Photo: Geese Da Goon

Geese Da Goon Discusses SNAP CITY EP in Exclusive Interview

With the release of SNAP CITY EP, Washington, D.C. artist Geese Da Goon delivers more than just a collection of songs—he presents a living snapshot of a culture that has shaped generations. Rooted in the energy, creativity, and community of D.C.’s legendary roller skating scene, the four-track project captures the sounds, stories, and spirit that continue to define the movement. Combining elements of hip-hop, dance music, and regional influences, SNAP CITY EP serves as both a celebration of the present and a preservation of history for future generations.

In this exclusive interview, Geese Da Goon discusses the inspiration behind documenting D.C.’s skating culture, the relationship between music and movement, the importance of DJs within the community, and how SNAP CITY EP became a heartfelt tribute to the people who keep the culture alive.

SNAP CITY EP feels like more than a music release. It feels like a tribute to a community. What inspired you to document Washington, D.C.’s roller skating culture through this project?

If we don’t tell our own story, somebody else will tell it and get the details wrong.

And I take that personally. 😂

D.C. skating has its own history, its own style, its own language, and its own way of doing things. I wanted to capture some of that in the music while the people who built and continue to build the culture are still here to recognise it.

Years from now, somebody might ask what Snap City felt like.

Well, press play.

You describe the EP as being built specifically for the skating floor. How does your creative process differ when making music for skaters compared to making music for general listeners?

Most songs ask, “How does this sound?”

Skate music asks, “What happens when this hits the floor?”

When I’m making skate music, I’m thinking about movement. How people react. When they speed up. When they slow down. When they hit that move they’ve been waiting all night to do.

The floor becomes part of the songwriting process.

The relationship between skaters, DJs, and music is central to the project. Why do you think that connection is so important to the identity of the Snap City movement?

DJs are basically the Supreme Court of the skate scene. 😂

Think about it. You can spend weeks making a record. Writing it. Producing it. Mixing it. Mastering it.

Then somebody listens to twenty seconds of it and decides whether it gets played. 😂

That’s a level of confidence I aspire to have in other areas of my life.

The reality is that DJs introduce records to the culture. A lot of skaters hear songs for the first time through a DJ. They’re part of the reason certain records become part of the soundtrack of a generation of skaters.

Many people outside of Washington, D.C. may not be familiar with the city’s roller skating traditions. What do you hope first-time listeners learn or feel when they hear SNAP CITY EP?

I hope they realise we’re not just skating in circles.

Well… technically we are. 😂

But there’s a whole culture attached to it. History. Style. Community. Creativity. Competition.

I want people to hear the music and understand there’s something deeper happening here than what they see on the surface.

Tracks like “Let’s Ride” and “Rolla México” capture a strong sense of movement and energy. How do you translate the feeling of being on the skate floor into a song?

I spend a lot of time watching how people react to music.

Skaters will tell you the truth before they say a word.

If the floor fills up, that’s feedback.

If the floor clears out, that’s feedback too. 😂

I pay attention to movement, energy, timing, and how people connect with certain records, then I try to build that feeling into the music.

“Rolla México” was featured during a skating event in Mexico. What did it mean to see music inspired by D.C.’s skate culture connecting with audiences beyond the United States?

I ain’t gonna lie, that surprised me.

My little brother, DJ Prodigy, was heading to Rolla México, so I sent him alternate versions of “Let Me Take Y’all to Snap City,” including a Spanish version and a Spanish-English version.

Then people actually started skating to it.

That’s when I realised Snap City might need a passport. 😂

The crazy part is they don’t know half the places I’m talking about, but they understood the energy immediately. That’s when I realised skating culture speaks a language bigger than geography.

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You mentioned that some people thought you had left the skate scene. How has your time away influenced both your perspective and the music you created for this release?

People thought I left the skate scene? I guess so. 😂

The funny part is while people were wondering where I went, I was focused on my music.

ALL OF MY MUSIC. 😉

I was building. Learning. Experimenting. Releasing records. Growing as an artist.

So if somebody didn’t see me at every session, I can understand why they might’ve thought I disappeared. But I wasn’t gone. I was working.

Honestly, that time helped me appreciate the culture even more. When you’re away from something for a while, you start seeing it differently. You remember what made you fall in love with it in the first place.

That’s a big reason SNAP CITY EP happened.

Besides, if people thought I left, I figured dropping a whole skate EP was a pretty good way to let them know what I was up to. 😂

SNAP CITY EP blends elements of hip-hop, dance music, and regional sounds while maintaining its own identity. How did you strike that balance between honouring tradition and creating something unique?

I wasn’t trying to reinvent the wheel.

We already skate on those. 😂

I wasn’t chasing trends either. I started with the culture and built outward from there.

The goal wasn’t to fit into a genre.

The goal was to make something that sounded like Snap City.

Throughout your career, you’ve used music to tell stories about community, competition, and personal growth. Which of those themes feels most important on this EP, and why?

Competition is fun.

Everybody says they don’t care about competition right up until somebody passes them. 😂

But community is the reason any of this exists.

Without the skaters, DJs, session organisers, and people who keep the culture alive, these songs don’t happen.

This project is really a thank-you letter disguised as a skate soundtrack.

As both an artist and someone deeply connected to the skating community, what do you hope the legacy of SNAP CITY EP will be for future generations of skaters and musicians?

I hope somebody hears this ten or twenty years from now and says, “Yep, that’s what it felt like.”

Not what somebody remembered.

Not what somebody wrote down.

What it actually felt like.

Culture changes. It’s supposed to.

But it’s nice to leave a timestamp behind.

https://www.facebook.com/share/18p12MnDAa/?mibextid=wwXIfr
https://geesedagoon.bandcamp.com/
https://youtube.com/channel/UC2cqqpgjL9gS6rXkuSJYvCg?si=ZiIIuzq8QCls2h8K

FVMusicBlog June 2026

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