Ana Popovic: The ClassicRockHistory.com Interview

Feature Photo courtesy of Ana Popovic

After surviving cancer, and once again reinventing the blues, Ana Popovic’s intent on her latest record, 2025’s Dance to the Rhythm, is simple: “The message leads the way.”

Popovic’s last record, Power, was about reestablishing herself as a force to be reckoned with after a period of uncertainty related to her health. Now that all of that is behind her, she’s feeling loud and proud. “I write for the stage,” she tells ClassicRockHistory.com.

“I write with the excitement of how that particular song is gonna turn out live, and where in the set we’re gonna place it,” she says. “It’s about what message can gonna touch people? I want to be able to touch people.”

Indeed, she’s doing that. Still, like most who deviate from “traditional blues,” there are detractors. But this doesn’t bother Popovic, as she’s not only spinning her music her way, but she’s also injected bits of dance and gospel into the mix.

With Dance to the Rhythm set to hit shelves and streaming services in September of 2025, Popovic is looking ahead with excitement and anticipation. She knows her music and vibe aren’t for anyone, but she isn’t bothered. “There will be people who want one thing, and people who want another; it is given, “she shrugs.

“That the haters are always gonna be the loudest on social media,” she says. “But that’s fine because that’s already our reality.”

Photo courtesy of Ana Popovic

First and foremost, what’s your approach to the blues? Do you feel beholden to tradition, or are you comfortable stepping out and reshaping things?

That’s the pure American blues, and it always keeps me grounded. I listened to those artists ever since I could remember music. That being said, my music is based on blues but simultaneously always moving forward, transmitting what I am, as an artist, at this given moment in time.

That glimpse of roots blues in me will always be there, underneath an ever-evolving and changing sound, shaped by the time I’m in, my age, and fueled by experiences, life lessons, and motivation behind every new record.

Do people’s opinions on what you do and how you interpret the blues matter much to you anymore?

Everybody wants to have all five-star reviews on everything they do, right? Whether it’s music, cooking, or writing novels. It’s natural, and inside of us as creative beings. But I always feel the need to be true to myself in order to deliver quality music.

Your new record is called Dance to the Rhythm. Does that mean you’ve incorporated dance elements into the mix?

There are only a few dance tracks on the record, like “Dance to the Rhythm” and “Sho Nuff.” But I wanted to go into those and tastefully fit guitar, as usually there’s none in similar songs. I don’t think it was done before, and certainly not much.

Phrasing and sound are utmost important, as you can’t approach those as your regular rock/shredding/blues solo guitar. Nile Rodgers is the guru; he’s funky, but I was going for the actual solo guitar in the dance songs.

How did beating cancer during your last album cycle impact your outlook on life and as a player and musician?

It skyrocketed my love for guitar and for being an artist. I mean, I could have gone the other direction since I’ve been playing for 20 years. That could have been the time to stop being creative and find other stuff to do. I’ve got hobbies! [Laughs]

But it worked the opposite way. In the midst of being afraid, not sure how the future would play out, and insecurity, what was there for me to do but play guitar? I was so energized and re-connected with the art form, with music, with guitar, as that always was the one thing that was mine only.

That was in my corner before I even started studying it; it was already a fascinating discovery in my teens, and way before it was cool for a girl to pick it up and play. So, I went back to that feeling. And suddenly, the big band Idea came up, and I started writing music for this funk, soul, blues, and gospel big band, known as the “Fantastafunk” band. I never looked back.

Which of these new songs best demonstrates where you’re at now?

Well, “Dwell on The Feeling” is my ode to blues, the way it was done back in the day, with some soulful and even gospel influences. How deep can a love story fit the slow blues? And the closing track “Sisters and Brothers” reinvigorated my standpoint on life, and leaves you with a positive outlook.

But there’s also “Soul’ution.” I wanted something I hadn’t heard before; I wanted the intro to be a conversational piece between the guitar and percussion. I gave it a few rounds of pure groove with that conversation. I gave it time. I didn’t want to cut it short and didn’t want to rush it.

How do you see yourself as a guitarist and songwriter these days?

Naturally, as I am the band leader and guitar player, not just a guitar player in someone else’s situation, my solos, licks, and rhythms are always rooted heavily in the groove and the pocket of the song. I have a huge love for drums and play at home in my garage, and that definitely helps with the placement of the licks.

Instead of shredding all over the solo section, the right placement of the notes/licks is very important. I don’t want anything to interrupt the flow of the song once it gets to the solo. So, whatever I play will be heavily rooted in the pocket of the songs. Then the options for a solo are endless.

Where does the songwriter side of you end and the guitar player side of you begin? How do you merge those worlds?

They are in constant symbiosis. Where one ends, the other one takes over. Sometimes the song will be in service of the guitar lick, like on the song “Worked Up.” And there’s one where the guitar will be in the service of the song, like on “Soul’ution.”

The fun part is that you never know which one will take the lead and make the song. Many songs in my life I wrote around the guitar line or the bass line. Many songs I wrote without any music to begin with, or a simple iPhone memo with a groove of my feet hitting the pavement while I walk, or snapping fingers.

Photo courtesy of Ana Popovic

Did you discover any new approaches while making this record?

I love the way every song happens completely differently. That keeps it entertaining, fresh, and my job is never boring. I also purposely take new approaches to change it up and never get used to the same order of things.

For example, “Worked Up” started with the bass and guitar line, then we wrote the angry storyboard to mirror the guitar and bass lick. And “Sisters and Brothers” has tribal vocals and slide guitar. They are wonderfully flowing together, although so different. I don’t think they are used in this way in a song before.

Then there’s “50 Ways to Leave Your Lover.” It’s a classic, so how do you carefully alter a classic and make it your own? I added a guitar lick and made the chorus sort of a gospel/soul piece, while keeping the original flair.

I gave myself a lot of time and enjoyed the process of working on the solos. Although some solos were recorded in one take, others had a history of being replayed and refined to achieve a better version. But most of them happened organically and were not tampered with.

What gear did you use to create some of these tones?

So, you’ll find in my pedal boards everything from the all-original Tube Screamers, original Boss DS-1 distortions, choruses, MXR distortions and delays, either Dunlop wah-wahs or Vox’s, OCD overdrives, and lots of handmade stuff on the record, too.

It always changes and evolves. Everything I don’t use goes to my dad, Milton, who has a lot of fun—and time—making great gear and playing as a hobby. Sometimes, I’ll get back to the pedals I send to him to use and then reuse them years later.

As for amps and guitars, I use anything from Mesa Boogie Mark V, Fender Bassman, Fender Bandmaster, and Fender Super Reverb. Marshall amps. And of course, my brand-new guitar, the “Foggy” Stratocaster, sounded great in the studio. It was designed by me and the Fender Custom Shop in California.

What are you most thankful for when you look back, and what excites you as you move forward?

I actually had to take a moment for this! I am thankful to my father for introducing me to the guitar and to blues music. I am thankful that I can share my passion with the people who bought the tickets and have big smiles on their faces.

I am thankful for my band for sharing that experience, in that particular moment in time, when we are free to be whoever we want to be, and free from judgment, free to deliver our true selves. I am thankful I can have a good life doing what I do, as I realize there are many out there who really wanted to become musicians but couldn’t.

And I am thankful for my motherhood. I have two wonderful children at home, and I have time for them. I am enjoying our time together tremendously, especially their involvement in music and art, as they shape up to be these wonderful human beings with talent and drive. And I can’t wait to see where it’s going to take them. It’s just wonderful to watch.