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, 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.

Cinematic sweep is hardwired into Band of Horses' sound: Ben Bridwell's voice always seems to be echoing through some canyon or other, whether the guitars are chiming to the rafters or drifting along drowsily. The group's most recent records, Infinite Arms and Mirage Rock, have tended toward the latter half of that equation, but Band of Horses remains versatile in tone, especially onstage.

Describing Horse Feathers almost inevitably diminishes the band's music: "Let's see, the lead singer has a beard and a soft voice, and he plays the acoustic guitar, and there's a string section. Oh, and they're from Portland, of course." All those identifying details hold true, and yet Horse Feathers' music never feels slight or ineffectual.

Jenny Lewis' voice has helped provide a soundtrack to the last 15 years, but it's not part of one specific sound: She's sung heartsick ballads and spiky rock (in Rilo Kiley), summery surf-pop (in Jenny and Johnny), winsome electro-pop (in

A thumbnail description of The Devil Makes Three — "acoustic string-band music with no drummer" — makes its music seem old-fashioned, even quaint. But the California trio plays with boozy aggression and unhinged intensity. If there were a Newport Punk Festival (and, really, why shouldn't there be?), The Devil Makes Three wouldn't be out of place in its lineup, amplification be damned.

There's ambition rooted in the pursuit of personal glory, and then there's creative ambition, rooted in a desire to do what hasn't already been done. Anais Mitchell is a folksinger with a kind, approachable voice.

We get a lot of mail at NPR Music, and amid the flyers from reputable debt-consolidation companies is a slew of smart questions about how music fits into our lives — and, this week, a vexing piece of concert-going etiquette.

Even when he was in his late 20s, Tom Petty had a curmudgeonly edge to him, so it's no surprise that he's sneering about threats to the American dream in the opening moments of his new album, Hypnotic Eye. At 63, Petty is well into his transition to full-blown misanthropy, at times splitting the difference between Randy Newman and Bob Dylan.

From its legendary beachfront locale to its celebrations of folk music's past, the Newport Folk Festival draws on more than half a century of celebrated traditions. But it's also an event in which folk's boundaries are tested: This is, after all, where Bob Dylan famously plugged in an electric guitar 49 years ago, in the process enraging the purists in the crowd.

The Newport Folk Festival has been around for more than half a century now — this is its 55th year, to be exact — and the event now routinely sells out months before its lineup is even announced. And why shouldn't it?

We get a lot of mail at NPR Music, and alongside the flyers that either wildly underestimate or wildly overestimate our credit-worthiness is a slew of smart questions about how music fits into our lives — and, this week, thoughts on what constitutes "indie rock" in 2014.

Antfitgodd writes via Facebook: "The term 'indie' has been subsumed by major labels, whose acts often try to mimic indie-rock sensibilities — which changes what it means to play music that is not bland Top 40 drivel. Do you think 'indie rock' as a genre is dead?"

Luluc writes songs for late-night drives and uneventful mornings — stuff to slow the blood and the world outside. Bred in Australia but partly based in Brooklyn, Zoë Randell and Steve Hassett traffic in gentle, disarming simplicity, rarely allowing their music to speed up past a gentle lope. But for all their consistency of tone — and quality — Passerby's 10 songs never congeal into a blur or feel like a slog. Like the duo's labelmates in Low, Luluc uses calm as a medium unto itself.

The bluegrass-based Minnesota folk-rock band Trampled By Turtles knows how to play at extreme speeds, to the point where its careening compositions can seem downright unhinged. But its last two records, 2012's Stars and Satellites and the new Wild Animals, mostly move at a deliberate, even graceful pace.

We get a lot of mail at NPR Music, and alongside our neighbors' mis-delivered subscription copies of unnerving magazines is a slew of smart questions about how music fits into our lives — and, this week, thoughts on sharing music that might inadvertently expose someone else's kids to foul language.

For 23-year-old singer-guitarist Lydia Loveless, gritty, countrified blues-rock is a palette broad enough to include literary drama — complete with fatalistic references to the doomed French poets Paul Verlaine and Arthur Rimbaud — and a plainspoken plea for oral sex.

We get a lot of mail at NPR Music, and alongside a $23.95 book of cat cartoons by The Jesus Lizard's David Yow is a slew of smart questions about how music fits into our lives — and, this week, thoughts on when and whether once-successful musicians should give up.

Old Crow Medicine Show knows how to attract attention: The Virginia band's big, brash shows are carried off with rollicking energy and a carnival barker's showmanship.

We get a lot of mail at NPR Music, and alongside that one CD which appears to have been pulverized by a steamroller is a slew of smart questions about how music fits into our lives — and, this week, thoughts on what transforms a mere hit single into the agreed-upon song of the summer.

Kemper writes via Facebook: "When do we know what the song of summer will be? Have we already heard this year's song? If not, when do we typically start to hear it? Why do the other seasons lack their own song?"

Sinead O'Connor's nearly 30-year career forms a portrait of an artist in conflict; a brilliant singer who remains musically, politically and personally uncompromising after forays into folk, pop, standards, reggae and points beyond. By definition, her catalog is erratic, but it's consistently bold and surprising.

The word "charisma" is often used to imply a certain kind of attention-grabbing showiness, or even neediness. But it can also suggest subtle ease; a simple gravitational pull that draws people in by making them feel comfortable and at home.

We get a lot of mail at NPR Music, and alongside the large wooden crates housing our new summer interns is a slew of smart questions about how music fits into our lives — and, this week, thoughts on what makes some albums seem padded and inconsistent.

We get a lot of mail at NPR Music, and alongside Bob Boilen's 64-ounce tub of Kirkland-brand gong polish is a slew of smart questions about how music fits into our lives — and, this week, thoughts on what separates a mere hit from an invasive irritant.

Chris Kiraly writes via Facebook: "When (if ever) does a song earn the distinction of being 'overplayed'?"

Swedish sisters Klara and Johanna Söderberg first made their names with feather-light chamber-folk confections that echoed the soaring sweetness of Fleet Foxes. A cover of that band's "Tiger Mountain Peasant Song" even helped launch the then-teenagers to YouTube fame back in 2008. But in 2014, styles have changed and so have the Söderbergs: First Aid Kit's major-label debut, Stay Gold, moves well beyond the portentous prettiness of the pair's 2012 breakthrough, The Lion's Roar.

With Glen Weldon tweeting from the various paradises of Barcelona, this week's Pop Culture Happy Hour calls on the services of two familiar Code Switch pals — Kat Chow and Gene Demby — to discuss the eternal recycling of unlikely pop-culture franchises. We use the July return of Sailor Moon as an excuse to talk about everything from Girl Meets World to Hocus Pocus, George of the Jungle, Newsies, Transformers and more.

Early in its career, Clap Your Hands Say Yeah seemed unlikely to last a decade: One of the first major bands to rise to prominence on the strength of support from music blogs, it followed a successful 2005 debut with the oddly produced and underwhelmingly received Some Loud Thunder. For a time, CYHSY seemed destined to become a footnote; a cautionary tale about bands that find ephemeral success on the Internet, only to fade as quickly as they came.

We get a lot of mail at NPR Music, and alongside the six-pack of Hanson-branded beer that cost $25 to ship is a slew of smart questions about how music fits into our lives — and, this week, thoughts on disposing of music in a digital age.

Tami Anderson writes via Facebook: "How long do you keep songs in your collection when you rarely/never seem to listen to them?"

Hamilton Leithauser sounds worn-out and weary on Black Hours, his first solo record since his long-running band The Walkmen went on indefinite hiatus late last year.

We get a lot of mail at NPR Music, and alongside the bag of caramel-filled chocolates we're neglecting to share with our colleagues is a slew of smart questions about how music fits into our lives — and, this week, thoughts on when hardcore fans hate their favorite artist's new project.

Haley Bonar first reached a national audience as a teenager, when fellow Minnesotan Alan Sparhawk heard her perform and offered her a spot on tour, opening for his band Low. At the time, the pairing made sense: Her recordings were sweet and lovely, but also frequently dour. Over time, though, Bonar — in case you were wondering, it's pronounced "Bonner" — has brightened and polished her sound to a glistening shine.

When she sings, Jolie Holland's words come out warped and slurred, the notes bent sideways and raw at the edges. When she first emerged as a solo artist a decade ago, Holland set that eccentric delivery against dustily barren old-time arrangements that often made her sound as if she were echoing out of a transistor radio many decades ago. But these days, on the new Wine Dark Sea, she sets it against low, sullenly rumbling arrangements that sprawl and wander ambitiously across the sounds of blues, rock, jazz and soul.

Pages