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.

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.

It's tempting to mythologize Buffy Sainte-Marie — to call her a folk-music mother of dragons, or at least a shaman calling up lost spirits in her music. It's easy, after all, to exoticize individualistic women, especially women of color; doing so can even feel like offering a compliment. But on Power In The Blood, her first studio album since 2008, the 74-year-old firebrand defies categorization, as she has throughout a half-century of recording.

Even the most seemingly organic contemporary country albums — the ones by often-awarded "authentic" artists like Miranda Lambert and Eric Church — can sometimes show evidence of a checklist.

"Confessional" is a term often tossed around in discussions of singer-songwriters, but it's also one of the most misunderstood. In a recent interview, Mackenzie Scott, who makes music under the name Torres, called it "a four-letter word," common and pejorative, and overapplied to women in particular.

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.

When Dwight Yoakam was making his first demos in Los Angeles in the early 1980s, a producer told him that his sound was "so hillbilly, they're going to call it rock 'n' roll." He was pointing to both the rawness in the Kentucky native's sound and its wicked precision, grounded in the great virtuoso art of bluegrass; and the depth of lyrics balancing the plainspokenness of Ohio Valley people who raised him and their eloquence, born of Bible reading and family-transmitted ballads and tales. "I've done a lot of miles on hillbilly highways.

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