Hidden amidst the dense wall of sound, Popovic’s powerful voice sounded thinner and less emotive than on recordings. However, the balance between the vocals and the instruments was not optimal. The musical dialogue between band members felt effortlessly fluent, especially for the bassist and keyboardist who regularly exchanged grins and bopped along in sync. Yet, her movements were often understated, and she rarely spoke between songs or interacted with the audience, instead letting the music speak for itself.Īna Popovic and band (Izzy Fincher/CU Independent)ĭuring the set, the songs flowed together, creating a continuous groove.
With bleach blonde hair, a scarlet hat, a spaghetti strap tank and pink stilettos, she cut a striking figure. Popovic’s stage presence is quietly magnetic. She has performed on six all-star Experience Hendrix tours, initially as the only female guitarist. Since then, over the past 20 years, she has released twelve albums and two DVDs to critical acclaim, receiving the prestigious French award “Jazz a Juan-Revelation” and seven Blues Awards nominations. Then, a few years later, she launched her solo career while studying jazz guitar in the Netherlands. In 1995, while studying graphic design in college, she founded the blues band Hush. Popovic, born in Serbia in the 1970s, began playing blues guitar as a teenager. The set, which mostly came from her live album “Live for Live,” recorded during the 2019 Festival de Guitares d’Issoudun in France, showcased her versatility and virtuosity as a guitarist from her signature blues-rock shredding to funky soulful grooves to laid-back jazzy blues. 5, she held the audience spellbound with her talent and charm, as they sat at elegant wooden tables beneath shimmering chandeliers, sipping pricey wine and nodding gently along to the beat. Yet, no matter the speed, she appears calm, almost meditative, immersed in the musical flow.Īt the Dickens Opera House in Longmont on Friday, Nov.
On her candy apple red Fender Stratocaster, she executes intricate passages with ease, her fingers flying across the fretboard, her pick a blur. Get it now and feel the love.Ana Popovic performs at the Dickens Opera House in Longmont (Izzy Fincher/CU Independent)īlues guitarist and singer Ana Popovic can shred - no doubt. This is an album that drips with reverence for the past and bursts with passion for the future of rock ’n’ roll.
#BLUES SHREDDING SKIN#
Amphibious Skin and New Machine pack an angular post-punk punch, while Sentimental Crap takes a booze and blues-stained axe to misconceived nostalgia. Songs like Forces at Work, Don’t Bother Me, She’s Repatriated and Blindsided would be at home in the booze stained venues and shagpile carpet sharehouses of Australian inner-city music scenes of yore. The new album is McCann’s first new release since he co-produced the acclaimed tribute to his old mate Jones, All The Way With SPJ, which included Chris Bailey of The Saints, Kid Congo, Adalita, Violent Femmes, Alejandro Escovedo, Jim Moginie of Midnight Oil, The Drones, Hoss and more. Younger produced plenty of great Australian rock record in the ’80s and ’90s ( Died Pretty, Hard-Ons, Lime Spiders, Celibate Rifles, Hoodoo Gurus, etc.) and more recently Civic’s Taken By Force. James’ new album - his first under the new JJ McCann Transmission moniker - was produced by Rob Younger of Radio Birdman and The New Christs. He has a long history in Australian rock circles (in Perth, Sydney and Melbourne, and including early lineups of The Drones and Nunchukka Superfly), and has had a bunch of releases out in France and Spain. Jones - from McCann’s new album Hit With Love. T HE EDITED PRESS RELEASE: “If you’re going play in a band, you’ve got to piss on demand.” So sings James McCann on Piss on Demand, a shredding punk track - co-written with the late Spencer P.
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