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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.

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The Record
1:36 pm
Thu May 14, 2015

Shakey Graves, Lucinda Williams And Sturgill Simpson Lead Americana Awards Nominees

Shakey Graves performs at the Americana Music Association Showcase at Gatsby's during SXSW 2014 in Austin, TX.
Erika Goldring Courtesy of the artist

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.

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The Record
12:00 pm
Thu May 14, 2015

Iris DeMent To Release New Album, 'The Trackless Woods'

Iris DeMent recorded The Trackless Woods at her home in Iowa.
Courtesy of the artist

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All Songs TV
12:39 pm
Mon May 11, 2015

First Watch: Gangstagrass, 'Banks Of The Ohio'

A scene from the animated video for the Gangstagrass song "Banks Of The Ohio."
Courtesy of the artist

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First Listen
10:10 pm
Sun May 3, 2015

Review: Buffy Sainte-Marie, 'Power In The Blood'

Buffy Sainte-Marie's new album, Power In The Blood, comes out May 12.
Matt Barnes Courtesy of the artist

Originally published on Tue May 12, 2015 3:18 pm

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.

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First Listen
10:09 pm
Sun April 26, 2015

Review: Chris Stapleton, 'Traveller'

Chris Stapleton's new album, Traveller, comes out May 4.
Becky Fluke Courtesy of the artist

Originally published on Tue May 5, 2015 2:58 pm

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.

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The Record
11:16 am
Tue April 14, 2015

Spirit Family Reunion's Unbroken Circle

Brooklyn's Spirit Family Reunion released its new album, Hands Together, on Tuesday.
James Weinheimer Courtesy of the artist

Originally published on Tue April 21, 2015 12:40 pm

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First Listen
10:03 pm
Sun February 1, 2015

First Listen: Rhiannon Giddens, 'Tomorrow Is My Turn'

Rhiannon Giddens' new album, Tomorrow Is My Turn, comes out Feb. 10.
Courtesy of the artist

Originally published on Tue February 17, 2015 8:41 am

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.

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First Listen
10:02 pm
Sun January 25, 2015

First Listen: Diana Krall, 'Wallflower'

Diana Krall's new album, Wallflower, comes out Feb. 3.
Courtesy of the artist

Originally published on Tue February 3, 2015 1:46 pm

In the 1970s, when Diana Krall was growing up, children and young adolescents regularly encountered very adult music on Top 40 radio. These songs were different from the sexually explicit playground rhymes so common in mainstream music today.

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Songs We Love
9:26 am
Wed January 14, 2015

Kitty, Daisy & Lewis, 'Whenever You See Me'

The sibling trio Kitty, Daisy & Lewis.
Dean Chalkley Courtesy of the artist

Originally published on Wed April 8, 2015 3:12 pm

When Daisy Durham tells the skirt-chaser in her path to "Think about where you put that hand" in this tough-spirited, joyfully punchy musical kiss-off, she has a girl gang's worth of rock 'n' roll predecessors to back her up. Daisy's on-the-corner vocals, doubled by her sister Kitty, recall outer-borough demolition dolls like the Shangri-La's, the Bobbettes and the Angels.

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The Record
1:19 pm
Thu December 11, 2014

The Political Folk Song Of The Year

Alynda Lee Segarra of Hurray for the Riff Raff.
Joshua Shoemaker Courtesy of the artist

Originally published on Fri December 12, 2014 9:52 am

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.

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