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.

Over two decades and 11 studio albums, the Alabama-born, Georgia-bred band Drive-By Truckers has crafted a multifaceted vision of a stubborn, changing South, decimating stereotypes by excavating the truths from which those myths had sprung. The Truckers' sound has always been an equal mix of punk and Muscle Shoals, freshly inked graffiti and used-car exhaust; over the years, its messages have grown both more refined and thicker with meaning, more historically informed, more urgent.

Very few musical gatherings during the crowded summer festival season have been going on as long as CMA Music Fest, which launched under the name Fan Fair in 1972 and now descends upon Nashville just after the heat and humidity set in each June. One of the secrets to its longevity is that it's always been a place where country fans can encounter artists up close; folks who get a bit of face time with their favorite artists, maybe even a hug, are prone to keep coming back.

For every country star and insurgent new sensation, Nashville boasts a dozen musicians who've perfected their art over many years. Tomi Lunsford is one such exceptional, undersung talent. She hails from a prestigious family — her great-uncle was the revered folklorist and songwriter Bascom Lamar Lunsford, and her father, fiddler Jim Lunsford, played with the likes of Roy Acuff and Bob Wills. Tomi herself began singing professionally as a teen with Jim and her harmonizing sisters.

Nashville may be famous as the country music capital, but it's also a great rock 'n' roll town. In recent years, the city's spawned a new generation of joyfully ragged garage-punk purveyors, currently represented on the national scene by enduring bands like Jeff the Brotherhood and newer ones like Bully. Thelma and the Sleaze's Lauren Gilbert, who goes by the initials LG, has been part of that community since moving to Nashville from Iowa to study audio engineering.

Esmé Patterson is one of several young women — others include Frances Quinlan of Hop Along, Waxahatchee's Katie Crutchfield, and Julien Baker — making music that could be called synapse-rock.

Somewhere in the back of my closet is a torn photograph from a party in Seattle in 1982. Dig if you will the picture: It's me, in a second-hand chiffon dress that (though the photo is black and white) I'm sure is violet. My hair is a two-toned mass of strawberries and cream, my neck's draped in my mom's big costume pearls; a bracelet of pretend diamonds dangles from my wrist. This is an ordinary look for a college girl with a nightlife obsession in 1982. I'm gazing into a mirror; behind me is my friend Pete, holding the camera, laughing his head off.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

The most meme-able moment of Michelle Obama's keynote event at yesterday's South by Southwest conference and festival came when she responded to a question from her friend Queen Latifah by crooning a few bars of the Motown weeper "It's So Hard to Say Goodbye to Yesterday." The novelty of a first lady si

I am a Bowie girl. Not literally: I'm a little too young to have swiped my face with glitter and run out in lime-green platforms to see David Bowie storming through America in 1972 and 1973 with the Spiders from Mars, when he sent queer and alien dispatches across a heartland primed for them by Stonewall and women's lib and the sexual revolution but also feeling the slap of the Silent Majority as the Nixon era lumbered on.

The Year In Pop Music

Jan 1, 2016
Copyright 2016 NPR. To see more, visit http://www.npr.org/.

Transcript

STEVE INSKEEP, HOST:

Let's talk about pop music, where the biggest story of 2015 was this.

(SOUNDBITE OF SONG, "HELLO")

ADELE: (Singing) Hello, it's me.

INSKEEP: Adele's "25" may have outsold everything, but it was not the only story. Here is NPR Music's Ann Powers and Jacob Ganz.

"Lyrics drove me to country music," said the producer Dave Cobb in an interview we published yesterday about his path from the L.A. rock scene to producing a handful of albums that signal a return of traditional country to Nashville's main stage, including ones by Jason Isbell, Sturgill Simpson and Chris Stapleton. "I think maybe what I wanted to do is to find a way to make country records feel like all the other records I adored, but with those lyrics. And voice. I'm always looking for a voice."

Revivalism in music often seems to be no more than a matter of style: a perfectly greased pompadour, a well-pressed rack of vintage dresses, some vintage equipment and the careful mimicry of a particular "hi-de-ho" or drawl. It's the rare living musician who does the extra work to comprehend the past she or he pursues in its entirety, from the flashiest trends of the time to the notes in the margins. Paul Burch is that extra-hard worker who also happens to be gifted with an easeful way of getting his messages across.

1990s revivalism may be entering its dwarf-star phase without ever having shed proper light on itself. Last week, the 22-year-old rapper Vince Staples argued that for his generation, hip-hop's official Golden Age matters less than the viral onset of 21st-century stars like Soulja Boy.

Note: NPR's audio for First Listens comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

So many road anthems pave the history of popular music. Some make poetry of the white lines on the freeway; others floridly celebrate rock and roll fugitives riding the arena circuit on their steel mounts.

One For The Ages

Oct 19, 2015

Note: NPR's audio for First Listens comes down after the album is released.

Note: NPR's audio for First Listens comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

"I think songs can have different lives," said Rhiannon Giddens in the conversation that flowed throughout NPR Music's "Songs We Love: Americana Fest Edition" panel on September 16 at Nashville's historic RCA Victor Studio A. "Each song has its own way that it likes to be done, but it can be more than one way," the Carolina Chocolate Drops multi-instrumentalist and singer continued. "If you tap into it, you can feel it."

So much history is contained in the intertwined harmonies of The Fairfield Four and The McCrary Sisters. Together, these groups form a link to one of America's greatest singing traditions — that of the gospel quartet, which flourished at the center of sacred music in the early to mid-20th century and inspired early rock 'n' rollers from doo-wop groups to Elvis Presley.

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