Little Talk with Franck Roger

Across decades of deep house evolution, Franck Roger has remained one of the genre’s most consistent architects – a producer whose sound is instantly recognisable yet never static. With a legacy rooted in MPC grit, soulful swing and an unshakeable devotion to craft, he continues to shape the scene while refusing to chase trends.
For his new collaboration with Rona Ray, ‘Everything You Are,’ Franck opens up about authenticity, hardware obsession, global touring, and the emotional DNA behind his music. What follows is a conversation with an artist who lives and breathes his craft – every day, every night, without compromise.
 

 
WWD: You’ve spoken about the surreal feeling of being recognised by the very artists who inspired you at the start. How has that full-circle moment shaped the way you create today?
 
It shaped me in a good way… I think that I’ve been very lucky to start being a DJ in ’93, let’s say that. It was a wonderful era and I grew up with the US sounds. Back in the days only France, USA, UK and a bit of Germany were doing deep house music. It wasn’t made worldwide!! So the choice was already done for me. It was NYC, Chicago and D3… my influences finally! And I think that’s what we still hear in my music in 2026 and forever, but in a modern way.
 
WWD: You’re known for being a devoted crate digger and a “beats and loops” craftsman. What does a typical day in your Paris studio look like now?
 
My typical day starts around 11. Then I try to do some sports and go straight in the studio till the night comes. Then I take a lil break with my family and spend some time with them. Then go back the whole night till 5–6 in the morning. I mostly work every day — it’s more than a passion, it’s a lifestyle to be a producer.
 
WWD: You’ve said you’re taking things to “another level” as a beat maker. What does that next level mean for you creatively?
 
Trying things, passing some machines, drums, stabs and synths on some external effects and filters. To me, having hardware stuff gives you a taste and a blend from the different eras where your sound will go through. I use stuff from the ’80s in the studio and brand new stuff as well, so it’s that mix of eras and brands that gives my paste. I never use a dry sound. For example, a sample from my sampler or drum will be processed through external stuff which gives them a new colour, and the combination between all those audio treatments is never-ending finally. It’s an artisan’s work. I don’t use my computer to shape the sound — the computer is just here to record MIDI files, but I always use audio as I bounce everything I do, all the things that have been processed. That gives me the sound that I really want. And it’s a faster and very creative process!
 
WWD: Rona Ray is having a huge moment globally. What drew you to her voice and writing style for this project?
We’ve been working on more than eleven songs now since the last two years, which is quite a lot. I really like the way she works on her own. I send her my instrumentals made for her with verse and chorus moments on the demo, and usually we always go straight to the point. She records everything at home and then I edit and mix the whole vocal, so we are a great team of producer and writer. On top of that she’s got that amazing R’n’B voice which I was searching for a moment.
 
WWD: ‘Everything You Are’ feels warm, hypnotic and deeply human. What emotion or story were you trying to capture in the production?
 
That’s a question for Rona as she wrote the lyrics
 
WWD: The record feels both timeless and modern. How do you approach that balance without losing authenticity?
 
It’s a question of musical background and influences. I grew up with what we called Garage music in the ’90s and I grew up with New Jack music, US RNB, so we try to make it RNB in a faster way with the same kind of composition that you find in the disco music from NYC. So it all makes sense — I’m not travelling too far when it comes to songs. They have to be emotional and sad if possible etc. Only the sad songs stay for me with time. And yes, I always try to be closer to what my influences are, and that’s great if it sounds forward-thinking
 
WWD: The EP includes a stripped-back instrumental. What do you hear differently in the track when the vocal steps aside?
 
Nothin’ else — we bounced the same version so nothing new… just instrumental!!
 
WWD: You’ve released with Vibe Me To The Moon before. What keeps bringing you back to this label and its vision.
 
Well, we have created a good relationship with Kev & Greg so far, and they are open-minded and are really fans of my musical vision, so it’s a great partnership artistically.
 
WWD: The label is rooted in swung drums, lush pads, soulful vocals and real musicality. How does that align with your own production philosophy?
 
It’s all about understanding the needs of labels here, trying to match their artistic direction without compromise once again.
 
WWD: Your drums always swing. What’s your philosophy on groove, and where does that instinct come from?
 
I’ve always been working with samplers since my young age. The first one was an S2000 from Akai but very limited. Then I had my first 2000, then the XL one, then a 3000 which was another world in terms of sound, then I had the 2500 and today I’m working on the new ones which are the MPC Live models. But I might go back to the 2500 soon just for fun because it’s very simple to use and intuitive. Each one has its own groove and sound. I come from that school, so using samples and real sound all together in an MPC makes you do things that instantly groove if you’ve got a bit of sense of swing and groove as we call it.
 
WWD: You’re constantly touring. How does travelling the world influence the way you produce once you’re back in the studio?
 
It’s beautiful ’cause I love doing shows, travelling etc., but there’s something I miss every day which is producing in my studio. I can’t work with a laptop as I will feel very limited, so let’s say that travelling is also taking a break or forced holidays for a moment. But I’m always happy to be back in the crib with tons of inspiration and records bought in every record shop — that is the good part of DJing for me.
 
WWD: Through Real Tone Records, you’ve helped shape new voices in house. What do you look for in emerging artists today?
 
Toby Simpson is not an emerging artist, but I like his sound, so we made some great releases on RTR so far.
 
WWD: Vibe Me To The Moon champions “authentic, fad-free” house. What does authenticity mean to you in 2026?
 
More than anytime we need that authenticity. This world is based on trust and authentic people — we don’t wanna lose that. We do a very underground niche of music if we look at it, so why not be 200% authentic. That’s the luxury of being independent and free from the majors.
 
WWD: You’re considered part of French house royalty. How do you feel about that label, and what responsibility comes with it?
 
Thanks for the compliment My labels reflect of course my influences, and the artists who sign on have to be close to my sound musically ’cause I’m really trying to keep a colour on my labels which I think reflects who I am, what I’m going to play in a club. It’s my heritage to my son.
 
WWD: You’re described as “the DJ you want to dance to.” What do you think creates that connection between you and the crowd?
 
No hype again — being simple and humble behind the desk and being the purest form of yourself with no compromise. How will people understand you truly and musically if you’re not yourself?
 
WWD: With the genre evolving again, where do you see deep and soulful house heading next?
 
AI is coming into the soulful industry. But this music has not pretty much changed since early 2000. Same sound with different vocalists, but the AI is already taking the place of singers in some songs that I can hear, so that is something to talk about and that will change many things for songwriters and singers. ’Cause this thing is bad-quality sounding for me now, but in a few it will be perfect and stable… to be continued.
 
WWD: After decades of global respect, what does success look like for you today?
 
Being able to live with my music productions is a blessing for me these days. Doing this every day and making a living is paradise to me. I don’t look for success — no up and down, no hype etc. I just do what I really wanna do, and I really thank the supporters for giving me the freedom to be a free artist with no manager or anybody telling me what to do. That is success for me… to be FREE. And I know some of the big-head producers and DJs are not free. I prefer my life. Money & fame will not make you happy!!
 
WWD: What do you hope people feel when they hear ‘Everything You Are’ on a dancefloor?
 
That they are having a great time and peaceful moment, as a soulful house is made for it. It’s a message of peace and harmony that brings us together… like the disco used to be!
 
WWD: You’re “never not working.” What’s the next chapter for Franck Roger?
 
Not sleeping hahaha..
 
WWD: Sleep is for the weak, anyway! Thanks for the chat
 
‘Everything You Are’ is available here 
 
The post Little Talk with Franck Roger appeared first on When We Dip.