In The Mids feels like a turning point sonically and creatively—what specifically shifted in your mindset or process compared to your earlier records?
I think the biggest shift was letting go of trying to control the outcome too much. Earlier records were maybe a bit more considered and structured, whereas with this one I leaned into instinct a lot more. It was about following ideas quickly and not overthinking whether they fit into a “Sola Rosa” box. That opened things up sonically and made the process feel a lot more honest.
You’ve spoken about embracing spontaneity and removing self-imposed boundaries—how did that actually play out in the studio day-to-day?
It meant working fast and committing to ideas early. I wasn’t sitting on loops for weeks or endlessly refining things — if something felt good, I’d push it forward straight away. A lot of the time that meant capturing first takes, rough vocals, or unexpected textures and just running with them. It also meant staying open to wherever a session naturally went, rather than trying to steer it toward a fixed idea.
The album leans heavily into collaboration as always, but with a different energy—what are you looking for in collaborators now that you weren’t 10 years ago?
These days it’s less about finding a perfect stylistic fit and more about energy and what can happen in the room on the day. I’m drawn to people who bring something unexpected or shift the direction in some way. Ten years ago I probably leaned toward collaborators who sat neatly within the Sola Rosa sound — now I’m more interested in that tension or contrast, or just taking more risks with a collaboration.
A lot of this record was shaped during a disruptive period in your life—did that instability unlock something creatively that a controlled environment couldn’t?
Not necessarily. The disruption was part of the backdrop, but creatively things really started to click once I found a bit more balance. That’s when the record properly came together.
There’s a noticeable balance between electronic textures and organic groove—how intentional was that tension when shaping the sound of this album?
It was definitely intentional, but not overly calculated. That balance has always been part of Sola Rosa in some form, but with this record I wanted to push both sides further — leaning more into electronic, textural elements while still keeping things warm and organic.
I was also DJing a lot more during that period, which probably had a big influence. I was listening to music through the lens of what would move a crowd, and that naturally fed into how I approached the album. It’s not necessarily a dance record, but that influence is definitely there.
After 25 years under the Sola Rosa name, how do you avoid creative repetition while still maintaining a recognisable identity?
For me, it comes down to staying curious. My influences are always shifting, and I’m constantly listening to new music and what the next generation is doing. That keeps things moving forward and helps prevent the sound becoming too fixed or repetitive.
You’ve described parts of the album coming together very quickly—do you trust fast ideas more now than overworked ones?
Yeah, definitely more than I used to. There’s a certain honesty in those early ideas that can get lost if you keep overcooking them. That’s not to say everything should be rushed, but I’ve learned that if something connects straight away, it’s usually worth trusting that instinct rather than overworking it.
Touring Aotearoa with this new material—how will the live show differ from previous iterations of Sola Rosa?
This tour is leaning much more into an audio-visual experience. It’s not just about playing the tracks — there’s a stronger focus on creating a full atmosphere around the music. Sonically it also draws more from the electronic side of the record, so it feels more immersive and dynamic compared to previous shows.
Looking back at your earlier catalogue, is there anything you would approach differently now with the perspective you have today?
Not really. I can’t change the past, and I know I gave everything 100% at the time of making each record. I loved those tunes when they were made, and even though I find it hard to go back and listen to a lot of my own music, it all came from an honest place — I was always fully invested in what I was creating.
There are definitely moments in the earlier catalogue where I can hear I may have overworked things a bit. The only record where I feel some ideas weren’t fully realised is Magnetics — there are some strong concepts there, but it was rushed due to pretty difficult financial circumstances at the time.
SOLA ROSA ‘IN THE MIDS’ AOTEAROA TOUR DATES
Tickets via solarosa.com
Friday 22 May Double Whammy TĀMAKI MAKAURAU / AUCKLAND
Saturday 23 May Puketapu Community Hall HERETAUNGA / HAWKES BAY
Friday 29 May DeVille WHAKATŪ / NELSON
Saturday 30 May Hide ŌTAUTAHI / CHRISTCHURCH
Friday 5 June The Mayfair NGĀMOTU / NEW PLYMOUTH
Saturday 6 June San Fran PŌNEKE / WELLINGTON
SOLA ROSA: Website | Facebook | Instagram | YouTube
