If you build it, they will come.

That’s what Dan Auerbach, The Black Keys frontman and go-to record producer, must’ve thought when he first opened his Easy Eye Studio in Nashville.

“Sometimes I feel like I created my own Field of Dreams,” Auerbach says.

For his first solo LP in eight years, Auerbach recruited some of Nashville’s most respected players to collaborate, including John Prine, Duane Eddy, Jerry Douglas and more.

Imbued with Music City’s rich history, “Waiting On A Song” is a Nashville love letter that pays homage to classic ’70s AM radio without becoming bogged down by nostalgia.

Ahead of the album’s release on Friday, Auerbach talked with the Daily News about launching his new record label, collaborating with his heroes and getting to work with “the greatest living soul singer.”

New York Daily News: It’s been eight years since your last solo album. You’ve been pretty active since then with other projects like The Black Keys and The Arcs, as well as producing a few albums by artists like Lana Del Ray and Dr. John. Why was now the right time for a new Dan Auerbach record?

Dan Auerbach: I don’t know. I didn’t plan on it. It just happened. You never know when it’s going to be the right time. The right time just happens, you know what I mean? Any time you try to plan these things, it doesn’t work as well.

I started this project last year. Last summer, I made the conscious decision to stop touring, to take a break. Right when I did that, I started to do these co-writes in Nashville, which is this traditional Nashville songwriter thing that I’d never really taken part in. Out of those sessions, which I completely got addicted to, I started writing all these songs. And then I needed to record them. All of sudden, I had a record.

NYDN: How do you think Nashville has changed you as a musician?

DA: I’ve always been very serious about music and I’ve always loved recording. I love being in the studio. Nashville’s just helped me do more of that. It hasn’t really changed me that much. I still do all the same things that I’ve always done.

I was raised playing bluegrass music, so I have that in my blood. This is definitely home to bluegrass, so that’s always attracted me to Nashville. But now I get to be around all these great bluegrass musicians, guys who, just like me, have dedicated their entire lives to playing music.

NYDN: John Prine is one of those musicians who collaborated with you on this record. What’s your relationship like?

DA: I would consider John a friend. I see him every once in a while.

We started getting together last summer when one of my buddies introduced me to Prine, and we invited him to come over to one of our writing sessions. That’s when we started writing together. I think we’ve written eight or nine songs now.

NYDN: How did you have to alter your approach writing with another person?

DA: I think that I was so used to doing it that it wasn’t a big deal. By the time John came around, I’d been writing every day for a couple months with different writers. So I was kind of used to it. I think you lose any self-consciousness pretty quickly.

The goal is you want to click with the person who you’re writing with. And if you do that, you make each other better. Right from the get-go, me and John got along and it just worked.

NYDN: How did you hook up with Mark Knopfler of Dire Straits?

DA: That was a weird one because he was the only musician on the record that we recorded remotely. We recorded the song with my usual crew, my studio guys. And we went into the control room to listen to playback and I swear I could just hear Mark Knopfler’s guitar. I don’t really know how to describe it.

That night, I made a rough mix of the song that only had scratch vocals on it, and I had my manager find Mark Knopfler’s email and we sent him the song. And we asked nicely. Something like, "If you feel like contributing…"

Two days later, he sent the song back with his guitar on it and it was just perfect.

NYDN: Do you have any sort of daily routine or rituals that you stick to?

DA: When I’m at home and I’m working — which is always, whenever I’m at home — I wake up and have my coffee, cook breakfast and leave for the studio by 9 a.m. And then I can go home for dinner, or keep working depending on what I’m up to. That’s pretty much my daily routine.

NYDN: Why did you decide to start your own record label?

DA: Because I was kind of doing everything else. It felt like a natural progression. Also, I don’t record stuff because I think it has commercial potential. I record it because I think it’s interesting.

I think if I put all those records together, they might have a better shot of speaking to the world than if they get split up and put up on different labels. That’s the theory I’ve got, anyway (laughs).

But I think it’s right. I’m the filter for the label. I’m going to have young bands and older musicians and singers, all different types of music. But hopefully if you like one, you’ll like the rest of the catalogue.

NYDN: Are you allowed to talk about anything that’s coming out on the label?

DA: I actually can’t. I’m not allowed to. The only one I can talk about is a soul singer named Robert Finley. That’s going to be the first release that I’m doing. Robert Finley is from Louisiana and I think he’s the greatest living soul singer. He’s definitely the most amazing singer I’ve ever recorded.

We did a whole record here, and he sings a song I wrote with John Prine, a song I wrote with Nick Lowe. Basically, we made a soul record, but cut absolutely no corners. He’s the greatest soul singer and the record features some of the greatest writers ever. So I’m pretty excited about that.

NYDN: You’ve had the opportunity to work with a lot of great musicians, both playing on their records and getting to produce. Do you have any artists on your bucket list that you’d like to work with one day?

DA: You know who called me a couple days ago because they heard a few of these Robert Finley songs? Taj Mahal. He called me out of the blue because he heard some of these Robert Finley songs and he loved them so much. He just wanted to call to tell me "Good job."

And I’m a huge fan, and I’ve never met him before, so that’s really awesome. There’s one person. I’d love to make music with Taj Mahal.