The month of October calls for a new October London album – and the South Bend, Ind. crooner was more than happy to oblige. The Billboard chart-topping singer unleashed October Nights, his soulful sophomore album, on Friday (Oct. 11). 

In an era rife with discourse regarding the state of traditional R&B and soul, October London mounted an unlikely – but incredibly welcome – breakthrough. At the top of last year (Feb. 10, 2023), he released The Rebirth of Marvin, a lush 11-song set steeped in the influence of Gaye himself. The LP launched a pair of Adult R&B No. 1 hits — “Back to Your Place and “Mulholland Drive” (with Snoop Dogg and LaToiya Williams) — which helped him earn four nominations at the 2023 Soul Train Music Awards. 

Just a year and a half later, London (born Jared Samuel Erskine) is back with a stellar sophomore LP that infuses his last album’s Gaye-informed aesthetic with the vocal dexterity of Frankie Beverly, the raunchy hip-hop roots of Death Row and star-studded collaborations with artists like Grammy nominees Ledisi, Tyrese and Boney James. The new album also features the singles “She Keeps Calling” and “A Beautiful Woman.” 

As the new flagship artist for Snoop Dogg’s revitalized Death Row Records – which the legendary rapper acquired in February 2022 – October London simultaneously symbolizes a new era for the label and a potential path forward for traditional R&B in a music landscape that continues to deprioritize that scene. In London’s music, everything begins and ends with his voice; he effortlessly balances sensual warmth, starry-eyed self-reflection and a vibrant steak of ‘70s R&B-steeped vocal affects throughout the record’s exploration of the various women and relationships that decorate his October Nights. The new LP is an insular listening experience that accurately reflects the record’s intimate creation, but London’s cinematic sequencing keeps his themes accessible – and his grounded lyricism keeps things relatable, too. 

“A lot of times, I just do a lot of stuff by myself,” London tells Billboard. “I mix, I master, I produce, and I write, so to speak, on my own. That’s where I gained [the] peace to write the records. I don’t even write records anymore, really. It all comes off the top, from my head to the microphone.” 

Released during the final stretch of his supporting stint (alongside Jazmine Sullivan) for Maxwell’s Serenade tour, October Nights promises to introduce fans and casual listeners to the man, singer and songwriter beyond The Rebirth of Marvin. In a sprawling conversation with Billboard, October London breaks down the making of October Nights, his vocal health routine and his plans to fully realize his destiny as a “multi-genre” artist.

You kicked off this new era with “She Keeps Calling.” Why did that song feel like the right choice to herald a new album from October London? 

It felt good to put out because we don’t have that “big voice” sound out right now. So that first part in the song [sings opening note] came from Frankie Beverly and Maze. Obviously, we just lost Frankie Beverly, rest in peace, and I had also just met him. He gave me that inspiration to do that. It was a very weird connection the way that happened. I was going to say — that song is kind of old, but it’s really not. I made it right on time, it just felt right. 

Tell me about meeting the legend himself. What was that like? 

That was actually really, really amazing. [I met him at a] BET event in Atlanta where he was being honored. He was very cool. I think he knew a couple of [my] songs; I don’t want to say he knew the whole album, but I think he knew of me, and he just welcomed me with open arms. 

When did you start working on October Nights and when did you decide on the title? 

The title came from Snoop [Dogg]. I had a couple other titles in mind, and we were just hanging out in the studio, and he was like “Yeah, it’s an October night… I think that should be the album title.” And I was like, “That sounds like a great album title!” We have some good October nights ahead of us, so [laughs]. The album didn’t take long. Just like Rebirth of Marvin took one week, October Nights took about two weeks to make. I can’t recall what time I started to make it, but I know it went pretty fast. 

It took two weeks for the first version of the album and then I sent it to the legendary producer Soopafly, and he wanted to add little bells and whistles to it. 

You’ve spoken before about the different styles and genres that you like to play with, and there are tastes of that sprinkled throughout October Nights. Overall, why did you choose to remain in that straight R&B crooner lane? 

With this album, I wanted to do something different, but I also wanted to kind of give a sequel to the last album. When you’re listening to October Nights, you’re getting a little bit of Rebirth of Marvin. October Nights blends a little bit of Rebirth, and then it turns into a whole other movie and changes throughout the middle. 

There’s the record I did with Jeff Gitty called “3rd Shift,” there’s “Kill Shot,” and then you have me and Snoop doing “Put You On.” This is really a transitional album for me. By the time you get to the end, you have “Time” and then you have this song called “Momma.” You’re getting into how I feel and you’re getting more of me with a few slices of other artists – just like any artist. You don’t wanna swagger-jack, but we’re all influenced by so many artists. 

“3rd Shift” is a vocal feast. You go from this sexy, buttery falsetto to these gritty growls so effortlessly. What’s your vocal health routine like? 

Greasy food, man. I’m not one of the ones that are doing vocal exercises every day and night. I’ve never done that ever. I’ve never had vocal lessons, nothing like that, it just kind of came naturally. But when I get ready to go out on stage, I always have at least something to eat, whether it’s chicken or something with cheese. Other singers are like, “Oh my God, you need tea!” I don’t need tea; I get some coffee! I’m totally polar opposite when it comes to vocal training. I refuse to sing until I get some grease or coffee or something. 

And you’re like that even on tour? 

Absolutely. 

What song on the album did you find the most difficult to record – whether that’s vocally or emotionally? 

“3rd Shift,” I recorded it in 30 minutes because I had 30 minutes left in the session. “Killshot” was the one that really gave me the most trouble though. I don’t know why; it was just a lot going on. There were other people coming into the studio, so I was kind of rushing through it. That’s one of my favorite records and I was creating a movie in my head for it, so that’s why it took me a little longer. Instead of taking me an hour, it took maybe two hours. That one was a little tougher to write, but when we do the music video, we already have the treatment and everything. 

How does that “Kill Shot” movie fit in the larger context of the story of October Nights?  

October Nights is filled with the fun of an October night. The hanging out, the glasses of wine, the people, the family, the friends and all that kind of stuff. But it’s also geared towards my love for beautiful women. I have a song [on there] called “A Beautiful Woman.” 

This album is wrapped around love, pain, and the overall beauty of a woman. “Kill Shot” is me messing with multiple women at a certain time period, but there’s one that’s still stuck on me, and she will not let go. She’s coming after me. [Laughs.] She won’t stop calling!

Talk to me about “Momma.” Did you bring anything from your own relationship with your mother into that track? 

Well, “Momma” was actually made when Snoop’s mother passed. A day after that [happened,] he was sitting in the studio and I was like, “I’m gonna go in here and make something real quick.” That was really more for him. It’s an ode to my mother as well, and an ode to a lot of people’s mothers too. But the main reason why I did it was because Snoop was going through this time in his life, and I wanted to be there as a little bro or as a nephew and make him a song he [could] listen to. And I knew the kind of relationship that he had with her as well. 

How hands-on is Snoop at this point in your career? How has your relationship grown since you two first crossed paths? 

We have a great relationship. We’re both Libras, so that helps. For this album, he’s the executive producer, so he’s very hands-on, but he doesn’t hover over my shoulder. He’s like, “Go in the studio. Call me when you’re done with the album. Once you’re done with the album, we’ll all listen to it, gather the right people around, and figure out what’s missing.” “Touch on Me” didn’t have horns until Snoop said it needed a little bit more flavor. It’s like macaroni and cheese. You got to put several kinds of cheese in there to make it thick. Our relationship is really great. We’re both creatives and we both give each other space in the music realm. 

You’ve spoken before about how great your contract is and how much you love Death Row. Walk me through what makes your contract so impressive and how you felt your relationship with Death Row has evolved during this album cycle.  

With this contract, I have creative control — which is big for artists. I talked to a lot of artists [who] are very disappointed in their team or in the staff that works at their labels. They’re not getting their fair share or it’s money issues… it’s several things. I always have to say that I’m actually a happy artist. I like where I’m at and I love where I’m at. Nobody’s twisting my arm to say that. If I wasn’t happy, I’d just leave. But having the creative space to be embraced as a multi-genre artist means a lot. Snoop embraces me and because he does, I can be a creator. I can say, “After this album, I want to go ‘80s pop” and he’s like, “Okay, cool. I’ll talk to you in a couple of weeks and see what you got.” 

I was in the room when he was finishing up the call [to acquire Death Row], and I congratulated him and was about to walk out the door. He was like, “You got to celebrate man, you’re going to be the King of Death Row. You’re the flagship artist.” And that didn’t even make sense to me! [Laughs.] This is a gangsta rap label and it’s called Death Row, not Heaven’s Gate! How was this going to work? Snoop was like, “Let me worry about that. You just do what you came to.” 

Did you start working on October Nights before or after Rebirth started to take off? 

“Mulholland Drive” hadn’t [come] out yet. I will say that “Back to Your Place” was out and it was moving, but we hadn’t put “Mulholland Drive” out as a single yet.  

What lessons did you bring from that first album into the second album? 

For me, it was just more about the presentation of the album and how you listen to it. I think I could have added a few more pieces to Rebirth of Marvin — like horns or some more drums. I could have made [certain things] a little tighter. I’m perfectionist, although I get things done really quickly. Listening back to the last record, I’m like “Damn, I wonder where I could have put this song or that song.” There are songs that I wanted to put on Rebirth that are sitting in my hard drive. I wanted to make sure that with this album, I put exactly what I wanted on it. I’m excited for this album because it’s exactly what I wanted. Rebirth was close to it, but instrumentation-wise, it was missing a few things.

There are a couple of cool collaborations on October Nights. Which one was most pivotal for you in terms of building out the final tracklist? 

Probably “Time.” Me and Mike Letter did “Time,” and we recorded that 15 or 16 years ago. That’s how old that song is. It was kind of working backwards a little bit. I want people to know where I’m going and who I am, but I know what people have been listening to. You have to find an even playing ground because if you don’t then you’re going to either take it too far that way or too far the other way. Let me get you ready right here at the beginning. That way, you still get the Marvin influence and all that stuff, but I don’t want to stay in that lane. I don’t want to stick to that because I don’t want people to think that I’m going to continuously do that. I don’t want to fill his shoes. I don’t want to be the new Marvin. I’m a creative. In the next three months, I might make a reggaetón album or jazz album on some Miles Davis s—t. 

What was the goal behind initially marketing yourself as the “rebirth” of Marvin Gaye? How has that helped or hindered your momentum as a rising new artist? 

I thought it was going to hinder me, but it didn’t. I really thought people were going to pigeonhole me. Like I said, I didn’t even plan on putting out that album, so I was very afraid of what it was going to do. Then I was like, “I don’t want them to not like it. I want them to love it.” If they love it, you got to give them more of it. And if they don’t love it, you’re a flop. It helped me more than hindered, because people love the fact that I’m bringing back music that people used to listen to and still love. We still bump Luther Vandross. We still bump The Isley Brothers. That’s still good music.  

This music now is just… quick. Some of it is junk, you know? Doing the Marvin stuff helped because now I have a fan base. I can go out in front of 20,000 people every night with Maxwell and Jazmine Sullivan and say, “Alright, here I am. Here’s me. Here are the songs. But let me also let you know I’m not a robot.” I poke fun of the Android users when I tell the crowd to put their lights up. [Laughs.] 

What’s one word you would use to describe your sound and why? 

Eclectic. My sound varies depending on the mood I’m in. I can’t put myself in one category because I just. I’m all over the board. But I also pay attention to what’s going on, what people are putting out and what lanes are open right now. That ‘70s lane is wide open. It was wide open when I did Rebirth and it’s still wide open. The ‘80s market’s wide open, ‘90s has been wide open for a while, so now I’m trying to just figure out what’s next after October Nights. I really feel like we have over five singles on there, so we’re going to be on October Nights for a minute.  

How do you feel about certain songs living on multiple projects? Do you ever feel like it takes away from the narrative of your own project at all? 

I think it helps because Boney James, for example, has been around for years. I’ve been listening to him since I was a kid in the back of the car. They don’t know me in the jazz world. Now, I have some of his fans coming to me, and some of my fans — because they’re a little bit younger — are getting introduced to him. It really helps when you just collaborate and have it on multiple projects because everybody has different fans. I look forward to creating songs with other artists. I’ve been working with Robin Thicke, me and Muni Long just did a record, etc.  

It’s Grammy season and “She Keeps Calling” is eligible for this cycle. What do the Grammys mean to you? 

I would love to win a Grammy, that would be great. Am I doing music to win a Grammy? No, not at all. It’d be great, though. I didn’t think of a Grammy while doing this album at all. Obviously, Rebirth didn’t get [any nominations], but “She Keeps Calling” is eligible and so is “Bedroom Bully” and the Boney James record. I think I have 13 submissions for this cycle. We’re hoping and praying for something. I just want to bring a win to Death Row. 

What’s your take on state of R&B, especially when it comes to male crooners? There’s so much talent out there, but it feels like industry support is wildly inconsistent.  

R&B is lacking. There was that time when everybody wanted to be Migos, even R&B artists. They wanted to change their whole thing and rap. The state of R&B is just lacking a lot of love. It’s lacking feel-good music. Nothing makes you feel good more than Frankie Beverly coming on. We don’t have that anymore, but we do have R&B artists out there. We still have Tank, TGT’s on the road right now. Even 112 is still on the road. I think R&B artists need that push. Somebody should be in their corner to be like, “It’s okay to be you.” Like I said, I was going to do a whole different thing. I was going to be on some Bryson Tiller/dvsn/Drake s–t. Snoop had to just be like, “It’s okay. Don’t worry about it. Just put it out there.” If I didn’t have him do that, you would have never gotten Rebirth or October Nights. 

I think artists are afraid to do R&B because they don’t see a lot of people in love anymore. They’re going after the bag. It’s like they don’t have time to do love songs. They want to be in the club, or they want to be in their Hellcats. But hopefully, that’s changing now, and R&B can finally come back and just take over for a little bit. I’m going to try to do as much as possible, but I also bounce around other genres. That way, I don’t get bored during the journey. 

What’s been your favorite moment while on tour with Maxwell and Jazmine Sullivan? Have they given you any advice as you continue to navigate the R&B space? 

I’ve been talking to Maxwell a lot and he’s just so kind, man. He’s always been in my corner the whole tour making sure I was good. He said the same thing Snoop said: “Just continue to keep doing you and be yourself. Don’t try to be anybody else. Go out there, get on that stage, kill it and be exactly who you want to be in your mind.” 

Recently, he shouted me out and it kind of blew my mind. He shouts me out every show — which I never knew — but he really gave me my flowers the other night. I was just like, “Holy shit… this dude’s in my top 10 greatest R&B artists of all time and I’m on tour with him!” That was a big moment. 

Are there plans to give October Nights its own tour? 

Absolutely. I can’t say the date right now, but we are announcing it after this tour. 

Have there been talks of any collabs between yourself and Maxwell or yourself and Jazmine? Or all three of you together? 

Absolutely. Me and Maxwell are getting in the studio after we get done with tour. I gotta send him some records so we can do that together. Me and Jazmine haven’t talked about doing a record yet, but I do have a couple of records for her, so we’ll see. But the Maxwell joint is coming quick. 

If you had to make a four song EP with two tracks from October Nights and Rebirth each, what would that look like? 

“Central Conversations” will go first. I gotta put “3rd Shift” on there. “Mulholland Drive” and “Momma.” 

 

Ben Wyatt: “Get this — I just asked the DJ what R.E.M. albums he has. He’s got Monster, but not Automatic for the People.”

Leslie Knope: “Wow.”

Ben: “I know. It’s like, ‘What is this, a mid-‘90s party?’ No, it’s an early-‘90s party.”

——————–

In a 2013 episode of NBC’s Parks and Recreation, Leslie and Ben attend an early 1990s party, the domain of, as Ben correctly notes, R.E.M.’s 1992 LP Automatic for the People.

Had the DJ been more up on the timeline of R.E.M.’s discography — and Billboard chart history — he would have known that Monster made its mark on surveys in 1994-95. The set debuted at No. 1 on the Billboard 200 dated Oct. 15, 1994, with 344,000 copies sold in the United States, according to Luminate. (No data available on how many sold in Pawnee, Ind.) The frame marks the band’s best since Luminate began tracking sales in 1991, outperforming by 57% the 218,000 that Automatic for the People moved in its first week in October 1992, when it opened at its No. 2 peak.

Monster became R.E.M.’s second of two Billboard 200 No. 1s, after Out of Time also led for two weeks, in May and June 1991.

“It’s obvious that this album was eagerly anticipated by R.E.M.’s fans,” then-Billboard associate director of charts/retail Geoff Mayfield wrote upon Monster’s chart bow. (In that pre-Halloween issue’s Chart Beat column, Fred Bronson titled his recap of the arrival “‘Monster’ Mash.”)

Billboard’s review of Monster in the Oct. 1, 1994, issue praised R.E.M.’s crunchier turn on the set: “After a glorious acoustic phase, band reverts to the power-pop sound it sported in the late ‘80s, now sharpened with an industrial edge. Monster will live up to its name at rock, pop, college and alternative formats, reaffirming the band’s place as one of the most compelling, and uncompromising, in America.”

Monster yielded the two most recent of R.E.M.’s six No. 1s on the Alternative Airplay chart: “What’s the Frequency, Kenneth?” for two weeks beginning in September 1994 – as it became the first song to debut at the list’s summit – and “Bang and Blame” (three weeks that December). The former also hit No. 10 on Pop Airplay, while three more cuts from the set reached Alternative Airplay, in 1995: “Star 69” (No. 8), “Strange Currencies” (No. 14) and “Crush With Eyeliner” (No. 33).

Warner Records re-signed R.E.M. (which had joined the label for 1988’s Green) to a reported $80 million contract in August 1996. The deal signified just how high the band had risen since releasing its first single, the eventual classic “Radio Free Europe,” on indie Hib-Tone in 1981. (The group signed with I.R.S. in 1982.)

In 1997, drummer Bill Berry left R.E.M., which continued as a trio of lead singer Michael Stipe, bassist Mike Mills and guitarist Peter Buck. The group was inducted into the Rock & Roll Hall of Fame in 2007 and upped its count to 10 Billboard 200 top 10s through its last LP of all-new music, Collapse Into Now, in 2011, when Stipe, Mills and Buck announced their amicable split on R.E.M.’s website.

On June 13, R.E.M. – including Berry – reunited to perform its highest charting Billboard Hot 100 hit, “Losing My Religion,” which rose to No. 4 in 1991, at the Songwriters Hall of Fame annual celebration in New York, where the band was among 2024’s enshrinees.

“Writing songs and having a catalog of work that we’re all proud of that is out there for the rest of the world for all time is hands-down the most important aspect of what we did,” Stipe told the audience. “Second to that is that we managed to do so all those decades and remain friends. And not just friends, dear friends.” He added, “We are four people that very early on decided that we would own our own masters and we would split our royalties and songwriting credits equally. All for one and one for all.”

Warner Music Japan has appointed longtime Universal executive Takeshi Okada as the label’s new president and CEO, with a start date of Dec. 2. He’ll report to Simon Robson, president of international recorded music, who is temporarily overseeing WMG’s recorded business in the APAC region until a permanent appointee is announced.

Okada transitions from EMI Records Japan, part of UMG, where he served as managing director since 2018. Under his leadership, EMI Records saw notable success with artists like Yumi Matsutoya and Mrs. GREEN APPLE. Prior to EMI, Okada spent over a decade at Universal Music Japan, where he played a crucial role in digital marketing and enhancing the label’s embrace of streaming in physical media-loving Japan.

Okada will transition into his new role with the support of outgoing president and CEO Kaz Kobayashi, who announced his departure last month after a decade at the top. Dr. Kenji Kitatani, the newly appointed chairman of WMJ, will also play a supporting role.

“It’s great news that the highly respected Takeshi Okada has agreed to run our business in Japan as we accelerate our growth plans in the world’s second-largest music market,” noted Robson. “Kaz and Kenji will work with him to ensure a smooth leadership transition. These appointments show our commitment to expanding our operations in this vital market.”

The leadership shuffle at WMJ comes amid other high-level changes at Warner, including the recent promotions of chief marketing officer Eric Wong to head of A&R, recorded music, and evp of global marketing Jessica Keeley-Carter to CMO, recorded music. As part of a sweeping summer of change, WMG CEO of recorded music Max Lousada exited the company, and Elliot Grainge was named as the new CEO of Atlantic Music Group, while WMG CEO Robert Kyncl assumed direct oversight of the heads of global distribution company ADA and merch division WMX. Longtime Atlantic leader Julie Greenwald, 300 Elektra Entertainment chairman/CEO Kevin Liles and a host of senior Atlantic and Elektra executives also departed the company, among other moves.

Sony Music Publishing U.K. has signed folk singer-songwriter Myles Smith to an exclusive publishing deal on the heels of his breakthrough hit “Stargazing.” Even before “Stargazing” shot Smith to stardom, he was quickly amassing a fan base with other streaming successes like “Solo” and “My Home.”

Iconoclast has acquired the publishing catalog, sound records and name, image and likeness (NIL) rights for cultural icon David Cassidy. A pop superstar, who shot to fame in the early 70s thanks to his portrayal of Keith Partridge in The Partridge Family, his catalog includes hit songs like “I Think I Love You.”

Concord Music Publishing and Coup D’Etat Music have signed producer, instrumentalist and songwriter Ben “Ben10k” Wilson to a global publishing agreement. Including both his back catalog and future works, this marks Concord and Coup D’Etat’s first joint deal. News of the Bay Area hitmaker’s signing comes after a breakthrough year. In 2024 alone, Ben10k has produced tracks for artists like Blxst, JT, Megan Thee Stallion, Glorilla, Drake, Young Thug and 21 Savage.

BMG has signed a global publishing deal with Ray Dalton. Under the terms of the deal, BMG will work with Dalton’s entire catalog, including the Mackelmore & Ryan Lewis smash “Can’t Hold Us.”

BMG has inked a worldwide publishing administration agreement with the publishing company of flamenco guitarist Paco De Lucía. Now, BMG will represent key tracks in his catalog, including “Entre Dos Aguas,” “Mediterranean Sundance/Rio Ancho” and “Solo Quiero Caminar.”

Warner Chappell and LEX Music Group have jointly signed rising country act Taylor Austin Dye to a global publishing deal. The news comes just ahead of the Kentucky-native’s Grande Ole Opry debut, set for November 9.

iHeartMedia has announced the lineup for the 2025 iHeartRadio ALTer EGO Presented by Capital One, set for Jan. 11 at the Kia Forum in L.A, and will feature performances from some of the biggest names in alternative rock.

Among the star-studded bill includes Cage The Elephant, Fontaines D.C., Glass Animals, Incubus, St. Vincent, The Lumineers, The Head And The Heart and The Offspring, with a special solo performance from Damiano David of Måneskin.

Hosted by Woody from The Woody Show, the concert is set to be one of the most anticipated alternative rock events of the year.

“For the 8th year in a row, every other option was exhausted, and with the announcement looming, a decision had to be made,” said Woody. “That’s when we were handed the keys and warned that we had better not screw this up. It’s an honor — one we fully intend to live up to. Here’s hoping Jan. 11 arrives before iHeart realizes their mistake!”

The event will broadcast live for fans on iHeartRadio Alternative and Rock stations across the country and on iHeartRadio.com.

Now in its eighth year, the iHeartRadio ALTer EGO event continues to grow, attracting top-tier alternative acts. The festival is part of iHeartMedia’s lineup of nationally recognized concert events, including the iHeartRadio Music Festival and Jingle Ball, with Capital One as a returning presenting partner.

“We are thrilled to present this incredible lineup of artists representing all genres of Alternative and Rock returning to one of the most iconic Rock venues Los Angeles has to offer, the Kia Forum,” said Lisa Worden, Program Director for ALT 98.7 and Senior Vice President of Rock and Alternative for iHeartMedia.

“It’s our 8th year doing this and each year it keeps getting better.”

Capital One cardholders will have exclusive early access to presale tickets starting on Oct. 22 at 10 a.m. PT, lasting through Oct. 24 or until supplies run out.

The presale tickets come with an option to add a Capital One Access Pass, allowing attendees to experience a private soundcheck performance by Cage The Elephant, along with complimentary food, drinks, and more. General ticket sales will begin on Oct. 25 at 12 p.m. PT through Ticketmaster.

Listeners will also have access to a limited number of tickets through ALT 98.7’s 24-hour VIP-Sale. Fans can register to become an ALT VIP to access tickets beginning Thursday, Oct. 24 at 10 a.m. PT through Friday, October 25 at 10 a.m.

For more information on presales and tickets, visit iHeartRadio.com.