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.

The romance of artistic collaboration is as potent and mysterious as the draw of sex. But pop music tends to obsess on the latter while keeping the former process in the background. "Nothing But The Silence," the title track from the T-Bone Burnett-produced debut album by the Nashville duo Striking Matches, reads as the love song of a dented heart at first, but multiple listens open up its meanings.

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.

"I'm gonna stand here in the ache," Joy Williams wails in "Until The Levee," a song that comes just past the middle of the arc her new solo album, VENUS, creates. She seems to nearly strain her warm, urgent voice, which many came to love in Williams' early Christian-music recordings — and many more adored as one half of the sound of the now-defunct Civil Wars.

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.

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