Switching Stances: A Conversation with Switchdance on Roots, Rituals, and the Rhythms of Change

PUBLISHED July 4th, 2025 12:28 am

It’s no overstatement to say that Marco Antão, better known by his moniker Switchdance, embodies the spirit of sonic exploration. With a career spanning over two decades and dance floors all around the world pulsing under his influence, the Portuguese-Goan DJ and producer has carved a niche defined by hypnotic, cross-cultural storytelling through sound. But beyond the decks and production work, Antão’s journey is a mirror to the evolution of global underground music scenes, and how deeply personal identity shapes an artist’s voice.

We first encountered him on the shores of Singapore around 2018, where his genre-defying set turned heads at Upstairs (Headquarters). What struck us then was his ability to navigate between groove-heavy rhythms and obscure beats, drawing threads between continents. Since then, we’ve followed his musical trajectory through his long-standing residency at Lisbon’s legendary Lux Frágil, boundary-pushing appearances at Boom Festival, and even the unexpected detour into samosa-making during the pandemic, a tale as humorous as it is heartfelt.

Based in Oslo, Norway for the past couple of years (now soon to return to Lisbon), Marco opens up to City Nomads as we speak about the roots of his sonic palette, from his father’s vinyl collection to the influence of skateboarding culture; his views on the over-commercialisation of DJ culture; and why Boom Festival’s Gardens stage in 2023 marked a milestone in his artistic life.

What emerges is a portrait of an artist deeply attuned to the vibrations of place, memory, and community, a DJ whose work refuses to be boxed into easy categories. Whether channeling the psychedelic drones of Tangerine Dream or the raw physicality of New Wave, Switchdance dances between timelines, geographies, and energies with an ethos that is both rebellious and reflective.

Ahead of his return to Boom Festival this year, where he’ll be playing an extended set to open the Gardens stage, we caught up with Marco for a conversation that traverses music, migration, identity, and what it means to remain true to one’s stance in a scene that’s constantly shifting.

From Goa to Lisbon: On Heritage and the Sonic Archive

City Nomads (CN): Let’s begin with your roots. You’ve mentioned a mix of Portuguese and Goan heritage, has this cultural duality shaped your relationship with music?

Switchdance (SD): Definitely. My father’s side is from Goa, and he was the one who got me into music. Not electronic music at first, he played a lot of classical, some pop, and rock like Pink Floyd or Elvis on his stereo. But those early moments, playing vinyl as a child, made music feel physical, almost sacred.

CN: And when did electronic music enter the picture?

SD: Around 12. I got really into digging music online, Napster, AudioGalaxy, all of it. I’d rack up internet bills that got me grounded, but I couldn’t stop. That curiosity drove everything. I think that’s where the idea of “familiar past, alien future” comes in, drawing from cultural memories, but twisting them into something new.

Skateboarding, Switch Stance, and Sound Experiments

CN: Your DJ name, Switchdance, is a nod to your skateboarding past. Can you tell us more about that?

SD: Yeah, originally it was “SwitchSt(d)ance”, a bit of a wordplay. [In skateboarding, a “switch stance” refers to riding in the opposite of your natural stance, an apt metaphor for Marco’s musical approach.] But people couldn’t pronounce it. I dropped the parenthesis. Skateboarding was huge for me, not just as a sport, but as culture. It opened me up musically. I went from metal to goth, to hip-hop, punk, and eventually electronic. I used to participate a lot in national skate contests, and at night there were always parties. I started to DJ at those events too. Those gigs in small towns, in local bars, that’s where it all started.

Lisbon’s Sound: Eclecticism and Emotional Frequency

CN: Your sets at Boom Festival are famous for being dynamic and deeply curated. How do you prepare for such festivals?

SD: I prepare a wide palette, maybe 100 to 200 tracks, but sometimes only play 20 haha. It depends on the moment. At Boom 2023, for instance, I played the Gardens Stage, starting at 70 BPM. It was mind-energy, not body-energy. That was special. It let me build a slow journey, more psychedelic in a cerebral way.

CN: That hypnotic vibe is something you’re known for. How conscious is that approach?

SD: It’s intuitive. I don’t like being boxed into genres. During my 14 years at Lux Fragil, I played all kinds of rooms, time slots, and crowds. That flexibility taught me to read a space. I enjoy crafting a journey. Something unpredictable, something that reveals itself slowly.

“I believe music should be without rules, free from expectations or structure. The moment you let go of control is when magic happens.”

Amolador, Samosas & Sonic Memory

CN: Your track “Amolador” resonated with many. It captures a slice of Portuguese street life.

SD: That one took years. The sound of the knife-sharpener’s whistle, it’s part of Lisbon’s soundscape. I made several versions, tested them live, and wasn’t satisfied until I finally reworked it. When Innervisions released it, it really opened doors internationally.

CN: And during the pandemic, you famously pivoted from music to samosas?

SD: (laughs) Yeah! I was home, everything stopped. So I learned how to make samosas from my mother. I posted a photo as a joke on my instagram, “No gigs, just samosas now.” It went viral. I had to turn off notifications. Suddenly people wanted to buy them. It even got press coverage, tv talkshow invitations, it was becoming quite insane. Finally it became a real side hustle until music came back.

Clubbing vs Festivals: A Post-Pandemic Reflection

CN: How has the electronic music scene changed post-pandemic?

SD: It’s bigger, but more focused on image. DJs now are judged by their persona, not their music. Clubs are closing, and festivals are thriving through sponsorships and brand partnerships. That’s why Boom really stands out, it’s not about brands, it’s about experience. There’s still space for real journeys there.

CN: You’re playing the opening Gardens set at Boom 2025. What can people expect?

SD: I’m really looking forward to this gig and to playing a 5-hour b2b set with Vladimir Ivkovic, whom I really admire. It’s a long daytime slot, possibly around 40°C so I’ll need to adapt to the weather conditions haha. But I’m excited. It’s a special moment before the other stages open. The time when the portal opens. I want it to be gentle, deep, yet still immersive.

 

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Looking Ahead: Albums, Collaborations, and New Directions

CN: You’re based in Oslo now. Has that affected your sound?

SD: Yes. More studio time, more reflection. I’m currently working on three albums simultaneously. One is with Carlos Maria Trindade from Heróis do Mar and Madredeus, another with Vaague, a Belgian jazz drummer, from an artist residency I did a few months ago hosted by the MIL Festival. It’s a more organic project, with more live instrumentation

CN: Any final thoughts?

SD: I’ve always gone against the grain. That’s what Switchdance means, changing direction. I’m still figuring out where the next turn is, but that’s what keeps it exciting.

To experience his sonic alchemy firsthand, listen to Switchdance’s exclusive mix on our Mixcloud. For more genre-defying grooves and glimpses into his evolving journey, follow him on Instagram and SoundCloud.