Name: João Barbosa aka Branko
Nationality: Portuguese
Occupation: Producer, composer, DJ
Current Release: Branko's remix album Soma ∞ is out via Enchufada.
Current events: Branko will tour, performing live at the following venues. For tickets go here.

28 NOV Coliseu, Lisboa, PT
30 NOV Gretchen, Berlin, DE
13 DEC Rust, Copenhagen, DK
14 DEC Jazzklubben Nefertiti, Gothenburg, SE

Recommendations: Two books I read recently and loved are Go Ahead in the Rain by Hanif Abdurraqib and Chega de Saudade by Ruy Castro.

If you enjoyed this Branko interview and would like to know more about his work and music, visit his official homepage. He is also on Instagram, Facebook, twitter, and Soundcloud.

For the thoughts of one of his collaborators, read our Ana Moura interview.



What was the first time you were consciously impressed by technology – in and outside of music?

In 1985, Portuguese TV channel RTP aired the 3D movie Creature from the Black Lagoon. I was five years old, and I remember how everyone was captivated, rushing to buy 3D glasses just to watch it.

The experience itself was underwhelming (the movie was from 1954, so it felt out of place even back then), but I was fascinated by how technology and entertainment created such a memorable, shared experience for everyone.

Tell me about one or two of your early pieces that you're still proud of (or satisfied with) in terms of production – and why you're content with them.

I’m generally proud of the music I work on and don’t have many regrets. If I had to choose, though, I'd highlight Buraka Som Sistema - “Yah”.



It was the first time I fully embraced the concept of “less is more”—just four or five strong elements and a vocal that brought it all together. As a group, it felt like we had finally unlocked our sound, and that was special.

Later, “Reserva Pra Dois” featuring Mayra Andrade did the same for me as a solo artist: minimal elements paired with Mayra’s magnetic vocal and a synth lead derived from vocal textures. That simplicity allowed each element to shine.



When it comes to arranging, sound design, performing, composing, etc. – what are currently concrete topics and aspects that interest you and where you want to improve or simply challenge yourself?

I’m constantly experimenting with combinations of plugins and sounds to create something truly unique—textures that don’t immediately sound like any specific instrument.

My goal with each song is to have a signature “producer element,” a lead sound that engages the listener directly. It’s my version of a guitar solo.

Do you keep up with recent developments in terms of gear and software? If not, why not? If so, what are you looking for?

I don’t have a strict “yes” or “no” answer. It really depends on what stage I’m at in a project.

I’m not focused on chasing the latest tools or trends; I don’t believe that’s essential for creating great music. However, before starting each new project, I set aside time to update my software and research new plugins or hardware that could add a fresh angle to my sound.

For me, it’s all about discovering new textures and unlocking creative possibilities.

How and for what reasons has your music set-up evolved over the years, and what are currently some of the most important pieces of gear and software for you?

My setup has stayed consistent for the past decade or so. My primary station is a small production studio in Lisbon, with a computer, key software, and some outboard gear. Since I travel often, I also produce a lot on a laptop and rent studio space when necessary.

Some of my favorite gear and software includes:

Empirical Labs EL8 X Distressor
TC Electronics M-One XL
Oeksound Spiff
Soundtoys Little AlterBoy

Jean-Michel Jarre maintained that, despite the advances in virtual technology, we are still "analogue animals made out of blood and bones who need buttons and knobs to touch.” In how far is this statement true or false for your own music?

I agree, especially regarding performance—I need that physical connection, using my hands and body to feel the rhythm.

But in the studio, I’m more than happy to lose myself for hours in front of a computer, tweaking and adjusting as though I’m the only person on the planet.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that?

I completely agree. The endless potential for sound and texture in digital music creation is what excites me most. I can’t imagine limiting myself to one instrument.

When I find a unique sound, like the intro on “Hear From You” from my 2019 album Nosso …



… or the semi-horn drop on “Found My Way” from Soma, I know I’ve cracked the code for that track.



From the earliest sketches to the finished piece, tell me about the production process for your current release, please.

I like to have a vision in mind before I start creating. For Soma, I began with a three-day jam session in Lisbon with some of my favorite musicians, people who truly represent the city’s musical identity—João Gomes, Iúri Oliveira, Danilo Lopes, Jessica Pina, and others.

After hours of improvised music, I took everything back to the studio to translate these raw, freeform ideas into songs, cutting samples, editing takes, and adding whatever was missing. From there, I envisioned vocalists for each track, setting up sessions and traveling for collaborations.

Once the album’s shape became clear, I returned to my studio in Lisbon to finish it off.

What were some of your most positive collaboration experiences? How did this "human element" enhance your solo approach? Did you record via filesharing or in the same room, and if so, what did the recording process look like?

For me, collaboration is essential; there’s no Branko without it.

With Soma, the jam sessions I organized were an attempt to revive that communal spirit that used to fill Lisbon, where musicians, producers, and vocalists would meet in the same places and make music without needing emails or DMs.

I believe music is meant to be a social experience, so I work in the same room as much as possible with my collaborators.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations, and possible concrete plans in this regard?

So far, I haven’t found a way to integrate AI into my creative process meaningfully. Right now, I use it more to save time and streamline logistics, so I have more time to focus on the music itself.

I’d rather have AI handle the admin side than touch my songs.

What is a production-related question that you would like to ask yourself – and what's your answer to it?

Good question! I’ve always dreamed of doing an in-depth production interview, with photos of my studio and setup, like the interviews in Future Music and Computer Music magazines. I used to pore over those articles, exploring every piece of gear.

Looking back, I realize that’s still something I’d enjoy doing.