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.

The Virtuoso

Feb 10, 2020

Turning the Tables is NPR's ongoing multi-platform series dedicated to recentering the popular music canon on voices that have been marginalized, underappreciated, or hidden in plain sight. In 2020, we will publish an occasional series looking closely at the careers of significant women in music, treasured albums or significant scenes. This is the first in the series; find all Turning the Tables content here.

Ann Powers: Here we are, Rodney, to talk about one of the weirdest, most emotionally fraught and repressed, most resistance-fueled yet frequently deluded awards shows I can recall seeing in recent years: the 2020 Grammy Awards. Let's start with Lizzo, not quite the spirit of the night that I expected her to be. "This is the beginning of making music that moves people again," the flute-wielding dynamo exclaimed when picking up an early statue, the only one she took during the televised performance. (She claimed three in total).

The latest round of Rock & Roll Hall of Fame inductions were announced today, and Whitney Houston is the only woman honored.

Morning Edition's series called One-Hit Wonders / Second-Best Songs focuses on musicians or bands whose careers in the United States are defined by a single monster hit, and explains why their catalogs have much more to offer.

In this installment, NPR Music's Ann Powers argues that Janis Ian, who won the Grammy for best pop vocal performance in 1975 for "At Seventeen," pioneered what we now consider the adult contemporary genre. Read Ann in her own words below, and hear the radio version at the audio link.

The last decade of music saw major artists break many of the rules about how to release an album. Beyoncé and Drake popularized the "surprise release" — putting out albums with little to no roll-out at all. So in the era of surprise digital drops, and at the beginning of a new year of music, how do you make predictions about what's coming?

In a culture infatuated with the idea of bending time, music lovers may not often consider that such miracles happen constantly in the course of everyday listening. Your life may not literally loop the way Nadia Vulvokov's did in Russian Doll, or toddle from past to present to future like Angela Abar's in Watchmen. But did you ever make a playlist that segues from Lizzo to Stevie Wonder?

What is the most urgent undertaking for an artist in 2019? Perhaps it is to find music in the noise oppressing the atmosphere, the (mis)information, static and chaotic emotion permeating people's heads. For example: Billie Eilish, the Los Angeles teenager who, with her 22-year-old brother Finneas, made the most streamed and talked-about album of 2019, was once getting her braces adjusted, listening to the whir of the drill shaving down their edges.

The Grammy Awards' category for new artists has always been the Hufflepuff house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners Milli Vanilli did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that's exactly what it suggests.

Songs Against The Suits

Nov 15, 2019

On Thursday night, Taylor Swift threw another volley in her ongoing battle with the two men she considers the captors of her legacy.

When Brandi Carlile decided to perform Joni Mitchell's 1971 album Blue in its entirety at Disney Hall – the primary home of the Los Angeles Philharmonic and the site of many classical music premieres — one reason was to remind the audience of the 75-year-old's near-singular status among popular musicians of the past half-century. "We didn't live in the time of Shakespeare, Rembrandt or Beethoven," she said before she began her October 14 performance. "But we live in the time of Joni Mitchell."

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