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.

Nora Jane Struthers is guided by fire. Coming up within the tradition-minded bluegrass world, she spent her youth in a family band with her father, a good daughter learning tradition. But since she's been leading her own band, the Party Line, Struthers has poured more and more emotion into her songwriting, coming up with some of the most quietly powerful narratives within the new wave of Americana artists.

In many classic stories, there comes a point where someone speaks from the corner and changes everything. A stranger reveals the secret that solves a mystery; a minor character finally unburdens herself, and her words reconfigure the plot. Marianne Faithfull's music comes from that place of shadow and revelation.

Right now, I'm sitting in a hotel in Cleveland, Ohio, eating a cheeseburger and listening to Texas country troubadour Wade Bowen's melancholy ballad about learning to make wherever you hang your hat your home. Like so many people trying to get and stay ahead, I travel for my work — not as much as the weathered but optimistic journeyman of "Long Enough To Be A Memory," but enough to relate to his sense of dislocation and his hope that maybe he'll finally stick in one place.

Making music in a band is always and experiment. The players throw different elements into the enzymatic mix, let it all bubble together, and come up with a new compound every time. Recording these interactions for something as self-promotional as a music video can feel intrusive, like freezing something volatile. But a creative team can have fun with this awkward encounter.

In April 2015, Duncan Sheik, a songwriter who has had hits on both pop radio and the Broadway stage, will release Legerdemain, his first album of original material since 2009's Whisper House and the first not connected to a theater piece since 2006's White Limousine. Sheik crafted the album in his Garrison, N.Y. studio, and he's sharing two songs from that album via NPR Music; you can listen and download both of them below.