Track By Track: Sola Rosa's New Album 'In The Mids' - Touring Aotearoa New Zealand

A driving force of 21st century Aotearoa electronica, Andrew Spraggon toasts the 25th anniversary of Sola Rosa with the launch of his eighth studio album In The Mids. A ten track odyssey of neo-soul, funk, hip hop and club-blazing grooves, collaboration is at the heart of Spraggon's new record — which showcases an international cast of guest contributors including Blush'ko, BRŪDE, Iva Lamkum, Wilson Blackley, AKOSIA, Muroki, and Wallace.

Soon embarking on a nationwide release tour, starting on 22nd May aka NZ Music Month / Te Marama Puoro o Aotearoa, Spraggon generously shared insights on the genesis of every single track on In The Mids. Join the Tūī award-winning artist's journey through In The Mids below, including visuals for selected tunes by Creature Post, and be sure to grab the vinyl LP edition of In The Mids at good record stores / online from today onwards. Get amongst with Sola Rosa at the following dates...

Sola Rosa - In The Mids Tour

Friday 22nd May - Double Whammy, Auckland
Saturday 23rd May - Common Room, Hastings
Friday 29th May - Deville, Nelson
Saturday 30th May - Hide, Christchurch
Friday 5th June - The Mayfair, New Plymouth
Saturday 6th June - San Fran, Wellington*

Tickets on sale HERE via UTR
*Tickets are on sale now at solarosa.com

In The Mids

I wrote this one in bed — literally. Our house had flooded during the Auckland Anniversary floods in 2023 and the ground floor, where my studio is, was trashed. I bought a laptop so I could work anywhere. My partner was in the lounge, and the house was full of stuff, so the bed ended up being one of the only free spaces.

The bassline came to me first, which is unusual for me — normally I start with a sample. I put it down and the rest wrote itself. Back then, I used to name all my beats. This one had a Gorillaz vibe, so I called it Gorillaz In The Mids, which eventually got shortened to In The Mids.

Like A Light in the Dark feat. BRŪDE

This track was pure serendipity. I’d been in the studio with Blush’ko when he suggested I meet his friend, Dany Elsafin aka BRŪDE. We hit it off instantly and arranged a session. Dany picked a beat from my playlist, we bounced lyrics back and forth, and within a day the song was done. His tone is incredible, and it came together naturally — I still love listening to it.

What You Need feat. Blush’ko

By the time we made What You Need, I’d already worked on a few beats with Blush’ko and really connected with how he works — he’s one of the most instinctive producer-artists I’ve collaborated with, especially around vocals and arrangement. He suggested we try a 116 BPM, four-on-the-floor groove, and from there I built out the drums, samples and bass while Jeremy added chords. The core of the track came together in a day. Later on, I refined the production and brought in percussionist Matt Sawyer, who found a rare clay bottle that added a unique texture.

It leans more into dancefloor energy while still feeling like Sola Rosa, and despite taking a bit longer to finish, it was a really fluid, natural process.

Jupiter feat. Iva Lamkum

This track started with a sample flip — I chopped up some chords from a Splice loop and initially aimed for a 120 BPM four-on-the-floor beat. It naturally evolved into a shuffling groove — still funky, but looser and rolling.

At the time, I was listening to a lot of Tame Impala, and some of that sound crept in subconsciously, or at least the rhythmic shuffle element. Kenji added his signature bass pops and atmospheric guitar textures. It had been over ten years since I worked with Iva on Turn Around (2009). We reconnected online, and she came back with the idea for Jupiter. We met in Melbourne and finished the track in a day.

Dangerous feat. Wilson Blackley

I planned a trip to Melbourne for writing sessions. My publisher suggested collaborators, and Wilson was one I was drawn to. There was something in his voice — timbre and tone — that made me think we could create something interesting.

Wilson picked the beat and we wrote the song in a day. Musically, I aimed for a darker, synth-heavy vibe with a slightly menacing feel. Wilson’s voice adds a beautiful melancholy that I love.

Losing Time feat. Muroki

I first heard Muroki supporting Benee and was instantly impressed. We connected, and he gravitated toward the beat that became Losing Time. The lyrics reflect the tension many Kiwis feel: loving home but feeling the pull to explore the world. At the time, Muroki was preparing to move to Berlin, which shaped the track’s narrative.

Have It All feat. Blush’ko

Have It All came out of the “write a beat a day” sessions. Like many of them, it started by chopping up a sample of synth chords. Once the vibe was there, I added the bassline — which was tricky to play — so I had to slow the whole track down, play it, then speed it back up again. After that, I didn’t do much, maybe added a few bits of ear candy, then let it sit.

When I was in the studio in Melbourne with Blush’ko, he wanted to listen to all the beats that hadn’t been picked by anyone yet, and this was the one he chose. Secretly, I was hoping he’d pick this one — I could already hear him on it before he even heard it.

Once I got back home, I added more synth layers and percussion, then brought in Peter Leupolu to play keys as well.

No Time For Love feat. AKOSIA

This beat came from my 'write a beat a day with no judgment' approach. Messing with samples and effects, a loop popped up, I added drums, and it had a funky vibe. Akosia picked it, brought infectious energy to the session, and laid down a freeform adlib at the end — part scat, part rap. Kenji added funk pops and bass textures, and that was it.

We Try and We Lose feat. Blush’ko

This was the first track I wrote with Blush’ko. We hit it off instantly, but he started the session with an earache. I ran to the pharmacy to help him get through it, and we finished the track. The vocals carry a delicate fragility because of it. Normally he’d pick upbeat tracks, but he went slow, and I’m really glad he did.

How Do You feat. Wallace

This was the last track I wrote for the album, specifically for Wallace. She connected with a beat I’d made, so I brought her up to Auckland and we finished it in a day. Her voice has a beautiful, distinct character — jazz-tinged and full of personality. I also love her lyrics; they’re poetic, thoughtful, and really elevate the music. She’s an absolute diamond.

'In The Mids' is out today on major streaming platforms via Way Up Recordings.