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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.

Angaleena Presley tells it like it is. The Kentucky native first gained national attention as one-third of the Pistol Annies, the groundbreaking country trio that also included Miranda Lambert and Ashley Monroe.

The nominations are in for the 16th annual Americana Awards, to be held Sept. 13 in Nashville as the signature event of AmericanaFest — and in at least one category, they tell a tale of how this progressive yet traditionalist community is rising to the political challenges of a complicated historical moment. Four of the five releases in the Album of the Year category have protest at their core, demonstrating how the genre is stretching itself even as it builds on long-established artistic family ties.

Ruby Amanfu is a treasured member of Nashville's creative community and a star on the rise. Born in Ghana, she moved with her family to Nashville when she was 3; her musical gifts emerged soon after.

Charlie Worsham is ready for his close-up. The 31-year-old Mississippi native moved to Nashville 10 years ago after attending Boston's prestigious Berklee College of Music. He's been a favorite of country music insiders ever since. Worsham released his first solo album, Rubber Band, in 2013; now, he's offering his second, Beginning Of Things, out April 21.

If you're out in the clubs in Nashville in 2017, you have a good chance of discovering the powerful, lyrical voice of Kyshona. The South Carolina native came to Nashville after a long stint in Athens, Ga.'s singer-songwriter circles. She soon found her place in the city as part of both the soul and rock scenes and has released two independent albums since then: 2014's Go and 2016's Ride.

Almost a month ago, President Trump's immigration ban pushed words with long histories back into the foreground of the public conversation; one was "refugee." Since then, much analysis and inflated rhetoric has attached itself to that word, but not that many Americans have had (or have taken) the chance to interact directly with those to whom it applies. Music has long provided one way for outsiders to connect with refugees' hopes and fears. A recent encounter in Nashville reminded me of the revelations it bears.

Little Bandit is a group devoted to the songs of Alex Caress, who's making classic country music with a sassy and subtly political twist. Caress first impressed Nashville audiences as part of the dream-pop band Ponychase, which was led by his sister, Jordan. More recently, he's played keyboards in breakout punk-blues star Adia Victoria's band.

The writing rooms of Nashville aren't always magical places. Though many top-notch creative minds meet in those Music Row offices to pen country hits, the marketplace demands that they produce highly average material for stars seeking to dominate the radios inside American SUVs. Every so often, though, a truly original voice emerges from within Nashville's workaday milieu. Brent Cobb is one.

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