Anna Dantchev and the power of musical heritage

What is it like to grow up between the distinct worlds of Finland and Bulgaria, and how does this experience shape one’s creative approach to music? We have the pleasure of speaking with Anna Dantchev, a singer-songwriter known for her distinctive fusion of Bulgarian musical heritage and contemporary sounds. With over two decades in the industry, Anna has enchanted audiences in Finland and beyond with her emotive performances and innovative soundscapes.

In this interview, Anna opens up about her creative process, the emotional depth of her music, and the challenges and joys of blending different musical traditions. She reflects on her Bulgarian roots, the significance of her grandmother’s influence, and her journey of self-discovery through music. Step into the intriguing world of Anna and her band, DANTCHEV: DOMAIN, to explore the heart and soul behind her evocative music.

How do you navigate the influence of Bulgarian singing traditions in your own musical style?

I grew up with the Bulgarian singing tradition and musical heritage at home with my dad, but in Finland. My father is a musician, and he came to Finland in the sixties because of music. He was playing with a Bulgarian band all over Europe, and then they had a gig in Finland and met my mom.

True love story!

Yes and the rest is history as they say.

photo: Maarit Kytöharju

What instrument does he play?

He plays double bass, keyboards, and he sings too. So what I’ve really got from him is the singing. He has been singing ever since he was a child. And he learned songs from his mother and especially from his mother’s mother. So my “prababa” (great grandmother).

This Bulgarian musical heritage is really important to me and I don’t deny it. Sometimes I teach Bulgarian singing in Finland for Finnish people. I also used to sing more traditional Bulgarian songs to the audience. But, like, 5 or 6 years ago, I had this, not really a crisis, but there was something missing, you know, as a creative person. Then I realized and said to myself, “Okay, Anna. Now you have all the tools, knowledge, and experience. Just find the courage and do your own music.” So, I started this band, DANTCHEV:DOMAIN. It takes time to somehow explain myself and my music because I have this traditional background. But in the end I’m a singer-songwriter, and what I feel, see, and hear, everything is material for a new story. Then I use the musical toolbox I have to pick my tool. For this song, I need this ornament. For this song, I need this groovy rhythm.

You emphasized the importance of emotions in your work. How do you ensure that your music reflects this emotional depth?

I believe that once you are okay with your own emotions, then you are balanced. But many people in this world are not there yet.  And for me, every emotion is important. Ever since I was a child, I could start crying very easily. It was kind of strange to me and the people around me who thought that there was something wrong with me. But later I found out that my great-grandmother was a lamenter in Etropole (city in Bulgaria), so when there was a funeral, she was crying for the funeral people.


photo: Sami Mannerheimo

Sounds almost like a cosmic connection.

Kind of. My Bulgarian grandmother told me about that. She was very important to me and I’ve always had this, like, a long-distance relationship with her, because I couldn’t see her every day, obviously. But I called her and visited her as many times as I could. So when she passed away, I was in Finland, and I couldn’t go to her funeral. I have kids myself, and they were quite small then. I remember hearing my grandmother’s voice in my head saying, “Why come here, stay there with your kids.”

And then I started to cry and sing. That was my first experience of lamenting. My grandmother used to tell me “Anna, you should learn songs from Ethropole because that’s your place. That’s where you’re actually from. You’re in the woods.” So after my grandmother died, I actually started this kind of search for my roots. I was studying in Sibelius Academy in Helsinki back then and for my artistic final exam I wanted to create something new connected to my Bulgarian lamenting roots. After that journey of searching, I think that I have been really balanced with my emotions and not being scared of being sad and instead using them as a tool for creativity and then also connecting with the audience.


photo: Maarit Kytöharju

When you create your music, what comes first, the melody or the words?

It depends. I have my phone, and wherever I am, if something comes to my mind, like some phrase or some melody line, then I record it or write it down immediately. And then, when I have time, like when I can actually sit down with my piano at home, then I start searching my catalog of ideas. And then, again, I get inspired. “Okay. That was a nice thing. Let’s continue with this motif” and so on.

For every artist, it’s crucial to be surrounded with the right musicians. What personal considerations drove your decisions when seeking out the ideal musicians to join your band?

The starting point was actually the sound. The original idea of the sound for DANTCHEV: DOMAIN was my voice with a trombone, baritone guitar and drum set – that’s the core. I’ve been around in the music business in Finland as a musician myself for a couple of decades already, so I know people. So I just started to search and think, like, who I know and with whom I connect on a human level. The trombone player, Erno, I know from many years back already. And, the drummer and the guitarist, they were basically recommended to me. And then, obviously, I had to see that these personalities work together as a group – it was kind of a slow process. 

photo: Sami Mannerheimo

Returning to the topic of emotion, is there a specific feeling or atmosphere you aim for your audience to experience after attending your concerts or listening to your music?

At one concert, a colleague of mine (who’s also a singer) attended, so she’s emotional from the start, naturally. Nonetheless, she shared with me that she was crying. Whenever I receive such feedback from the audience, I realize I’ve succeeded because it means my music has moved something within them. I don’t anticipate tears every time, but if they leave my concert feeling transported to another place, then I’m happy.

The new album is on its way. What do you aim to convey through your music this time around?

I have a lot of ideas and it takes a little bit of time to distill them, to find the essence. And, I don’t want to say anything yet. It’s really in the beginning stage. But, yeah, the sound is probably going to be similar to what you heard on the stage. I’m thinking about whether to use the tuba or not. Because now I have realized that it’s really difficult to travel with this instrument. So why would I compose for tuba if I can’t perform with it outside of Finland? These are practical parts of the business and they’re also important.


photo: Tamara Aalto

Have you explored the idea of collaborating with Bulgarian musicians for a project based in Bulgaria?

I have thought about it. I would love to do it. Maybe I have been kind of shy. Because Bulgaria has such amazing musicians and talent and richness and everything. So it’s like, what more can I bring?

Last question. Which do you prefer, watermelon or melon?

Can I say both?

Yeah. Of course.

In that case, I want to have them both. (laughs)

Interview: Sofia Hussein for Dinya
Cover photo: Maarit Kytöharju

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