Body Electric," she knew it would make its way into the world, and hoped its effects would be palpable. Horrified by the rapes that have made tragic news from India to America's college campuses, the singer-songwriter noticed that her own people — music makers and music lovers — would regularly sing along with choruses about killing women, comfortably accepting gender-based violence as part of the ballad tradition.

Nora Jane Struthers is guided by fire. Coming up within the tradition-minded bluegrass world, she spent her youth in a family band with her father, a good daughter learning tradition. But since she's been leading her own band, the Party Line, Struthers has poured more and more emotion into her songwriting, coming up with some of the most quietly powerful narratives within the new wave of Americana artists.

In April 2015, Duncan Sheik, a songwriter who has had hits on both pop radio and the Broadway stage, will release Legerdemain, his first album of original material since 2009's Whisper House and the first not connected to a theater piece since 2006's White Limousine. Sheik crafted the album in his Garrison, N.Y. studio, and he's sharing two songs from that album via NPR Music; you can listen and download both of them below.

The last short story Fyodor Dostoevsky wrote is about being seriously ridiculous. In "The Dream of a Ridiculous Man," an intellectual prone to existentialist despair is saved from suicide when, in a vision, he discovers a parallel planet where humanity has never sinned. "It was like being in love with each other, but an all-embracing, universal feeling," he tells the reader. This contact with Eden reinvigorates him, but then, during a playful moment, he teaches the planet's innocents how to deceive each other — and this leads to a catastrophic, Biblical fall.

Roots, Plugged In

Sep 24, 2014

When I put Jonah Tolchin's performance at Third Man Records on my schedule for Americana Fest, the annual gathering of roots-minded musicians that took over Nashville last week, I thought I was going to see a young artist playing old-timey music. Earlier this year, the 22-year-old New Jerseyite released an album, Clover Lane, that gently ranges from countryish ballads to uptempo numbers with a country blues feel.

To hear Ann Powers talk with NPR's Audie Cornish about some of the songs that might define the troubling summer of 2014, click the audio link on this page.

East Nashville Rocks

Jul 29, 2014

How do you know you are in East Nashville? Follow the beards, a current joker might say. If you do, you'll find yourself in an area tucked in between Nashville's neat downtown and the city's eastern edge, separated from each by the twisting Cumberland River. To the west, tourists flock to the Country Music Hall of Fame and Ryman Auditorium — the "Mother Church of Country Music." The Opryland complex — the venerable stage and radio show's comfortably suburban home since 1974 — is to the east, where the city sprawls into malls, hotels and tourists attractions.

Why Tori Amos Connects

May 13, 2014

When I spent time on tour with Tori Amos a decade ago, collaborating with her on a book, I'd see her invoke the four elements many nights before her band would take the stage.

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