For years, Logan Edwards has helped shape some of Ōtepoti Dunedin’s best up-and-coming indie bands. Now, Belong to Someone Else marks the first time he has stepped into the spotlight alone.
The five-track EP opens a new chapter for the guitarist, drummer, and songwriter, whose name has become familiar through The Beatniks, Ani Saafa, and Chump Change. Instead of writing for a band, Edward turns inward, exploring loss, anxiety, guilt, and growing up through a blend of indie pop, indie rock, and soft-edged folk.
The tracks arrived during an intense burst of creativity in late 2025. Earlier singles “Worry” and “Isla” hinted at what was to come. with the former climbing into the top five of the SRN charts, peaking at No. 16 on the Radioscope Alt Chart, topping Radio One Dunedin’s chart for several weeks, and landing on the Official Aotearoa Music Charts Hot 20.
Now based in Ōtautahi Christchurch, Edwards has quietly built a reputation as one of the South Island’s busiest young musicians.
His solo project may be new but he’s no stranger to the stage. Edwards has opened for Sir Dave Dobbyn at Dunedin Beer Festival, toured alongside Australian festival favourites Hockey Dad, The Vanns, and Great Gable, and helped The Beatniks open the main stage at R&A.
With a national tour set for July (ticket information here) and his solo catalogue beginning to grow, Edwards is proving there’s plenty of room alongside his bands for a project that’s entirely his own.
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We caught up with him as part of our Up-And-Coming Aotearoa Artists series to learn more about the musician behind the music.
Logan Edwards’ Belong to Someone Else EP is out now.
Rolling Stone AU/NZ: How much did music influence you in your early life?
Logan Edwards: It took a while for music to become the integral part of my life that it is today. I originally started playing guitar because I idolised my older sister and was maybe a touch competitive. For a while, music was just something I was good at, but my appreciation for it and understanding of my influences didn’t really cement themselves until later in high school. It soon became apparent that listening to, writing, and performing music was going to mean everything to me.
What artists influenced you growing up?
During high school, I was predominantly a drummer, playing in combo and big band jazz groups, with influences ranging from Art Blakey, Steve Jordan, and Mitch Mitchell. During lockdown, I really found my passion on guitar by chasing the feel of great Strat players like Stevie Ray Vaughan, Mark Knopfler, and John Mayer.
It wasn’t until university that I was thrown into the Dunedin alternative punk and indie scene, playing in and around amazing local bands inspired by The Clean, The Gordons, and Current Joys. I’m still constantly inspired by the people I was lucky enough to meet during that time and now call close friends. One of the biggest has been Sam Charlesworth, a solo artist who had already released four albums before I’d even met him in my first year at uni. He later co-founded The Beatniks with me and produced this first solo project of mine.
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What are some career highlights so far?
There have been some amazing shows I’ve been lucky enough to be a part of across my many projects.
My personal favourite might have to be the infamous gig held at the abandoned Sammy’s venue in Dunedin. It happened right at the time my influences were starting to shift, and I don’t think I’ll ever fully appreciate how surreal and formative that night really was, not just for me, but as a snapshot of that era of the Dunedin scene.
No matter where I go from here, getting to play as often as I did, across so many diverse projects in the best music scene in the world in Ōtepoti Dunedin, is something I’ll cherish forever.
Tell us about your latest release.
This solo project was never really in the cards for me, but one week following a difficult year mentally saw it all funnel out. The EP encapsulates feelings of denial and loss, on top of the general anxieties associated with being in your early twenties.
My first single, “Worry”, covers those anxieties in a very direct and confronting manner, while my second single, “Isla”, is a more retrospective reflection on past mistakes and the innocence of youth.
What kind of personality traits and values do you believe it takes to succeed in the music industry?
Honesty and genuine connection. Music is a privilege we all get to share, and a way of trying to make sense of the experiences we go through. Maybe I’m biased because I tend to wear my heart on my sleeve, but transparency feels like the best place to start when you’re trying to connect with people and build an audience that actually relates to what you’re putting out.
How would you describe your music to a potential fan?
A friend jokingly described it as a male Phoebe Bridgers, which has kind of stuck. Although it’s probably a decent generalisation for the indie pop and indie folk elements present in my songs, my admiration for her and other artists alike stop me from taking that comparison too seriously.
Are you looking forward to your Auckland launch show?
Yes, it’s going to be surreal to finally bring these songs to life with a full band. It’ll definitely be a different vibe energy-wise compared to my other bands and tours. I can’t promise any stage dives, but I’m beyond excited to push myself into a more intimate and dynamic performance style.
What are your goals for 2026 and beyond?
The reception I’ve seen so far for this project has been awesome and has given me the confidence to continue writing for myself. Going solo definitely opens the door for more collaboration, which I’m really excited about. There are so many great artists and producers around the motu that I’m keen to work with and learn from. Otherwise, I just want to continue growing this project alongside my other bands.
I’ll stop the second I find something more rewarding than writing and playing my own music.
