Anna Duboc Comes of Age in Full Color on Debut EP, 'Once in a Blue Moon'

Photo by Ben Cope

At 20 years old, Anna Duboc is standing in that strange space between who you were and who you are becoming. On her debut EP, Once in a Blue Moon, the indie-pop artist turns that uncertainty into seven tracks exploring heartbreak, attraction, complicated relationships, self-discovery, and the uncomfortable reality of growing up.

Co-written and co-produced by Anna Duboc, Once in a Blue Moon is less interested in settling into one signature sound than showing just how wide her musical instincts already run. Across the project, Anna Duboc moves between polished indie pop, guitar-heavy pop-rock, cinematic balladry, and darker atmospheric production without losing the emotional thread holding everything together.

“Give Me the Night” opens with a relaxed groove, jangling guitars, and an immediately accessible chorus, transforming the deterioration of a relationship into something unexpectedly carefree. “Toxin” pushes further into pop-rock territory, pairing romantic confusion with muscular guitars, layered harmonies, and an infectious energy that contrasts its introspective core.

“Object of Affection” is among the record's heavier moments, exploring the emotional toll of trying to support someone struggling with addiction while recognizing the relationship itself has become destructive. “Willing To Give” similarly builds from intimate piano into an explosive guitar-driven payoff.

Then “Boy Next Door” switches gears completely. Bright guitars, playful vocals, and a hook-heavy chorus introduce a more mischievous side of Anna Duboc, while “Roadkill” pulls everything inward again. Built around descending piano and gradually expanding production, the latter confronts turning 20, uncertainty, wasted potential, and the fear that life might be moving faster than you are.

The title track closes the project without forcing a neat resolution. “Once in a Blue Moon” leans into hypnotic rhythms, atmospheric textures, and richly layered vocals, leaving Anna Duboc somewhere between holding on and moving forward.

There is serious musical weight behind the project, with contributions from musicians including Rhonda Smith, Vinnie Colaiuta, Gary Novak, Tom Crouch, and Vixen. Anna Duboc also takes an active role behind the scenes, handling her own background vocals, including recording and arranging them.

But Once in a Blue Moon ultimately works because it still feels unmistakably like Anna Duboc. Instead of presenting adulthood as some grand arrival, she captures it as it actually feels: messy, contradictory, exciting, painful, and unfinished.

You co-wrote and co-produced Once in a Blue Moon. How did taking more control behind the scenes change the way you approached this EP compared to your earlier music?

I’ve always had control over my music, and whenever I go into a session, the producer and I establish what my vision is for the song. I’d say with this one I actually allowed myself to try new things based on suggestions from my co-creators, which expanded the way I approach writing and producing. 

This project captures the transition from high school into college and adulthood. Which song feels most connected to the person you are becoming right now, and why?

I feel like I’m coming out of a season of “Roadkill” and going into a “Once in a Blue Moon” era. I’m very reflective of my past, but ready to move forward and bloom, even if that means I have to leave some things behind.

“Roadkill” steps outside of relationships to explore turning 20, uncertainty, and the fear of falling behind. What made you want to confront those feelings so directly?

When I was younger, there was this expectation that, especially in the entertainment industry, you have to “make it” before you’re too old (whatever that means). The feeling of a time bomb starting to tick down about 2 months before I turned 20 sent me into a panic, thinking, “Would everything I’ve worked for and dedicated my life to fall apart because I haven’t sold out stadiums by the time I’m 20?” The only way I could remind myself I still have so much life ahead of me and time to reach my goals was by writing a banger song, honestly. 

“Object of Affection” deals with loving someone while recognizing that the relationship has become destructive. How did you balance telling such a heavy story without losing the musicality of the song?

When writing Object of Affection, I wanted to make sure the lyrics informed the musicality, ensuring I presented this heavy topic in a way that was gentle enough to focus on the message I am conveying while feeling it in your bones. There are places in every song where space is needed in the instrumental for the vocal/lyrics to be the focal point, and other spots where it's more important for an audience to feel the song to interpret as their own. In Object, the lyrics get the spotlight, but for the bridge I wanted to marry what the audience heard/felt from the lyrics with the heaviness of the instrumental so you can actually feel this person's mind race as they’re coming to terms with the fact they need to leave this relationship. It was important to play with the absence of instruments for this one as well. 

The EP moves from pop-rock and playful hooks to piano-driven introspection and darker production. Did making Once in a Blue Moon change your idea of what an “Anna Duboc song” can sound like?

Yes, it did! Creating this EP helped me hone what my sound really is, identifying what elements I most like to sprinkle in as I wrote more and developed more of my artistry. For this EP, I allowed myself to be freer with the lyricism and have a more “upbeat pop” sound that I’ve been scared to touch. I still have my grounded lyrics and harmonic layers, etc., but I let myself have a little more fun this time.