Famend producer and songwriter Rodney “Darkchild” Jerkins has been a transformative drive within the music business, shaping the sounds of iconic artists like Brandy, Beyoncé, Michael Jackson and Whitney Houston. In a latest interview with EBONY, Jerkins delved into his artistic course of, collaborations and the enduring impression of his work.
Jerkins begins his mornings with household devotionals, setting a non secular tone for the day earlier than heading to the studio. There, he immerses himself in crafting new music, at all times aiming to remain forward of the curve. “I’m within the lab, creating and making an attempt to see what I can provide you with that’s subsequent, whether or not it’s for subsequent 12 months or the 12 months after, at all times making an attempt to get forward,” he shared.
All through his profession, Jerkins has been instrumental in pivotal transitions for artists like Toni Braxton, Beyoncé, Brandy, Whitney Houston, and Michael Jackson. He strives to take artists to locations they’ve by no means been, pushing them to evolve. “You by no means meet an artist the place they have been beforehand. You need to be forward, getting them to go to a spot they’ve by no means been,” he defined.
Rodney “Darkchild” Jerkins’ affect extends far past his chart-topping hits. His work on Full Moon, Brandy’s 2002 opus, stays a pivotal landmark in R&B, ushering within the darker, moodier sonic textures that may outline the style’s evolution. The album’s intricate vocal manufacturing, atmospheric synths, and progressive preparations laid the groundwork for the choice R&B motion that flourished within the 2010s.
Artists like Jhené Aiko, Frank Ocean, Miguel and The Weeknd constructed upon Full Moon’s blueprint, fusing vulnerability with sonic experimentation in a manner that now feels commonplace. Jerkins’ capacity to push artists into new artistic territory whereas sustaining business enchantment has cemented his legacy—not simply as a hitmaker however as a visionary who helped form the way forward for fashionable R&B.
Reflecting on his latest induction into the Songwriters Corridor of Fame, Jerkins expressed humility and gratitude. He finds it surreal to be talked about alongside legends he admires, acknowledging the honour whereas remaining centered on future creations.
Rodney “Darkchild” Jerkins’ journey exemplifies a mix of innovation, adaptability, and deep respect for music’s evolving panorama. His capacity to attach with artists and audiences alike ensures his continued affect in shaping the sounds of tomorrow.
EBONY: You’re being inducted into the Songwriters Corridor of Fame. How does it really feel to be amongst individuals you’ve admired for years and be cemented in historical past for dedicating your life to music?
Darkchild: It’s superb. I’m humbled. To be talked about alongside individuals I look as much as—like Michael McDonald in the identical 12 months as me—is loopy. It hasn’t totally registered but. Most likely will after I’m truly [at the induction ceremony]. I’m blessed to have this profession, however I by no means get caught up in simply yesterday or at this time. I maintain creating for tomorrow.
Whenever you’re within the studio, is it extra round having an outlined venture that you just’re working towards, or is it expressing your self naturally after which if one thing is smart, you reserve it for the proper venture or the proper artist?
Generally I’ll simply create off the whim after which I’ll consider completely different artists that it feels prefer it may work for. Generally, it’d get pushed to the again burner for a 12 months, two, three, 4 years. It simply relies upon. I’ll convey it out afterward and be like, ‘Yo, now’s the time for it.’
There’s at all times this speak with artists, producers, and songwriters the place a track will come out, and you discover out who produced it. The artist says, ‘Hey, why did you even ship me that track?’ Or ‘Why am I simply listening to about it?’ How do you navigate that?
Plenty of instances, we’ve so many songs. A producer will work on most likely 300 concepts, over 300 concepts in a 12 months. You may think about, you’re not placing 300 songs out in a 12 months, so plenty of that stuff, as you accumulate it, you’re not even occupied with it. Generally, I’ve to be reminded. I used to be truly enjoying one thing final night time that I did in 2015 as a result of my son was like, ‘you gotta put any person on that.’
I’m like, that’s seven years previous for me, however it nonetheless sounds present. You simply by no means know, man. You accumulate 1000’s and 1000’s of beats. It’s onerous to recollect what you probably did if you did it, and so on.
Choreographer, Sean Bankhead, talked about that pop artist, Tate McCray, is form of coming into her “Darkchild period.” What does that imply to you if you hear your music referenced in such a definitive manner?
Which means you inform them to name me [laughs]. Plenty of artists of at this time are impressed by issues they’ve heard, however most of it’s to return to the genuine supply of it.
That’s why I cherished after I labored with SZA for instance, SZA was telling me she was impressed by issues that I did. She may’ve had somebody attempt to provide you with concepts that seemed like that, and I’m certain it might’ve nonetheless been fairly cool. It might’ve executed nicely, however she wished to return to the supply that does it. Tate McCray and your choreographer, come on via, come out to the studio and pay attention. Let’s make one thing.
You’ve been identified to transition artists from one sound to a different. Once we consider Toni Braxton, Brandy, Whitney Houston and Michael Jackson, we see that all of them had instances of their profession once they have been transitioning via their sounds and even transitions of their private lives. How do you join with who they have been, who they’re in that second, and who they need to be?
I’m at all times making an attempt to think about the place I believe they need to go. You by no means meet an artist the place they have been beforehand as a producer, as a songwriter. You need to be forward of getting them to go to a spot they’ve by no means been. That’s the entire level of evolving and developing with new issues, proper? New concepts, new sounds. That’s how I deal with it. After I work with artists, I’m at all times pondering, okay, if we’re in 2025, the music might not get heard till 2026 if I work with a particular artist. I’ve to assume just a little bit in a different way, and I’m simply an assistant to the artist, making an attempt to place them in the perfect place potential.
Going into a few of these particular examples, I take into consideration Toni Braxton and the way she had such a departure from her earlier music to then when she labored with you on The Warmth, and the lead single “He Wasn’t Man Sufficient,” which turns 25 this 12 months. That track has gone on to be sampled by artists like Burna Boy with “Final Final.” How does it really feel to see your music take completely different kinds through sampling? And what’s your relationship with letting the music go in a way?
I find it irresistible, ’trigger that’s a part of the legacy of all of it, proper? You had a track that did very well that folks admired a lot that they’re keen to pattern it and put it into a brand new gentle. The Bible says there’s nothing new below the solar anyway, proper? Taking one thing that existed and reimagining it in a brand new manner, I really like that. I really like that it will probably occur time and again. That’s what makes music timeless, proper? That’s what makes it maintain reaching the plenty and the following era, proper? As a result of there’s a era that didn’t expertise Toni Braxton’s “He Wasn’t Man Sufficient.”
Figuring out that Afrobeats has turn into world, what’s your opinion or ideas on it because it’s permeated each nook of music?
I find it irresistible. I even have an entire Darkchild Africa venture that I’m engaged on. It’s actually paying homage to the sound of Africa and Afrobeats and Amapiano. I find it irresistible all. I’ve been working just a little over a 12 months and a half, two years on this venture that I hope can get out possibly on the finish of this 12 months. It’s fairly dope.
You labored with Whitney Houston, particularly on “It’s Not Proper However It’s Okay,” in addition to that complete venture. What are a few of your fondest recollections of working along with her?
Man, I miss Whitney a lot. I actually do. She was one of many artists I began out with early on, and we grew to become pals. She even sang at my dad’s church in New Jersey. Working along with her was a job as a result of after I was 16 or 17, I had a gathering with Clive Davis to current music for Whitney, and he shot it down. Advised me to maintain writing, maintain making an attempt.
A pair years later, I got here again with “It’s Not Proper However It’s Okay”, “If I Advised You That,” “Get It Again” performed it for Whitney, and he or she cherished it. That was a spotlight for me within the early a part of my profession—truly attending to work with Whitney Houston. It was precisely what I signed up for.
You collaborated with Woman Gaga originally of her profession. No person was sounding like her, and he or she was incorporating city and pop parts. Are you ever shocked by how far an artist goes after you’ve labored with them.
No, particularly not any person like Woman Gaga, who was tremendous assured. She advised me how she was gonna change pop music. Once we first labored collectively, we have been writing for different artists, however she already knew what she wished to do as a pop artist. She noticed the void. She went after it. That confidence made it simple for me as a producer to search out her sound. When each of you’re after the identical aim—making one thing particular—all of it strains up.
I additionally take into consideration somebody like Brandy, who was nonetheless in a formative chapter of her profession when she launched Full Moon, certainly one of my favourite R&B albums. What was your headspace creating that album, and the way does it really feel to see it have the legacy it does now, inspiring complete generations of artists like The Weeknd, Jhené Aiko and extra?
Whenever you’re in it, you’re simply making an attempt to make one thing memorable. You don’t notice 10, 15, 20 years later individuals will nonetheless speak about it. All these artists you talked about have advised me that’s their favourite album. It’s superb to consider these moments of creativity. We have been making an attempt new sounds, new textures along with her voice.
I used to be working with Michael Jackson on Invincible on the identical time, so all of it bled collectively. I keep in mind driving round listening to the completed album and pondering, “We did this.” I knew it was particular then, and I nonetheless really feel that manner. I can flip it on now and smile. Brandy’s vocals have been flawless, and everybody was on the prime of their recreation. You’re gonna get a knockout.
You’ve additionally had a huge effect on how producers model themselves—your “Darkchild” tag is among the most acknowledged. How does it really feel to additionally fellow producers and writers to ascertain their very own model?
That was purposeful. After I was doing the Darkchild tag, it was simply a part of the file, and it occurred to be on a number of back-to-back hits. Now artists stroll within the sales space saying “Darkchild” on their very own. I don’t even need to do it anymore.
May you give some perception into this subsequent part, focusing by yourself pursuits, like Darkchild music and albums because the artist-producer, or different mediums of expression?
Proper now, I’m actually centered on a Christian division of my firm, a Christian hip-hop label known as Aliens Alive. That’s the place most of my focus is. It’s full circle for me. Individuals who know my story know I rapped on Kirk Franklin’s “Revolution” in ’98. So, it is a full-circle second.
You may be taught extra in regards to the Songwriters Corridor of Fame and the 2025 Induction & Award Gala at songhall.org