Ana Popovic—The Blues’s Pride and Joy

Ana Popovic

Ana Popovic—The Blues’s Pride and Joy

The ultra-feminine vixen ferociously shredding on stage in her skintight Bodycon dress and stilettos exists in sharp contrast to the modestly dressed teenage girl who lived under the rule of Slobodan Milosevic in the war-torn Yugoslavia of the 1990s. At that time, the dictator and “butcher of the Balkans” cracked down hard on the media, making free speech, much less rocking out, a significant challenge, even dangerous, to future blues guitarist extraordinaire, Ana Popovic.

Photo of Ana Popovic

She puts it best on the track “Hold On,” on her 2007 album Still Making History:

The place I was raised was poisoned
Power in dangerous hands
Lifelong toil is our price
Exclusion as inheritance
Entering the embassy
Embarrassed by arrogant red tapes
Sent away, not accepted
I’m not from the United States.

Most of us can’t begin to fathom what it feels like to be a bona fide artist in a country where public opinion is silenced, yet you’re bursting at the seams to communicate to the world. Popovic suffered this intimately, but thankfully, also had a secret weapon: a blues loving father. Not only had Milutin amassed an extensive blues and soul record collection and adored practicing riffs for hours on his guitar and bass, he regularly hosted jam sessions with musicians inside the home, infusing her consciousness with the blues since she was a baby girl.

Her father’s passion for the blues becomes all the more impressive when you understand how difficult it was to come by such recordings in 1970s’ Yugoslavia. He had to beg, borrow, and trade with friends and people who were visiting the West to get his hands on the music itself. Popovic still remembers when he acquired a new Stevie Ray Vaughan VHS tape and how father and daughter deconstructed and analyzed the rapid fire movement of his fingers, memorizing each down stroke and bend.

There are also a few night clubs in Belgrade where blues bands would perform as well. At just 13, Popovic would be chauffeured there by her father, checking out just a couple of songs from the performing band's set before heading home for the midnight curfew. But it was enough to hook her by the soul.

At 15, she started playing guitar under the tutelage of her father and quickly became a virtuoso. Unable to teach her any more, Milutin arranged private lessons with a professional instructor even though the family could hardly afford such a luxury. Popovic did not disappoint, and after a brief period of study, developed her own unique voice on the guitar.

Eventually, she scored her first gig at Club Vox in Belgrade at 19 years old, but that almost never happened at all, as her car died on the way. She did finally make it to Vox 2–3 hours after her set was scheduled but wasted no time winning forgiveness by blowing away the packed crowd. She was quickly invited back to play a weekly set for her new fans.

On the cover of Unconventional, she stands exposed to the world except for her trusted Strat guitar. Blues’ purists were initially outraged, not understanding that this was her ultimate statement to the world, having grown up in a country without free speech.

In 1995, she formed a four-piece band called Hush with her friends while was studying graphic design at The University of Belgrade. The new band quickly starting touring in Yugoslavia and playing over 100 shows a year. By 1999, Popovic had enrolled in Utrechts Conservatorium in the Netherlands to study jazz guitar. It was here that she became deeply passionate about Jazz music, inspired by the jazz-colored blues guitars of Albert King, Gary Clark, Jr., and Ronnie Earl. Needing to fund her tuition, she formed a new solo band, the Ana Popovic Band, which quickly caught fire in the Dutch and German music scenes.

At a fortuitous meeting at a club in Germany, Popovic was invited to play on stage with famed Blues guitarist Bernard Allison. He was so impressed with her talent that he passed her debut album with Hush to executives at Ruf Records, who signed her. Soon, she was traveling to Memphis, Tennessee to record her debut album in 2000, which received the all-around approval of the hard-to-please blues radio and festival circuits.

A year later, she was sharing the bill with the likes of Bob Dylan, the Black Crowes, and Ike Turner at the Memphis in May festival. From there, her reputation and resume continued to grow, stacking awards, magazine covers and guest spots with the most renowned musicians in the genre. For Popovic, the highlight of it all was being the only female guitar player (and slide guitar player) in the Experience Hendrix tour, sharing the stage with Eric Johnson, Dweezil Zappa, and Buddy Guy. They are but a few of guitar gods who continued to gush about her abilities. “Ana Popovic is one helluva a guitar-player,” said Bruce Springsteen, while Billy Gibbons of ZZ Top, declared, “Ana rocks the blues in fine, fine fashion.”

Popovic is no stranger to controversy, thanks to her famously provocative album covers and sexy stage attire. On the cover of Unconventional, she stands naked to the world except for her trusted Strat guitar. Blues’ purists were initially outraged, not understanding that this was her ultimate statement to the world, having grown up in a country without free speech. As a rare female talent in the heavily male-dominated world of the blues, she wanted to smash the stereotypes and provide a feminine take on blues. She also wanted to illustrate her affinity and oneness with her guitar. “It’s also about being one with your instrument,” she explains. “That’s what Hendrix and Robert Johnson and Elmore James had. They were one with their instruments. So basically, the cover is about the beauty of the basics and being one with your instrument.”

But it’s still in the guitar playing that you can experience the deepest understanding of Ana Popovic’s character and conscience. On the technical side, she plays a flawless slide guitar, influenced by Elmore James and Bukka White. It’s her emotional guitar playing which is harder to describe. It resonates with a depth of purpose and indefatigable spirit and emotion that not many other guitarists can capture. Having grown up in an environment of rampant insecurity, Popovic plays with breathless empathy for all those barred from living out their dreams because of circumstances beyond their control.

“ I am very fortunate to be among a very few, especially from my country, who are able to do what they really love; when you’re born and raised in a third world country, you do not belong anywhere. Doctors become secretaries, attorneys become cleaning ladies, and architects become hotel staff.”

Ana Popovic Discography

Some of our favorite Ana Popovic albums.

Ana Popovic - Trilogy (2016)

“In an era where most are skeptical about the current state and future of the music industry, I wanted Trilogy to tell a different story. The record biz might be broken and Spotify might rip us off, but that can’t keep an artist down. Creativity is very much alive, and music is the celebration of life.” Helping her achieve this vision were Grammy award winning producers Warren Riker and Tom Hambridge and top jazz producer and trombonist Delfeayo Marsalis. This 23-track album is really three albums in one— Morning, Midday and Midnight—featuring three distinct musical styles, accomplished by recording with three separate bands in Memphis, Nashville, and New Orleans. Featured are blues and guitars, dancey funk/soul, and smooth listening jazzy blues.

Ana Popovic - Blue Room (2015)

Ana Popovic -Blue Room (2015)

Some of Popovic’s best childhood memories took place in the small section of the living room of the 11^th-floor Belgrade apartment she grew up in. It was here she played the blues and discussed soul and rock music with her father. It took over 10 years for Ana to convince her father to record and perform on this album with her. It’s a collection of their covers of the songs from their favorites: Robert Petway, Jimmy Reed, John Lennon, and more. Ana was very inspired by her father’s “slowhand” style and wanted to capture it for her children and the younger generation for years to come.

Ana Popovic - Can You Stand the Heat (2013)

B.B. King’s drummer, Tony Coleman co-produced this album, and it reminds you of War, Albert King, and Isaac Hayes all wrapped up into one. This album features the commanding, sultry vocals Popovic’s fans are used to but adds a tinge of jazz and a greater range than the albums that came before it, including more background singers, keyboards, rhythm guitars, and horns.

Ana Popovic - Unconditional (2011)

The sultry and risqué cover of Popovic’s Unconditional album definitely raised some eyebrows and ire in the traditional and conservative blues community. Although it's the album cover that first grabs your attention, it's the music, featuring Popovic’s strong songwriting, powerful vocals and shredding guitar that keep your attention. She features one straight instrumental track on this album called "Slideshow," which shows off her stellar slide guitar chops. In this album, as always, she shows that she can play alongside any of the best male talents in the heavily male dominated world of the blues.

Ana Popovic - Blind for Love (2009)

You can truly hear the Popovic sound on this album delivers her signature smooth and smoky vocals atop a searing blend of rock, funk, and jazz. The groove comes care of a crack band that features Tony Braunagel on drums, Ronald Jonker on bass, and Mike Finnigan on keyboards. Popovic wrote or co-wrote every single song on this album except for one.

Ana Popovic - Still Making History (2007)

Popovic’s debut album in the United States was produced by Grammy Award winning producer John Porter. It delves into her feelings about her past life in Serbia and how she felt growing up under Milosevic’s regime. If you listen carefully you can sometimes hear her Serbian vowels on some of her beautifully sung phrases. It’s obvious that she has a palpable and authentic understanding and feel for the old school Americana Blues. She has a particular talent for bringing in her other musical influences while maintaining the authenticity of the source (although some ornery blues purists might disagree) The album also explores how different societies and individuals strive to understand each other and how we are each actively creating history today and have the ability to change the world.

Ana Popovic - Live in Amsterdam (2005)

Her third release with Ruf Records was recorded on January 30th 2005 at her live set in Amsterdam at The Melkweg. Popovic is captivating throughout the 67 minutes, showcasing her inimitable energy as a live performed her unique blend of non-purist blues with jazz, funk, and rock.

Ana Popovic - Hush (2001)

Ana Popovic's debut album earned her attention immediately, if only as a rare female blues release to hit on the top 25 on the blues charts. Stellar production by celebrated blues producer Jim Gaines, also went a long way, providing the perfect presentation of Popovic’s trademark fiery and incandescent guitar solos. You can hear her palpable excitement and infectious energy in the collaboration with Bernard Allison on the track "Bring Your Fine Self Home."

Ana Popovic’s Gear

Ana Popovic loves her trusty ’57 reissue and ’64 reissue Stratocasters, particularly when plugged into her 50-watt Marshall amp, the original OG model. She also carries a custom-made guitar from Hamiltone guitars, with Rosewood and mother-of-pearl inlay, a double cutaway body, and the Hamiltone’s famous beak-like headstock. The pickups are hand-wound and the guitar also features a vintage tone capacitor. For acoustic work, she plays the Martin D-28 and Ovation acoustic guitars. For strings, she uses Pure Blues DR Strings.

The amps she uses most on stage are a Mesa Boogie Mark IV paired with Super Reverb Blackface and her original Bassman. In the studio, Popovic likes to break out Fender Deluxe, which doesn’t have quite enough oomph for live performances.

Popovic’s overdrive pedal is a vintage ‘70s’ Tube Screamer by Ibanez, which she pairs with the VOX V847-AUJ Union Jack to coax a subtle and diverse bluesy sound. Next to those is a two-knobbed OG Boss CE-2 Chorus Guitar Effect Pedal. In addition, her shows feature two MXR Reverb pedals including the MXR Reverb M300 and the MXR Carbon Copy Analog Delay. She also sometimes uses the Line 6 DL4 Delay Pedal, Line 6 DL4 Delay Pedal and Boss TU-3 Chromatic Tune

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Ana Popovic—The Blues’s Pride and Joy

Ana Popovic—The Blues’s Pride and Joy