In his first headlining theater tour, October London showed exactly why so many have crowned him the modern torchbearer for classic R&B and soul when he stepped onto the Stifel Theatre stage Saturday night.
London has carved out a lane as a true throwback — the kind of crooner who leans into the aesthetic with tailored suits, a slow-burning cigar and a glass of cognac in hand. But none of it reads as gimmick. His 2023 album “The Rebirth of Marvin” made that clear, leaning into the vocal comparisons to Marvin Gaye while cementing London as the most unlikely — yet most intriguing — member of the Death Row Records family. His rise has been a steady and intentional climb that suggests longevity rather than hype.
And unlike the typical “An Evening With…” format, London didn’t come alone. He brought emerging soul singer J. Brown and R&B veteran Eric Benét. The lineup offered a full spectrum of where the genre has been and where it’s headed.
J. Brown opened the night with “Vibe,” a mid-tempo groove that connected surprisingly well with an audience largely unfamiliar with the Detroit native. He kept the momentum with “Moon” and “Sunrise Sunset” before slowing things down with “Just Chill,” his contemporary spin on Guy’s “Let’s Chill.”
But it was his cover of New Edition’s “Can You Stand the Rain” that sealed his set and gave him the audience’s nod of approval.
Between sets, MC Lightfoot kept the energy high with crowd-pleasing comedy before Eric Benét took the stage. Dressed in a sharp blue suede suit, the St. Louis favorite appeared in an unusual setup. There was no live band, just a lone background vocalist and instrumental tracks — no vocals, of course — to accompany them.
Leave it to Eric Benét to make the audience forget anything was missing. His falsetto alone is a full production.
He opened with “Love Don’t Love Me,” a mid-tempo staple he often uses to set the tone. Between songs, he shared behind-the-scenes stories — including the fan-favorite tale of how “Chocolate Legs” came to be, and how his attempt to turn the “Spend My Life” studio session into a romantic setup with Tamia was hilariously derailed by Grant Hill’s unexpected arrival.
Two selections from his duet album “The Co-Star” — “So Distracted,” originally featuring Chante Moore, and “Must Be Love,” featuring India.Arie — gave his background singer Cherry a chance to shine.
Benét then delivered a pristine, mint-condition performance of “Sometimes I Cry,” reminding the room why his falsetto remains in a league of its own. He closed with “Georgie Porgie,” sharing the spotlight once again as Cherry put her own spin on Faith Evans’ original part.
As usual, he left the stage to a standing ovation.
Benét’s impact was so strong that October London felt compelled to acknowledge it as soon as he walked out.
“Give it up for my big brother in the game, Eric Benét,” London said. “It’s no autotune, and our mics are on up in here.”
London proved it immediately. He strolled onstage — cigar still in hand — and eased into “Touch on Me” with the confidence of someone who knows exactly what he brings to the table. His pristine vocals, backed by a full band, paid homage to the best of 1970s R&B, including the man he’s most often compared to: Marvin Gaye.
London’s music is classic in structure and delivery but contemporary in lyricism. That blend has earned him the respect of R&B purists while giving millennials a stake in their representation of the genre— which is often dominated by club anthems and dance hits from artists like Usher and Chris Brown.
His laid-back vibe evokes the Saturday morning cleaning playlists of their parents — Luther Vandross, Gaye, Frankie Beverly and Maze, Anita Baker. “Mulholland Drive” stood out as one of the night’s highlights, but his tribute to D’Angelo with “Untitled (How Does It Feel)” was the moment that drew the loudest reactions. London leaned into the falsetto with ease, delivering it with the kind of confidence that feels earned as opposed to assumed.
He kept the crowd engaged throughout his nearly hour-long set — though not quite as captivated as they were with Benét. In all fairness, Benét has 35 years of stage mastery behind him. London is still building his legend— but with his closing number “She Keeps Calling,” London demonstrated that he is an artist who knows he’s on his way.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
