Stephen Thompson

Stephen Thompson is an editor and reviewer for NPR Music, where he writes the advice column The Good Listener, fusses over the placement of commas and appears as a frequent panelist on All Songs Considered. Since 2010, Thompson has been a fixture on the weekly NPR roundtable podcast Pop Culture Happy Hour, which he created and developed with NPR correspondent Linda Holmes. In 2008, he and Bob Boilen created the NPR Music video series Tiny Desk Concerts, in which musicians perform at Boilen's desk.

In 1993, Thompson founded The Onion's entertainment section, The A.V. Club, which he edited until December 2004. In the years since, he has provided music-themed commentaries for the NPR programs Weekend Edition Sunday, All Things Considered and Morning Edition, on which he earned the distinction of becoming the first member of the NPR Music staff ever to sing on an NPR newsmagazine. (Later, the magic of AutoTune transformed him from a 12th-rate David Archuleta into a fourth-rate Cher.) Thompson's entertainment writing has also run in Paste magazine, The Washington Post and The London Guardian.

During his tenure at The Onion, Thompson edited the 2002 book The Tenacity Of The Cockroach: Conversations With Entertainment's Most Enduring Outsiders (Crown) and copy-edited six best-selling comedy books. While there, he also coached The Onion's softball team to a sizzling 21-42 record, and was once outscored 72-0 in a span of 10 innings. Later in life, Thompson redeemed himself by teaming up with the small gaggle of fleet-footed twentysomethings who won the 2008 NPR Relay Race, a triumph he documents in a hard-hitting essay for the book This Is NPR: The First Forty Years (Chronicle).

A 1994 graduate of the University of Wisconsin, Thompson now lives in Silver Spring, Md., with his two children, his girlfriend, their four cats and a room full of vintage arcade machines. His hobbies include watching reality television without shame, eating Pringles until his hand has involuntarily twisted itself into a gnarled claw, using the size of his Twitter following to assess his self-worth, touting the immutable moral superiority of the Green Bay Packers and maintaining a fierce rivalry with all Midwestern states other than Wisconsin.

Hometown: London, England

Genre: Jazz

Why We're Excited: Tenor saxophonist Nubya Garcia exudes a kind of breezy, sultry, downtown cool — no surprise, given her history as a club DJ. On her debut, Nubya's 5ive, she and her band strike an engrossing balance between long stretches of dreamy exploration and surges of vital, virtuosic intensity.

SXSW Schedule:

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.

Haley Heynderickx's songs have a way of sneaking up on you: They start out spare, animated by a lone voice or a subtly snaky guitar line, only to billow out into something strange, beautiful, bracingly intense or some combination thereof.

The trajectory of the night said it all. The 60th Grammy Awards opened Sunday with the promise of an explosive performance by apparent frontrunner Kendrick Lamar, punctuated by superstar cameos (U2, Dave Chappelle) and a heady cocktail of grit and visual imagination. The show closed with the completion of the least exciting possible sweep, as Bruno Mars — a gamely appealing pop star whose funky but lightweight jams peppered radio playlists all year — won Album Of The Year (for 24K Magic), Record Of The Year (for "24K Magic") and Song Of The Year (for "That's What I Like").

The Grammy Awards have many roles to play in the cultural conversation. Above all, they're a music-industry showcase and infomercial, stuffed with three and a half hours of live performances meant to spark social-media conversation — and, by extension, sales, streams and TV ratings. But they also function as a way to crown what you might call ambassadors: marketable standard-bearers the industry sees as its faces and future. Each year, the Grammys provide a window into how the music business wishes to see itself, which in turn makes each telecast a surprisingly useful snapshot.

Every year around this time, many of us on the All Songs Considered team — including Bob Boilen, Robin Hilton and me — each dredge through nearly 2,000 MP3s by bands playing the SXSW Music Festival in Austin, Texas, in search of great new discoveries. And every year, we wind up missing something. In pursuit of music by thousands of acts, hundreds slip past our radar altogether.

When The Decemberists release I'll Be Your Girl on March 16, it'll be the band's eighth album — part of a 17-year career that's taken listeners through everything from wry folk to ambitious rock opera. If I'll Be Your Girl's first single is any indication, Colin Meloy and his band have used their new record as an opportunity to try new things and hit a few reset buttons along the way.

Pages