Blue October
Blue October is an American alternative rock band formed in 1995 in Houston, Texas, by lead vocalist and guitarist Justin Furstenfeld, his brother drummer Jeremy Furstenfeld, and multi-instrumentalist Ryan Delahoussaye.[1] The group is renowned for its emotionally raw lyrics exploring themes of mental health, addiction, and personal struggles, often drawn from Furstenfeld's own experiences, blended with a post-grunge sound incorporating violin and piano elements.[2] The band's breakthrough came with their 2006 album Foiled, which achieved platinum certification in the United States and Canada, propelled by the hit singles "Hate Me" and "Into the Ocean," both of which reached platinum status and marked their first major commercial successes.[3] Over nearly three decades, Blue October has released thirteen studio albums, including notable works like History for Sale (2003), Any Man in America (2011)—their highest-charting release at number eight on the Billboard 200—and more recent efforts such as Spinning the Truth Around (Part I) (2022), Spinning the Truth Around (Part II) (2023), and Happy Birthday (2024).[4] They have amassed over twenty Top 40 singles on the Billboard Alternative Airplay chart and maintain a dedicated fanbase through extensive touring, including a 30th anniversary tour in summer 2025.[5] The current lineup consists of Justin Furstenfeld on lead vocals and guitar, Jeremy Furstenfeld on drums and percussion, Ryan Delahoussaye on violin, viola, mandolin, piano, and backing vocals, Matt Noveskey on bass guitar, and Will Knaak on lead guitar.[6] Early in their career, the band earned multiple Houston Press Music Awards, including Best New Act in 1998 and Best Pop/Rock Artist in subsequent years, recognizing their local roots and rising prominence in the Texas music scene.[7] Blue October's music has evolved from introspective indie releases to polished mainstream rock, while Furstenfeld's advocacy for mental health awareness—through initiatives like his book I Laugh At Myself and sobriety-focused projects—has become a defining aspect of their legacy.[8]History
Formation and early years (1995–1998)
Blue October was formed in 1995 in Houston, Texas, by singer, songwriter, and guitarist Justin Furstenfeld, his brother Jeremy Furstenfeld on drums and percussion, and multi-instrumentalist Ryan Delahoussaye on violin, cello, keyboards, mandolin, and guitar.[9] The band's origins trace back to Justin Furstenfeld's earlier musical experiences; at age 13, he had started a group called The Last Wish, which disbanded around the time Blue October came together.[10] Furstenfeld and Delahoussaye, who had been high school acquaintances, collaborated to create an emotionally driven alternative rock sound characterized by introspective lyrics and eclectic instrumentation.[8] In their formative years, the trio focused on building a local presence through performances at Houston-area clubs and venues, refining a style that mixed post-grunge energy with violin-infused arrangements.[11] By late 1997, with the addition of bassist Doug Williams, the band entered Sound Arts Recording Studio in Houston to record material that reflected Furstenfeld's personal struggles and storytelling approach.[3] The group's debut album, The Answers, was self-produced and released in January 1998 on the independent label RoDan Entertainment (also known as Scoop LLC).[12] Recorded in October 1997, the 12-track effort included songs like "The Answer," "Two A.M. Lovesick," and a re-recorded track from Furstenfeld's previous band, "Black Orchid," showcasing the band's raw, confessional indie rock aesthetic.[13] To mark the occasion, Blue October held a release show at Fitzgerald's nightclub in Houston on January 3, 1998, solidifying their grassroots connection with the local scene.[14]Building momentum and indie releases (1999–2005)
In 1999, Blue October signed with Universal Records, transitioning from independent status following their 1998 debut album The Answers. This deal led to the release of their second studio album, Consent to Treatment, on August 15, 2000, which featured a more polished alternative rock sound with introspective lyrics centered on personal struggles and relationships.[15] The album included tracks like "Retarded Disfigured Clown" and "James," showcasing frontman Justin Furstenfeld's raw vocal delivery and the band's incorporation of violin elements from multi-instrumentalist Ryan Delahoussaye. Despite critical praise for its emotional depth, Consent to Treatment underperformed commercially, failing to chart significantly and leading to the band's dismissal by Universal in 2002.[9][16] Following their label drop, Blue October returned to independent releases, self-managing their career through relentless touring across the U.S., particularly in the Southwest, to cultivate a dedicated grassroots fanbase. In 2003, they issued their third studio album, History for Sale, on April 8 via the Dallas-based indie label Brando Records, co-produced by Furstenfeld and the band. The album marked the debut of guitarist C.B. Hudson and explored themes of redemption and vulnerability with songs such as "Amazing" and "If I Were a Painter," earning positive reviews for its cohesive post-grunge style and helping the band win Houston Press awards for Best Pop/Rock Artist in 2002 and 2003.[17][18] To further capitalize on their growing live following, Blue October released the double live album and concert film Argue with a Tree... on September 14, 2004, recorded at the Lakewood Theater in Dallas on June 4, 2004; it captured high-energy performances of fan favorites like "Calling You" and "Ugly Side," reinforcing their reputation for intimate, cathartic shows.[19][20] This period of indie hustle solidified Blue October's regional prominence in Texas, where they amassed a loyal audience through consistent performances at mid-sized venues and festivals, setting the stage for major-label interest. By late 2004, the band's persistent momentum—fueled by over 200 shows annually and word-of-mouth buzz—culminated in a signing with Island Def Jam Records, positioning them for broader success.[9][21]Breakthrough and mainstream success (2006–2008)
Blue October achieved their breakthrough with the release of their fourth studio album, Foiled, on April 4, 2006, via Universal Records. The album marked the band's major-label debut following independent efforts, featuring introspective lyrics centered on frontman Justin Furstenfeld's personal struggles with mental health and relationships, paired with a polished alternative rock sound incorporating strings and dynamic arrangements. Debuting at number 29 on the Billboard 200 chart, Foiled eventually peaked there and spent 62 weeks on the list, driven by strong radio airplay and fan support.[22][23] The lead single, "Hate Me," released in early 2006, propelled the band into the mainstream, reaching number 2 on Billboard's Alternative Airplay chart, number 31 on the Hot 100, and number 5 on the Adult Pop Songs chart. Its raw, confessional video and theme of familial tension resonated widely, contributing to Foiled's rapid commercial ascent; the album was certified gold by the RIAA on August 9, 2006, and platinum on February 22, 2007, signifying over one million units sold in the U.S. Follow-up single "Into the Ocean" further solidified their presence, peaking at number 53 on the Hot 100 and number 10 on the Adult Pop Songs chart, emphasizing themes of escape and redemption. These hits not only established Blue October on national radio but also earned them MTV Video Music Award nominations in 2006 for "Hate Me."[24][25][26] Throughout 2006 and 2007, the band embarked on extensive touring to capitalize on their momentum, including opening for high-profile acts like the Rolling Stones in Boise, Idaho, on November 14, 2006, and sharing stages with Nickelback and Staind on arena tours. In 2007, they released the live album Foiled for the Last Time, capturing performances from their U.G. Lyfe Tour and debuting at number 106 on the Billboard 200, which extended their visibility through acoustic renditions of Foiled tracks. By 2008, Blue October maintained their success with headlining tours across North America and a unique four-city outing where Furstenfeld performed alongside Twilight author Stephenie Meyer, premiering new material to sold-out crowds and bridging their fanbase with literary audiences. This period cemented the band's reputation for emotionally charged live shows, with over 100 concerts annually, fostering a dedicated following amid their rising profile.[27][28]Challenges and experimentation (2009–2012)
Following the breakthrough success of their previous albums, Blue October encountered significant personal and professional hurdles in 2009, primarily stemming from frontman Justin Furstenfeld's ongoing battles with mental health and addiction. The band's fifth studio album, Approaching Normal, released on March 24, 2009, delved deeply into these struggles, with tracks like the opening "Weight of the World" chronicling Furstenfeld's experiences with depression, alcohol, and drug use during tour downtime.[29] Produced by Steve Lillywhite and recorded across Austin, Texas, and Tokyo, the album marked a raw, introspective shift, blending alternative rock with emotional vulnerability, though it debuted at No. 13 on the Billboard 200, selling 37,000 copies in its first week.[28][30] However, these themes foreshadowed escalating challenges; later that year, on October 22, 2009, the band canceled their "Pick Up the Phone Tour" after Furstenfeld was hospitalized for a severe mental anxiety attack, forcing the postponement of multiple dates and highlighting the toll of his conditions on live performances.[31] In response to these setbacks, Blue October began experimenting with more intimate, stripped-down formats to reconnect with fans and allow Furstenfeld space for recovery. Starting in 2010, the band incorporated extensive acoustic sets into their shows, emphasizing storytelling and emotional delivery over high-energy production. This approach culminated in Ugly Side: An Acoustic Evening with Blue October, a live album recorded during July 2010 performances in Austin, Dallas, and Houston, and released on May 10, 2011, via Up/Down Records in association with Brando Records. The record reimagined earlier hits like "Hate Me" and "Into the Ocean" in a folk-inflected, unplugged style, showcasing the band's versatility and Furstenfeld's vocal fragility as a means of therapeutic expression.[32] This experimentation not only revitalized their stage presence but also aligned with Furstenfeld's personal healing, as he navigated sobriety and therapy amid ongoing personal turmoil. Parallel to these artistic pivots, Furstenfeld's 2009 divorce and subsequent custody battle over his daughter profoundly influenced the band's output, leading to the formation of their independent label, Up/Down Records, in 2011. The sixth studio album, Any Man in America, released on August 16, 2011, served as a concept record grappling with these events, with songs like "The Worry List" and "The Feel Again (Stay)" articulating themes of loss, regret, and paternal longing through raw, narrative-driven lyrics. Produced by Tim Palmer at Matchbox Studios in San Marcos, Texas, the album's darker, orchestral arrangements reflected this emotional depth, debuting at No. 8 on the Billboard 200 and underscoring the band's transition to self-managed creativity.[33] By 2012, amid renewed touring—including acoustic-driven sets and previews of upcoming material—Blue October demonstrated resilience, with Furstenfeld crediting his recovery process for fostering a more stable creative environment.[28]Independent era and creative output (2013–2019)
Following their departure from major-label affiliation with Universal Records in 2011, Blue October established their own independent imprint, Up/Down Records, allowing frontman Justin Furstenfeld full creative control over the band's output. This shift marked the beginning of a prolific independent phase, characterized by introspective songwriting rooted in Furstenfeld's personal recovery from addiction and his embrace of sobriety. The era's first major release, the studio album Sway in August 2013, debuted at No. 13 on the Billboard 200 and showcased a brighter, more optimistic tone compared to prior works, with Furstenfeld describing it as an "empowering record" co-produced by himself and David Castell. Tracks like "Angels in Everything" and "Bleed Out" highlighted themes of resilience and emotional healing, reflecting Furstenfeld's post-rehab mindset, while the album's polished alternative rock sound maintained the band's signature blend of post-grunge energy and melodic hooks.[34][35] Building on this momentum, Blue October released Home, their eighth studio album, in April 2016 via Up/Down Records, co-produced by Furstenfeld and Tim Palmer (known for work with U2 and Pearl Jam). The record topped the Billboard Top Rock Albums chart and emphasized themes of stability, family, and newfound positivity, with Furstenfeld noting in interviews that it captured his "happy" state after overcoming years of personal struggles. Standout songs such as "Driver" and the title track explored domestic bliss and self-acceptance, delivered through layered production featuring strings and atmospheric elements that evolved the band's sound toward a more mature, art-rock sensibility. Critics praised its cohesion and emotional depth, marking it as a pivotal work in the band's independent catalog that resonated with fans through its honest portrayal of recovery's rewards. The album supported an extensive "Home Tour" across North America, including headline shows and festival appearances, solidifying Blue October's grassroots fanbase without major-label promotion.[24][36][37] In 2018, the band issued I Hope You're Happy, their ninth studio album on Up/Down and Brando Records, which continued the era's focus on letting go of past pain and extending compassion to others. Released in August, it featured the single "I Hope You're Happy," which peaked at No. 14 on the Billboard Alternative Songs chart, and delved into reflective narratives about relationships and forgiveness through dynamic tracks like "King" and "Daylight." Furstenfeld's lyrics balanced melancholy with hope, often drawing from his life as a father and sober artist, while the album's production incorporated electronic flourishes and orchestral swells for a cinematic feel. Despite mixed reviews on its pop leanings, it was lauded for its emotional authenticity and served as a capstone to the band's creative independence. The accompanying "I Hope You're Happy Tour" spanned late 2018 into 2019, with high-energy performances that included fan favorites alongside new material, culminating in the live album Live from Manchester recorded during UK dates in early 2019, which captured the band's raw stage presence and enduring connection with international audiences.[38][39][40]Recent albums and tours (2020–2025)
In 2020, Blue October released their tenth studio album, This Is What I Live For, on October 23 via Up/Down-Brando Records. The album featured 13 tracks blending alternative rock with introspective lyrics, including singles like "Oh My My" and "The Weatherman," and marked the band's continued exploration of personal resilience amid global challenges.[41] Touring was severely limited that year due to the COVID-19 pandemic, with the band pivoting to livestream performances, such as the Foiled album livestream concert on September 26, which recreated their 2006 breakthrough set for virtual audiences.[42] The band resumed more extensive touring in 2022 following the release of Spinning the Truth Around (Part I) on October 14, their eleventh studio album, which delved into themes of emotional turmoil and recovery through 12 songs produced by David Leonard. This installment kicked off a conceptual double album project, supported by U.S. headline dates and festival appearances that showcased evolving arrangements of older material alongside new tracks. In 2023, Spinning the Truth Around (Part II) arrived on October 13, completing the set with 13 additional songs emphasizing vulnerability and growth, while the band conducted a 16-show European tour, their first major international run post-pandemic, performing in cities like London and Berlin. In summer 2025, Blue October conducted a tour celebrating their 30th anniversary as a band and released vinyl editions of their first four albums for the first time.[43] By 2024, Blue October issued Happy Birthday on December 14, a 13-track collection of remixes, covers, and new material reflecting on life's milestones, released independently through Up/Down-Brando. The album included collaborations and reinterpretations of fan favorites, reinforcing the band's signature emotional intensity. Touring that year included select U.S. dates and special events, building momentum for future releases. Looking ahead to 2025, the group announced their fourteenth studio album, We Didn't Die Young, slated for a fall release, alongside the supporting "We Didn't Die Young" headlining tour, featuring over 20 North American shows starting in October, with opening acts like James and the Cold Gun.[44]Musical style and themes
Influences and sound evolution
Blue October's musical influences draw heavily from art rock and alternative traditions, shaped primarily by frontman Justin Furstenfeld's early exposures. Furstenfeld has cited Peter Gabriel and Genesis as pivotal, particularly Gabriel's theatrical vocal style and the band's progressive experimentation, which informed the group's emotive delivery and layered arrangements.[45] Similarly, The Smiths, especially guitarist Johnny Marr's intricate, melodic playing, influenced Furstenfeld's songwriting approach, blending introspective lyrics with dynamic guitar work.[46] Other key inspirations include R.E.M.'s Michael Stipe for raw emotional expression and Roy Orbison's dramatic balladry, alongside blues influences from his grandfather's playing.[46] These elements contribute to the band's signature fusion of jagged fuzz guitars, violin warmth, and neurotic lyricism, evoking both skepticism and visceral energy.[47] The band's sound began as raw alternative rock and post-grunge in their formative years, evident in debut album The Answers (1998), which featured heavier, fuzz-driven guitars and unpolished energy rooted in Houston's indie scene.[48] Early releases like Consent to Treatment (2000) and History for Sale (2003) maintained this art-rock edge, incorporating violin from Ryan Delahoussaye to add melodic depth amid aggressive rhythms.[47][16] By their breakthrough Foiled (2006), produced for a broader audience, the sound shifted toward a more "radio-ready" polish, emphasizing catchy hooks and streamlined production while retaining emotional intensity, as seen in hits like "Hate Me." This evolution marked a departure from indie grit to accessible alternative rock, boosting mainstream appeal.[48] In subsequent albums, Blue October further refined their style, incorporating electronic rhythms and atmospheric elements during periods of personal and lineup challenges. Approaching Normal (2009) introduced experimental introspection with organic-electronic blends, reflecting Furstenfeld's recovery themes.[29] Later works like Any Man in America (2011) added fuller guitar layers via guest collaborators, echoing Marr-inspired shredding for a more robust texture.[46] By the 2020s, albums such as Spinning the Truth Around (Part I) (2022), Spinning the Truth Around (Part II) (2023), and Happy Birthday (2024) showcased bolder atmospheric production and novel synth-pop infusions, evolving from heavier origins to a mature, dreamlike sound that balances grit with refinement.[49][50] This progression highlights the band's adaptation to independent status post-2013, prioritizing lyrical depth over genre constraints while staying true to their emotive core.[51][48]Lyrical content and personal storytelling
Blue October's lyrics, primarily penned by frontman Justin Furstenfeld, are renowned for their raw, confessional style that draws directly from his personal experiences, transforming intimate vulnerabilities into universally relatable narratives. Furstenfeld has described his songwriting as a therapeutic outlet, often weaving autobiographical elements into tracks that explore the complexities of human emotion without filter. This approach fosters a deep connection with listeners, as the band's music serves as both a mirror to personal turmoil and a beacon of resilience.[52][53] Central to the band's lyrical content are themes of mental health struggles and addiction, which Furstenfeld addresses with unflinching honesty. Songs like "Hate Me" from the 2006 album Foiled encapsulate the isolation and self-loathing associated with substance abuse, depicting the internal torment of an addict confronting their impact on family—specifically, Furstenfeld's own relationship with his mother during his battles with drugs. This track, which became a breakthrough hit, resonates particularly with those in recovery, as it articulates the nocturnal regrets and pleas for understanding that define addiction's grip. Broader albums such as Any Man in America (2011) extend this introspection to examine failed relationships exacerbated by mental health issues, including bipolar disorder and depression, portraying love as both a source of pain and potential healing.[25][54][36] Over time, Blue October's storytelling has evolved from raw depictions of despair to narratives of redemption and hope, reflecting Furstenfeld's journey toward sobriety and emotional growth. In his "Open Book" performances, a format he has maintained for over a decade, Furstenfeld shares the real-life anecdotes inspiring songs from early works like The Answer (1998) to later releases such as Home (2016), where tracks chronicle his path to stability and gratitude after years of addiction and divorce. This shift is evident in lyrics that balance vulnerability with uplift, as seen in This Is What I Live For (2020), which confronts ongoing mental health challenges but emphasizes support systems and perseverance, a theme continued in subsequent albums like Spinning the Truth Around (Part II) (2023) and Happy Birthday (2024). By attributing specific verses to pivotal life events—like legal battles or family reconciliations—Furstenfeld's approach not only demystifies the creative process but also advocates for mental health awareness, encouraging fans to confront their own stories.[55][56][53]Band members
Current members
The current lineup of Blue October consists of five core members, each contributing to the band's signature alternative rock sound through their instrumental roles and long-term involvement.[57] Justin Furstenfeld serves as the lead vocalist, guitarist, and primary songwriter, having founded the band in 1995 and shaped its introspective lyrical style. His brother, Jeremy Furstenfeld, handles drums and percussion, providing rhythmic drive since the group's inception.[57][1] Ryan Delahoussaye contributes violin, mandolin, piano, and backing vocals, adding the band's distinctive string elements and multi-instrumental textures that evolved from his joining in 1995. Matt Noveskey plays bass, bringing foundational grooves and rejoining the band in 2007 after earlier stints, enhancing the low-end support for live and studio work.[57][1] Will Knaak joined as lead guitarist for live performances in October 2025, rejoining after a previous stint with the band, and supporting the ongoing "We Didn't Die Young" tour. This configuration has supported Blue October's tours as of November 2025.[58]Former members
Blue October has experienced several lineup changes throughout its history, particularly in the rhythm section and guitar roles, as the band evolved from its indie roots to mainstream success. Early iterations featured a rotating cast of musicians supporting core members Justin Furstenfeld, Jeremy Furstenfeld, and Ryan Delahoussaye, with shifts often tied to album cycles and touring demands.[2] Key former members include:| Member | Role | Tenure |
|---|---|---|
| Liz Mulally | Bass, keyboards | 1995–1998 |
| Brant Coulter | Lead guitar | 1999–2000 |
| Dwayne Casey | Bass | 2002–2006 |
| C.B. Hudson | Guitar, backing vocals | 2000–2010 (with returns until 2016) |
| Matthew Ostrander | Guitar | 2016–2020 |
| Will Knaak | Guitar | 2017–2023 (intermittent) |
| Steve Schiltz | Lead guitar | 2023–2025 |
Discography
Studio albums
Blue October has released thirteen studio albums over their nearly three-decade career, beginning with independent releases and progressing to major label and self-released works under their Up/Down imprint. Their early albums established a post-grunge and alternative rock foundation, while later efforts incorporated more acoustic, electronic, and introspective elements, often drawing from frontman Justin Furstenfeld's personal experiences with mental health and relationships. The band's breakthrough came with their 2006 album Foiled, which achieved platinum status and featured hit singles like "Hate Me" and "Into the Ocean." Subsequent releases have maintained a focus on emotional storytelling, with recent albums exploring experimental structures, such as the multi-part Spinning the Truth Around series.[63][64] The following table lists their studio albums in chronological order:| Title | Release year | Label |
|---|---|---|
| The Answers | 1998 | Self-released |
| Consent to Treatment | 2000 | Up/Down |
| History for Sale | 2003 | Universal |
| Foiled | 2006 | Universal Republic |
| Approaching Normal | 2009 | Universal Republic |
| Any Man in America | 2011 | Up/Down |
| Sway | 2013 | Up/Down |
| Home | 2016 | Up/Down / Brando |
| I Hope You're Happy | 2018 | Up/Down |
| This Is What I Live For | 2020 | Up/Down |
| Spinning the Truth Around (Part I) | 2022 | Up/Down |
| Spinning the Truth Around (Part II) | 2023 | Up/Down |
| Happy Birthday | 2024 | Up/Down |
Live albums and EPs
Blue October has released several live albums that capture the band's energetic performances and fan interactions, often recorded during tours or special events to complement their studio output. These releases highlight the group's evolution from raw alternative rock to more polished, emotionally charged shows. In addition, the band has issued a handful of EPs, primarily in their early years and later as promotional or remix collections, providing deeper dives into specific tracks or acoustic interpretations. The band's first notable live recording, Argue with a Tree... (2004), was a live album and DVD captured during early tours, featuring raw performances of tracks from History for Sale and earlier material. Released via Brando/Universal, it showcased the band's developing stage presence. The 2007 double-disc set Foiled for the Last Time paired an expanded studio edition of their platinum-certified album Foiled with a full live rendition of the same material, recorded during their 2006-2007 tour. This release, featuring over an hour of live audio including hits like "Into the Ocean" and "Hate Me," showcased Blue October's ability to translate their introspective lyrics into dynamic stage experiences.[66] In 2006, Blue October issued Live at Lollapalooza 2006, a digital-only live EP capturing their set from the Chicago festival, including tracks such as "Hate Me" and "Calling You" amid a high-energy crowd atmosphere. This short collection (around 20 minutes) marked an early foray into festival documentation, emphasizing the band's rising mainstream appeal post-Foiled.[67] Ugly Side: An Acoustic Evening with Blue October (2011) presented a stripped-down, intimate live performance focused on acoustic arrangements of fan favorites like "Ugly Side" and "The End," recorded during a special tour stop. Released via Brando Records, the 13-track album underscored the vulnerability in frontman Justin Furstenfeld's vocals and the band's versatility beyond electric rock.[68] The 2015 release Things We Do at Night (Live from Texas) stands as one of the band's most comprehensive live efforts, a 20-track double album recorded across multiple Texas venues during their home-state tour. It includes staples like "Sway" and "Home," blending high production with raw crowd energy, and was accompanied by a concert film. Clocking in at over 100 minutes, it captured Blue October at a creative peak, post their Home studio album.[69] Live from Manchester (2019), recorded during the European leg of the I Hope You're Happy tour at the Albert Hall in Manchester, UK, features 16 songs including "Into the Ocean" and "Fear," delivered with orchestral elements for added depth. This Up/Down Records release highlighted the band's international draw and theatrical live style, with runtime exceeding 70 minutes.| Title | Release Year | Type | Label | Key Details |
|---|---|---|---|---|
| Argue with a Tree... | 2004 | Live Album/DVD | Brando/Universal | Early live performances; includes tracks from History for Sale |
| Foiled for the Last Time (Live Disc) | 2007 | Live Album | Universal Records | 15 tracks; live version of Foiled album |
| Live at Lollapalooza 2006 | 2006 | Live EP | Universal Records | 4 tracks; festival recording |
| Ugly Side: An Acoustic Evening with Blue October | 2011 | Live Album | Brando Records | 13 acoustic tracks |
| Things We Do at Night (Live from Texas) | 2015 | Live Album | Up/Down Records | 20 tracks; multi-venue Texas shows |
| Live from Manchester | 2019 | Live Album | Up/Down Records | 16 tracks; UK orchestral performance |
Singles and other releases
Blue October has released numerous singles, many achieving success on the Billboard Alternative Airplay chart. The band has thirteen top 40 entries on this chart as of November 2025. Notable singles include "Hate Me" (2006, peak #2) and "Into the Ocean" (2006, peak #20), both from Foiled. Recent releases include "Everything We Lost in the Fire" (2024, peak #30) and "Hot Stuff" (2025, peak #17).[65] The following table lists selected top 40 singles on the Alternative Airplay chart:| Single | Release Year | Peak Position | Album |
|---|---|---|---|
| Hate Me | 2006 | 2 | Foiled |
| Into the Ocean | 2006 | 20 | Foiled |
| Dirt Room | 2008 | 7 | Foiled |
| Say It | 2009 | 28 | Approaching Normal |
| The Chills | 2011 | 27 | Any Man in America |
| Bleed Out | 2013 | 22 | Sway |
| I Hope You're Happy | 2018 | 15 | I Hope You're Happy |
| Daylight | 2018 | 25 | I Hope You're Happy |
| Oh My My | 2020 | 12 | This Is What I Live For |
| Where Did You Go I'm Less of a Mess These Days | 2022 | 18 | Spinning the Truth Around (Part I) |
| Down Here Waiting | 2023 | 22 | Spinning the Truth Around (Part II) |
| Everything We Lost in the Fire | 2024 | 30 | Happy Birthday |
| Hot Stuff | 2025 | 17 | Standalone single |