A city can shape more than just a person, it can define the trajectory of an entire musical career. For Aiden Francis, Manchester did exactly that. After moving there in his early twenties, he immersed himself in the city’s underground queer scene, discovering the music, energy, and community that would help define his sound at parties like High Hoops and Kiss Me Again. From there Aiden hit his stride, honing in on a style and sound that blends tech, progressive house, trance, rolling tribal and general peak-time elation with a contemporary edge. With a a sharp understanding of club dynamics and releases on the likes of Duality Trax, Houseum, Flip The Lid, Tessellate, High Hoops, Body High and Neptune Discs, Aiden has amassed an impressive selection of tracks for DJs to line their sets with, all within just five years. Also on this five year anniversary, Aiden solidified his place as a resident at High Hoops this year, bringing years of devotion, exploration, and personal growth full-circle to a community that has shaped him both on and off the decks. Proof of absolutely shelling down a High Hoops White Hotel closing set here.
With a new EP titled Enoki out next month on Neptunes Discs that promises deep, heads-down gear built for the floor, we caught up with Aiden for a little chat about his foray into DJing, his formative move to Manchester, gaining more confidence in what he does, his approach to digging, and the act of self-discovery through community. His Truancy Volume, a full-on club mix that rocks through the likes of eoin dj, Bliss Inc, Peter Rauhofer, Aldonna, S.O.N.S and Body Clinic is top tier summer-festival fun. A proper sweat-slicked, high-energy affair of rolling club music.
How have you been the last couple months? What’s 2025 been like for you thus far? Any particular highlights? “Heyyy! Thanks for having me do this, the pleasure is all mine. The last couple of months have been reeeally fun. I’ve been to and played at some sick parties and met some lovely people along the way. It’s been my busiest year yet in terms of DJing and getting music out there. Some highlights have been starting my residency at my favourite party, High Hoops, here in Manchester. Closing out my favourite club, The White Hotel, in May and doing an extended b2b with Fastlove was an absolute dream. Additionally, playing CLUB RAUM has been a major highlight too! I’m also really excited to be releasing two EPs in the next few months via Neptune Discs and Constant Sound!”
Could you tell us a little bit about some of your earliest musical memories, not necessarily in dance music? “Ahhhh we’ll go way way way back here for some early music memories. I remember the first album I was ever given was when my parents got me The Cheeky Girls’ debut album PartyTime. As a 6-year-old, I was obsessed.”
How did you first get into electronic music and DJing? What were the initial influences? “Other than The Cheeky Girls, the first “lightbulb” moment came years later when I came across Daft Punk’s album ‘Discovery’ for the first time. That was life changing. But it was their Alive ’97 and 2007 albums that got me wanting to be a producer/DJ. Through them I discovered a whole new world of dance music—it’s been a fun journey!”
What sort of parties really helped cement the interest? How did moving to Manchester at 18 influence your musical journey? “The two main parties that spring to mind are High Hoops and Kiss Me Again in Manchester. These two parties have massively influenced me, and have provided me with very formative experiences over the years both behind the booth and on the dance-floor. I had been making music as a hobby and DJing occasionally since my teens, but I didn’t actually start going to underground dance music parties until I was around 20. Even then, I’d only go to a few things here and there, plus some festivals. I was still just dipping my toes in.
However, it wasn’t until 2018 that I started attending Manchester’s queer-centric parties at The White Hotel and Soup Kitchen, where High Hoops and Kiss Me Again host their events. That’s where I was exposed to music that truly reconnected me with the sounds I’d loved, listened to, and had been making myself. Attending these parties realigned me with not just the music I loved, but introduced me to a scene I never knew existed. Everything started to make sense—the community, the sound, the energy. It felt like coming home musically. Unfortunately, Kiss Me Again announced they will be stopping parties after this year which is a huge shame. Just want to shout them out here, and thank them for giving me my first club gig in Manchester, that was a pinnacle moment for me that I hold dear <3″
Can you tell us about becoming a resident DJ at High Hoops this year? “Yes! It has truly felt like a big full circle moment. Their parties have been massively influential for me. Getting to this point has been a case of natural progression, from being asked to play for them for the first time in 2022 to now, with many shows in between for both High Hoops and their Freak Queer Rave offshoot.
It’s been a great honour to be welcomed into the High Hoops family and have been given these opportunities over the years. An even better part is getting to know Marcos and Robbie (Fastlove) over the years—it’s been amazing. The fact they have also been running for 10 years stands testament to their passion and dedication to running the best parties. Here’s to many more!”
You mentioned in an interview that you only really started to see yourself as a valid artist from around 2021. Has that doubt disappeared in 2025? “I would say so yeah! I now feel waaaayyyyy more confident in what I do and put out into the world. Working in music, whether it be producing, DJing or a secret 3rd thing, is a continuous journey of learning and development that will always be with you no matter how far you get. And realising that has been fundamental in erasing negative thoughts about myself as an artist. Although, there is still a comfortable amount of doubt still there. Without that, you’ll never improve.”
From your early days on FL Studio, what aspects of music-making have remained essential? Any eureka moments? “Experimentation and making things off the cuff without rules has always been key. Eureka moments came from actually learning the tools you’re working with. I used to be so averse to learning things by the book, but in the last few years it’s been incredibly useful. Tutorials, online guides, and old online music message boards are your friend!!”
Do you have a routine when making music? Could you break down what went into your BODYHI06 release? “I do have a bit of a routine. I tend to make music in blocks, working intensively for weeks, then taking a break to let the tracks sit. This gives me fresh ears when I return. The Body High release actually came together over a longer period. The tracks weren’t originally made to be released together, but started as four separate demos that I eventually realised fit well together as a cohesive release.”
Can you tell us about your upcoming release ‘Idiom (Beat Around The Bush Mix)’ on Neptune Discs? “Really love how this track came about. There were two versions: one more driving, the other more dubby and laid back—which I preferred. I’ve got a solo EP coming out with Neptune Discs on 5th September, my first EP since mid-last year, so I’m feeling the buzz of releasing music again! And another EP with Constant Sound around October, which will be tech house centred.”
You released music this year under your Dingo Junction alias. Can you tell us about this? “The tracks on that release had been sitting on my laptop for a while. I wanted to try something new with Jungle instead of my usual four-to-the-floor style. I sent them to DJ Cosworth via Hardline, and Dr Dubplate picked them up for a split release with Sempra on his distro label. I’m a big fan of early Simpsons seasons, so using a Simpsons reference for the alias felt very fitting. I may return to jungle/breaks in the future.”
How important is community to you in dance music and DJing? “Community in this scene is incredibly important, especially during times when people’s rights and lives are at risk. Manchester’s underground queer parties, which I’ve been part of, are inherently political. Trans people are facing severe social and political violence. Community-centred parties provide vital safe spaces and are crucial for queer folks like me. While bigger raves have their place, small clubs and community parties are essential—they allow self-discovery, relief from the outside world, and a collective voice against fear and bigotry.”
Are there any DJ sets or nights that stand out as especially powerful or affirming for you? “Playing Macadam 2 years ago is a standout. I had a 4-hour slot and could traverse multiple shades of dance music I love. Another highlight was my closing set at The White Hotel in May this year—something I had been wanting to do for a while.”
How do you approach digging for records? “It’s not entirely predetermined. I usually have a genre or style in mind but stay open to hidden gems. Labels are a key guide, and Discogs is amazing for discovering artist aliases or collaborators. With physical records, I can instantly recall what something sounds like—something very exciting when DJing. Digital formats can be overwhelming with so many files.”
Any hobbies or interests outside electronic music? “Honestly, music is my main focus. I used to read a lot and got back into it last year, but it’s fallen off. I’ve returned to playing football, though injuries keep stopping me. Shows-wise, I just finished watching Buffy The Vampire Slayer for the first time—fell in love with it. Can’t believe I waited this long; my life feels a bit emptier now that I’ve finished it </3”
Your Truancy Volume mix, what was your approach, and any standout tracks? “I wanted to showcase music that’s been frequenting my sets and create a full-on club mix. Tech and progressive house are main elements, with rougher techno and tribal influences emerging. Standout moment: 53 minutes in, Peter Rauhofer & Celeda’s “Underground” into a beltering tribal house track. Mix starts with Joy Kitikonti & Hamsa’s ‘Tricks Of The Time’, features unreleased music from friends, Cristian Sarde, S.O.N.S, eoin dj, and ends beautifully with Bliss Inc.”
Looking ahead, what musical or geographical territories are you eager to explore? “I’m keen to get out to Asia soon. Festivals and clubs in Europe are also high on my list. New York is a dream destination—places like BASEMENT and Nowadays. I’ve experienced Nowadays a few years ago and want to go back. Haven’t been to BASEMENT yet, but it’s definitely on my radar.”
What recently put a big smile on your face, and when did you last have a proper dance? “I literally smile at anything, so hard to pinpoint. But remembering The Cheeky Girls’ debut album earlier in this interview did the trick. The last proper dance was at Glastonbury—so much dancing I messed up my back. Totally worth it <3”
Music featured in the mix by: eoin dj, Bliss Inc, Aiden Francis, Peter Rauhofer, Aldonna, S.O.N.S, Body Clinic, Cristian Sarde, Hipp-e & Tony, Robert Dietz, Pure Science, Hamsa, Joy Kitikonti, and more.
Aiden Francis: Soundcloud, Instagram, Bandcamp, Resident Advisor
You can download Truancy Volume 354: Aiden Francis in 320 kbps and view the full tracklist on Patreon here. Your support helps cover all our costs and allows Truants to continue running as a non-profit and ad-free platform. Members will receive exclusive access to mixes and tracklists. We urge you to support the future of independent music journalism—a little goes a long way. If you need any IDs though, please leave us a comment on the Soundcloud link and us or Aiden Francis will get back to you with the track :)
