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.

Caitlyn Smith has a voice that grabs you the first time you hear it. Her high register conjures thoughts of purple mountain majesty. When she drops into a murmur, it feels like she's telling you a secret she's never told anyone before. Considering those pipes, it's surprising that it took Smith 15 years to find her footing in Nashville.

In the movies, songs often signify absence, or distance, a gap difficult to fill through plotting or dialogue. Entering the space between desire and communion, bondage and freedom, or grief and comfort, songs reinforce the reassuring magic of cinema.

Nashville rock is fun, loud and often trashy, but the best bands push themselves beyond mere noise into visionary territory. Idle Bloom is a band that's grown from its roots in the all-ages punk scene to become one of the city's most musically compelling and lyrically insightful ensembles.

Who in the pop world but Janelle Monae could pack dystopian Afro-Futurism, sleek runway style, action sequences, club hotness and tender love into thirty seconds?

When people ask about the rock 'n' roll sound of Nashville, locals might direct them to the garage rock scene, to Jack White's Third Man Records, or to guitar-slinging country outlaws like Sturgill Simpson or Eric Church. But they'd be remiss to leave out Moon Taxi, a band that's grown a large and devoted fan base in Music City since forming at Belmont College 10 years ago.

This is NPR Music's live blog of the 2018 Grammy Awards. The telecast of the awards show is scheduled to run from 7:30 until 11:00 p.m. ET. We'll be here the whole time, updating this post with every award or performance.

If you travel in Nashville's singer-songwriter circles, or literary circles, or progressive activist circles, you've probably witnessed Mary Gauthier bring a room to tears. Born in New Orleans, Gauthier has lived in Music City since 2001 and made her mark on both the mainstream country and Americana worlds.

Here's a fact few white American musicians feel comfortable facing: every kind of American music, from Top-40 pop to high mountain bluegrass, has some root in the work and creativity of people of color. Arguments about appropriation surface most commonly when artists are clearly borrowing from well-known sources; Justin Timberlake's decision to repackage his blue-eyed funk in Ralph Lauren-style quasi-neutrals is the latest example of white performers side-stepping the fact that they owe their very souls to black collaborators, acknowledged or not.

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