Dimitri From Paris brings disco, boogie and house to the Joshua Brooks basement, forty years on from the bedroom edits that started it all.

He has always been explicit about what he does. He never set out to be a producer. He wanted to be a remixer, and he traces the whole approach back to editing records at home in the early 80s, frustrated that his favourites were never long enough and never had the break he wanted. The aim, as he has described it, is to build the remix that could have existed but did not, then carry that music to people who know it from the radio rather than the floor.

That method produced the reference versions of some of the most valuable catalogue in dance music. Le Chic Remix, released on Defected in 2018, handed him the original studio masters from roughly 1978 to 1980, and his reworks of Chic, Sister Sledge, Norma Jean Wright and Sheila and B. Devotion have been standard issue in disco sets ever since. Add the Salsoul re-edits and the Philadelphia International remixes and you have a body of work most selectors are playing whether they realise it or not.

His most significant recent record arrived in February 2026. The Nassau Excursion, released on Rush Hour, is the first studio collaboration between Dimitri and François Kevorkian, around thirty years after the two first met in the DJ booth at Tokyo's Spacelab Yellow. Three tracks built on the Caribbean post-disco sound of Island Records' Compass Point Studio in the Bahamas: weighty basslines, drum machine beats, early 80s synths and arrangements drenched in tape delay and space echo. Piccadilly Records reckoned it the best dubbed-out disco record in a decade.

The year has kept moving since. April brought a collaboration with Bellaire on the French producer's debut album Born Funky, and May a remix package for Space's Carry On, Turn Me On alongside DJ Deep. He also sits on the roster for Glitterbox's first season at Amnesia, running across the Ibiza summer.

Which is what makes this one worth attention. His Manchester history runs through rooms like Albert Hall and Victoria Baths, and most of his 2026 diary is terraces and festival stages. A basement set at this scale is a different proposition entirely.

Joshua Brooks suits this music better than a bigger room would. The basement sits under the bricked arches on Princess Street, low and close, with no sightline to anything except the booth and the floor. The Void Acoustics rig handles weight and detail in equal measure, which matters for a selector working with dub-heavy Compass Point material one minute and full string arrangements off the Chic masters the next. Both need a system that holds the low end without flattening everything above it.

See you at the front.

Description supplied by the event organiser.