With just three weeks to go before the crucial Nov. 5 presidential election, Donald Trump is doubling-down on a lot of his most controversial campaign rally greatest hits. In addition to denigrating his rival, Democratic Vice President Kamala Harris, by employing abelist slurs at a recent event, twice impeached convicted felon Trump threatened to employ the military to “handle” his left-wing detractors in an weekend interview. The MAGA leader also bailed on a planned town hall in Pennsylvania on Monday (Oct. 14) in favor of dancing along to a 40 minute playlist of songs featuring a number of artists who’ve explicitly asked him (more than once) to stop playing their music at his rallies.

According to ABC, the event in Oaks, PA in the crucial swing state was twice interrupted by medical emergencies in the crowd in the overheated Greater Philadelphia Expo Center and Fairgrounds. Half an hour in, an attendee was stretchered out of the venue, which reportedly prompted Trump to ask the sound person to fire up Schubert’s operatic “Ave Maria.” After a second person fainted and was attended to, Trump asked for the doors to be opened to let some fresh air in, before being told that was not possible for security reasons.

So, after making a joke about people passing out, Trump dispensed with questions and kicked off a bizarre 30-plus minute playlist song and dance during which he cued up a number of well-known tracks by artists who have explicitly, and repeatedly, asked him to cease and desist from playing their music at his rallies.

According to video of the evening, Trump played Rufus Wainwright’s cover of Leonard Cohen’s “Hallelujah,” as well as Sinead O’Connor’s “Nothing Compares 2 U,” Oliver Anthony’s “Rich Men North of Richmond,” Guns N’ Roses’ “November Rain,” James Brown’s “It’s a Man’s Man’s Man’s World,” Elvis’ “An American Trilogy,” the Village People’s “YMCA” and Andrea Bocelli’s “Time to Say Goodbye.”

In a statement issued Tuesday morning (Oct. 15), Harris supporter Wainwright lambasted Trump for playing the singer’s version of Cohen’s beloved 1984 hymn to the universal struggle of love and heartbreak.

“The song ‘Hallelujah’ by Leonard Cohen has become an anthem dedicated to peace, love and acceptance of the truth. I’ve been supremely honored over the years to be connected with this ode to tolerance,” wrote Wainwright. “Witnessing Trump and his supporters commune with this music last night was the height of blasphemy. Of course, I in no way condone this and was mortified, but the good in me hopes that perhaps in inhabiting and really listening to the lyrics of Cohen’s masterpiece, Donald Trump just might experience a hint of remorse over what he’s caused. I’m not holding my breath.” The statement also noted that the publishing company for the Cohen estate has sent a cease-and-desist order to the Trump campaign.

GNR and O’Connor’s reps have pointedly asked Trump not to play their music during his campaign stops, with the Village People threatening to sue the former reality TV star last year over what they said was a lookalike band playing their hits at his Mar-a-Lago Florida private club after years of asking him to remove their 1978 queer disco classic from his queue. At press time, spokespeople for all three acts had not returned Billboard‘s request for comment on Trump’s Monday playlist event, though a spokesperson for VP co-founder Victor Willis said a statement was in the works.

The candidate vying for a second White House stint — in the midst of his third overall campaign — has accumulated a long list of acts who do not want to be associated with his divisive, frequently mendacious rhetoric. Over the course of two weeks this summer, Beyoncé, the Foo Fighters and Jack White all slammed the Trump campaign for using their music without permission.

They joined a long list of acts who’ve made similar requests since Trump first ran for the nation’s highest office in 2016, a roster that includes: Adele, Panic! at the Disco’s Brendon Urie, Celine Dion, Earth, Wind & Fire, George Harrison, Neil Young, Isaac Hayes, Linkin Park, Nickelback, Ozzy Osbourne, Prince’s estate and R.E.M., among many others.

Trump has mostly ignored those pleas, even in the face of a lawsuit from the estate of Hayes, though according to previous Billboard reporting there is a long tradition of campaigns hijacking artist’s songs for their own political ends with little blowback. In reality, if a campaign obtains a license to use songs from the catalogs of the leading performing rights organizations BMI and ASCAP — which cover nearly every recognizable song you can think of — they are free to play them. There is, however, a “caveat” in the license that allows the songwriters to object to use of their compositions in a political campaign, which could result in the rights orgs pulling a song from a candidate’s license.

In August, the Foo Fighters vowed to donate royalties from “My Hero” to the Harris campaign following Trump’s blasting of the song at a rally where he was endorsed by rival-turned-supporter independent presidential candidate and anti-vaxxer Robert F. Kennedy Jr. At the time, the Independent reported that it had reviewed documents that appeared to confirm that the Trump campaign had licensed the song from BMI’s Songview service.

It was unknown at press time if the Trump campaign had licenses for the other songs played at Monday event, and a spokesperson had not yet returned Billboard‘s request for comment.

Reba McEntire finds her mini-me on the next episode of The Voice, when 18-year-old country singer Katie O. takes the stage for her blind audition airing Tuesday night (Oct. 14).

The Jacksonville, Florida, native performs LeAnn Rimes’ 1996 hit “One Way Ticket (Because I Can)” in the audition, premiering exclusively on Billboard below, and her breezy-yet-steady vocal ability, paired with her charming country twang, immediately catches the attention of Gwen Stefani, who turns her chair around within the first few notes of Katie O.’s performance.

Snoop Dogg follows, as do Michael Bublé and country superstar McEntire — much to the dismay of Stefani, who playfully whines at one point, “Why is Reba here?”

“You got a lot of heart and soul when you’re singing, and you were so cute when I turned around, so I thought that was cute,” McEntire tells Katie O., who was visibly excited to see the “Fancy” singer on her side. “I love that. I love your smile too.”

Stefani, however, put up a good fight by telling the teen, “I pressed my button as fast as I could, as soon as I heard your voice. I really like to work with young girls. … You know what’s crazy? — and it’s before you turned around, Reba — you were moving around, walking around, your voice was so secure and strong and so composed. I would love to have you on Team Gwen.”

Snoop was no help to Stefani’s cause, when he points out how much Katie O. and McEntire are alike. “You know what? When you talk, you sound exactly like her,” the rapper tells the young musical hopeful.

Watch Katie O.’s full audition below, and tune in to The Voice on Tuesday night to see who she picks as her coach. New episodes air Mondays and Tuesdays at 8 p.m. ET/PT on NBC. Episodes of The Voice stream on-demand via Peacock the next day after they air on TV, but you can also watch live with Peacock Premium Plus.

David Gray has been appointed U.K. managing director of Universal Music Publishing Group, succeeding Mike McCormack, who is stepping down from the role after almost nine years in charge to launch a new consultancy and joint venture with UMPG. In addition to taking the reins at the company’s U.K. arm, Gray will also take up the newly created post of head of global A&R at UMPG.

Gray’s promotion was announced Tuesday (Oct. 15) by UMPG chairman and CEO Jody Gerson, who called him “one of the best creative A&R executives I have ever known.”

Gray was most recently UMPG’s executive vice president and co-head of U.S. A&R, as well as head of the company’s Global Creative Group – a division which he and Gerson formed in 2022 to amplify opportunities for songwriters, producers, artists and executives on a worldwide scale.

Successful projects that have spun out of the Global Creative Group include Colombian artist Feid and American hip-hop producer ATL Jacob‘s “Luna,” which topped the charts in multiple countries and Brazilian artist Luísa Sonza‘s album Escandalo Intimo, which became the third biggest debut of a female Latin album in the history of Spotify following its release last year.

Artists Gray has signed to UMPG include Sabrina Carpenter, Stephen Sanchez, Julia Michaels, Shawn Mendes, Nick Jonas, Joe Jonas and Demi Lovato.

In his new expanded role, Gray will be responsible for leading the management and creative direction of UMPG’s London office, overseeing the signing and development of songwriters, artists and producers, as well as supporting the company’s current roster. Gray will relocate to London from New York in January, said Universal Music Publishing Group.   

Announcing the appointment, Gerson praised Gray’s “talent for identifying and building careers for songwriters, artists and producers,” as well as his “leadership and mentorship of the next generation of publishers.”

“I want to thank Jody for her constant belief in me and for shaping a company built upon A&R, creativity, and a belief in songwriters and artists that is at the heart of our ethos,” said Gray, who joined the company in 2013 having previously held A&R posts at Zomba, Sony Music International and Simon Cowell‘s Syco Music, where he developed artists signed to the label via TV shows X Factor and the Got Talent franchise.

Prior to becoming a music executive, Gray was signed to UMPG as lead singer of the band Idle Wilds.

Gerson also thanked McCormack for “his many contributions” to UMPG over his almost nine years as managing director of the U.K. division. “I value him greatly as a friend and colleague,” said Gerson in a statement. “I am delighted he will continue to be part of the UMPG family.” 

In a memo sent to staff, which has been viewed by Billboard, McCormack said he would be stepping down from his role on Nov. 4 but would remain a partner of UMPG for the next few years via a new joint venture that is being set up. McCormack, who first joined UMPG’s U.K. business in 1999, said he would also continue to help manage some of the long-term relationships he has built over the years with the firm’s writers and catalogues.

“It’s been a real honour to lead the U.K. company for the past nine years,” said McCormack, paying tribute to what he described as an “exceptionally talented and wonderful” team of colleagues. “I’m very proud of our accomplishments, and the many awards we have won together, but my real fulfillment during the past 25 years at UMPG (as Deputy MD then MD) has come from working closely with artists, songwriters and producers when incredible music is being created,” he said.

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.”