MusicRowPics: Logan Mize

Logan Mize Artist Visit

A native of small town Kansas, where his father was a butcher and his mother a schoolteacher, singer-songwriter Logan Mize was drawn to music at an early age, singing and learning different instruments.

The singer-songwriter has resided Nashville for nine years, and has been a writer for Big Yellow Dog Music for five years. In 2012, he released his second independent album, Nobody in Nashville (Big Yellow Dog Music), which caught the attention of label executive Jim Catino, who later signed on to co-produce Mize’s forthcoming major label debut on Sony Music Nashville imprint Arista Nashville.

Logan Mize Artist Visit

In recent years, Mize logged countless hours on the road, building an audience and homing his performance craft, before spending more time in Nashville and developing industry relationships. “I don’t know if there is one right way to do it, but I saw a lot of friends that stayed in town and didn’t go on the road, and they had a chance to move a little quicker,” said Mize. “I may have went out there and developed some chops, but I also didn’t develop in-town relationships as much. I didn’t start writing songs until I was 18, so it might have been a good thing that I was on the road for several years developing before coming back to Nashville and really making those connections.”

Mize recently visited the MusicRow office to preview several cuts from the upcoming album, including the gorgeous composition “Welcome to Prairieville,” which he calls a possible title cut on the project. The song’s arresting images depict the enduring charm of a slowly waning small town. He also offered his current single, the party-ready radio single “Can’t Get Away From A Good Time,” co-written by Mize, Blake Chaffin, and Kelly Archer.  

Arista Nashville artist Logan Mize with MusicRow staffers

“When I signed with Arista, it was really a new opportunity to spend a good amount of time recording these songs, and focusing on the details of the music,” said Mize. “With ‘Can’t Get Away From A Good Time,’ we were able to put a really cool groove on it, whereas when I first cut the song [prior to his Arista signing], it was real on top of the beat, more vanilla. I think it sounds more like a radio song now, and the album will have a much fuller sound.”