Benjamin Lindsay
Benjamin Lindsay tracks how power, politics and culture move through the entertainment industry, with music figures and institutions as frequent focal points. He is Deputy Managing Editor at TheWrap, where he oversees and contributes to breaking news coverage across entertainment, media and politics. He joined TheWrap in 2022 and brings roughly a decade of professional reporting experience covering film, television and theatre to that role. His music coverage sits inside that wider brief, connecting tour logistics, celebrity messaging and culture‑war flashpoints back to the business and political forces that shape them.
Entertainment, media and politics
Lindsay’s core newsroom remit is fast, accountability‑minded coverage at the intersection of entertainment, media and political power. He writes on moments when government and the entertainment business collide, such as the Justice Department’s stance on states paying Paramount’s multibillion‑dollar merger bond, treating the story as both a legal and industry power test. He reports on the relationship between the White House and the press corps, including coverage of the White House Correspondents’ Association denouncing restrictions on journalists in the West Wing, framing the dispute as a press‑freedom concern within a media beat.
He also tackles explicitly political storylines tied to media figures, such as analysis of why a Tucker Carlson presidential run would reshape the Republican field, rooting the piece in his knowledge of cable news, conservative media and electoral dynamics.
His reporting extends to public‑policy fights that grow out of creative work. He has covered Taylor Sheridan being accused of copyright infringement over a Yellowstone series idea, treating the lawsuit as a test case in how successful franchises and pitches are protected and contested. Across these pieces he keeps the focus on leverage: which institutions, studios or political actors are setting the terms, and how those decisions echo across the broader entertainment ecosystem.
Music and culture flashpoints
Within that broader beat, Lindsay regularly uses music stories to show how culture, politics and online outrage intersect. His coverage of country artist Jelly Roll being boycotted by Trump supporters after late‑night jokes does not stop at the controversy; it follows Joe Rogan’s on‑air criticism of the boycott and situates the episode inside broader debates over political litmus tests for artists. He has reported on the backlash around Ed Sheeran and Macklemore tied to Middle East conflict and philanthropy, including Robert Kraft’s pledge of $2 million to aid Palestine, presenting the donations, performances and criticism as part of a single narrative about how music stars are pulled into geopolitical and humanitarian arguments.
He also covers the more traditional music‑industry beats of touring and fan communication, as in his reporting on Ariana Grande apologizing to fans for delayed tour dates due to technical issues and affirming her commitment to perform. In that type of piece he stays close to concrete details - what went wrong, what is being fixed and how the artist speaks to ticket‑holders - while keeping an eye on how major tours function as large‑scale businesses as well as fan events.
The result is music coverage that is emotionally accessible but anchored in the operational realities of high‑stakes live entertainment.
Industry deals and media business
Lindsay spends significant time on the business side of media and entertainment, especially deals that reshape how news and culture are produced. He has reported on Puck’s move to acquire Graydon Carter’s Air Mail, and later on the closing of that deal valued at $16 million, treating the acquisition as a marker of consolidation and strategy in premium digital publishing. His coverage sets out the structure of the transactions, the roles of the principals involved and what the combined outlet aims to do, tying corporate news back to its impact on journalists, readers and the wider media market.
He applies the same lens to technology platforms.
In his piece on Meta removing its Muse AI Instagram feature after backlash, he documents why creators and users objected, how the company responded and what the move signals about the limits of AI‑driven tools in social media. His story on Paramount’s merger bond similarly connects a legal requirement to the practical risks facing studios and investors.
Across these business‑focused articles, he writes in a straightforward style that privileges clear timelines, key figures and the immediate implications for the entertainment and media industries.
Awards, festivals and red carpets
Alongside hard news and business coverage, Lindsay handles high‑profile awards and festival reporting, often through photo‑driven pieces that still retain a news spine.
His Emmys red carpet gallery spotlights major television stars such as Elle Fanning and Florence Pugh, but the framing emphasizes the year’s standout shows and the visibility that awards season confers on the industry. His coverage of the Venice Film Festival red carpet similarly uses celebrity appearances - including figures like George Clooney and Laura Dern - as a way into the festival’s role in launching films, careers and global marketing campaigns. These pieces balance visual appeal with context, explaining why specific events matter within the annual entertainment calendar.
He also documents late‑night television and digital pivots around those milestones. In his story on Stephen Colbert creating a personal TikTok account just hours before The Late Show finale, he links a seemingly light social‑media move to a broader shift in how veteran hosts maintain audience connection once a flagship broadcast ends. Taken together, his awards and festival work rounds out his beat: he is as comfortable chronicling red‑carpet moments as he is explaining how legal fights, political pressure and platform decisions shape the entertainment world that those events celebrate.
4 more music journalists.
Andrea Dresdale
Andrea Dresdale manages entertainment content at ABC Audio and covers music-driven pop culture for news and audio platforms. Her beat centers on chart-friendly pop, new releases, mainstream artists, awards, residencies and industry milestones. She also reports on legacy acts, anniversaries, nostalgia, remixes, live performances and music’s links to film, television, streaming and social media. Her notable coverage includes Taylor Swift, BTS, The Weeknd, Madonna, The Beach Boys, Bruce Springsteen, Patty Smyth and Miley Cyrus. Her work has appeared through syndicated ABC Audio coverage on outlets such as WRMF, KS95 and Hot 96.7. Dresdale writes concise, timely pieces for radio audiences. She frames songs, tours, specials and career moments through cultural impact, fan appeal, commercial momentum and lasting relevance. Her stories connect current hits with music history and show how artists maintain attention through new releases, collaborations and reinterpretations.
Andrew Weber
Andrew Weber uses accountability reporting to examine who benefits from decisions shaping Austin’s music ecosystem. He reports for KUT as a government accountability reporter and works as a freelance reporter and associate editor for KUT News across the public radio network. His music coverage focuses on musicians’ pay at festivals, health care, mental health services, venue relief and working conditions. He treats SXSW as a workplace and economic system, reporting on low fees, sponsorships, boycotts and the political choices behind the festival. He also covers government and institutional issues, including KUT’s relationship with the University of Texas and the firing of general manager Debbie Hiott. His reporting ranges from nonprofit support systems to experimental sound art. He plays music on the side and brings digital storytelling experience, including an Edward R. Murrow award for social media work.
Andy Greene
Andy Greene is a senior writer at Rolling Stone who stands out for long-form interviews and narrative features that follow artists across entire careers. He focuses on music, especially classic rock performers, live shows, tours, and band dynamics. He runs the interview series Unknown Legends and King For a Day, which center on veteran musicians, sidemen, collaborators, and singers who replace legendary frontmen. He also writes cover stories and major features on high-profile figures, including Radiohead, Howard Stern, Bill Withers, Nathan Fielder, Steve Perry, Pete Townshend, and Stephen King. His reporting relies on access, detailed questioning, and a deep command of rock history. He also writes about film and television when they connect to music and culture.
Anna Grace Lee
Anna Grace Lee is a Vogue reporter who covers pop musicians and celebrities through fashion, weddings, and lifestyle culture, focusing on dresses, events, pets, and subcultures rather than industry news. She writes scene-driven features that place entertainers in vivid settings, from villas to underground food markets, and treats music-adjacent stories as fashion and craftsmanship narratives. Her Dua Lipa Sicily wedding coverage shows how she frames a wedding dress as a haute couture moment and a pop-cultural milestone, emphasizing design, making, and handwork. Her Millie Bobby Brown miniature poodle piece reflects a consistent interest in celebrity pets, fandom, and off-stage persona. She also reports lifestyle features like Brooklyn’s buzziest underground cheese sale, embedding in niche food scenes. At Vogue she contributes to weddings, celebrity, living, and Met Gala coverage, and maintains a portfolio of culture and lifestyle work built around entertainment-adjacent storytelling.