“Ain’t Got Time”: Solomon Cole Digs Deep with Cavernous Blues

Some records reignite your faith in the human ability to reinvent the blues, not just by repeating the riffs forged by its legends, but by honoring its roots while pushing it forward. “Ain’t Got Time” is one of those records. From the island of Waiheke in New Zealand, Solomon Cole returns as a solo artist with a new album set for release on October 10, 2025 via Dixiefrog. Blending raw blues, tight grooves, and polished production, Solomon Cole is carving out his own voice on the contemporary blues scene. We tried to dig a little deeper to find out more!

🎤 Interview with Solomon Cole

It’s said that you recorded “Ain’t Got Time to Die” in a former WWII military base on your home island, Waiheke. Is that true?

Yes! Part of the album was recorded there — specifically Call My Maker and Apocryphal Flood Blues. The place is called Stony Batter, built at a time when New Zealand feared an attack. It was Auckland’s last line of defense. The site remained empty and abandoned for decades before it was recently restored. You can still find original machinery in the lower levels.

What did this unique location bring to the album’s atmosphere?

The cavernous acoustics and natural reverb were incredible—almost haunted. You can really feel the history in those tunnels and rooms where men and women lived day and night until the end of the war. The vibe for those tracks was immediate, so we recorded them live. Since there was no electricity, we used an old battery-powered ADAT recorder, which meant we had to nail everything in one take. These were the first tracks we recorded for the album, and they really set the tone for the rest of the record.

An acoustic guitar rests on a wooden stand in a dimly lit room, surrounded by candles and wooden walls, creating an intimate atmosphere. — Stony Batter, the site where the album was recorded

An Explosive Cocktail

Your music blends raw Delta blues, groovy rock’n’roll, and Americana. Does that fusion come naturally when you write?

Yes, it happens very naturally. I often see “Solomon Cole” as a fictional character living inside each of my songs. When I write, the track needs to tell a story around that character. But the song also has to have a reason to exist, and I tend to think less is more.

I’m deeply influenced by artists like Son House, Howlin’ Wolf, R.L. Burnside, Skip James, Tom Waits, and Nick Cave. I often use minor keys to convey loneliness, and major keys to express redemption.

You collaborated with legendary keyboardist Eddie Rayner. How did he shape the album’s sound?

I played guitar on an album Eddie produced for the band Space Waltz in 2023, a reunion record called Victory. We then toured together and became friends. Eddie knew I was working on a record and offered to mix some tracks.

He brought a clean, polished production style, especially on Get Up Get On and Day of Reckoning. He also elevated songs like Bullet and Woman I Weep, giving them a clarity and depth that really impressed me.

Nick Abbott was also involved…

Yes. That led me to reach out to my friend Nick Abbott to mix other tracks like Ain’t Got Time to Die and Call My Maker, to add some grit and keep things from getting too smooth. Eddie also rearranged some songs and produced them differently than Nick, which created a clear sonic contrast in the final mix.

A man sitting on a bench in a natural setting, wearing sunglasses, with a guitar and a leather suitcase by his side.

“All it takes is a phone call!”

No other musicians are credited on the record. Did you really do it all yourself?

I did about 95% of the album myself. A few friends helped with small things like harmonica or backing vocals. We all live on Waiheke Island, which is a very creative, bohemian place. It literally just takes a phone call for someone to drop by and lay down a part.

I worked a lot with Ableton 12, which has some amazing sample packs. It allowed me to build the songs layer by layer, then sculpt the sounds until I got what I wanted. After that, I sent everything to Eddie Rayner and Nick Abbott, who helped finalize the sound.

And what instruments did you use?

I sang, played all the guitars, percussion, and bass on every track except “A Little South of Heaven.” I wrote all the parts and finalized the takes, even when the initial idea came from someone else. This process is working incredibly well right now for my second album.

After years of leading a band, you’re now releasing a solo project. What’s changed for you, artistically and personally?

It’s an amazing feeling of freedom. I can bring my songs to life at my own pace, in my own way. I now have complete creative control. I can build everything from scratch without waiting for anyone. I can walk into my studio at any hour and work when inspiration strikes. That’s what I love most about this new chapter.

Are you already thinking about what’s next?

Yes! It took me twenty-four months to make this album and everything surrounding it. And I’m already working on the second one: five tracks are finished for a record I’m tentatively calling Call of the Void. Artistically, it’s going to be a darker, grittier blues album. I now feel fully in control – creatively and professionally – which is just as important. I truly feel like I’ve come of age as a solo artist.