Even as he’s signed to one of Nashville’s biggest labels, Eric Church has amassed more than a little experience over the past nearly two decades in pushing back against the typical Music Row way of doing things, and thus, bursting the confines of how and when artists are expected to create and release albums, approach touring and build a fanbase.
Early in his career, Church was already stacking his albums with songs such as “These Boots” and “Sinners Like Me” that became fan-favorites, regardless of whether they became radio hits. Albums including Sinners Like Me and Carolina spawned hits that broke ever-higher through the ranks on Billboard‘s Country Airplay chart, and by third album Chief, he earned a double-header of Country Airplay No. 1s with “Drink in My Hand” and “Springsteen.” He’s also been quick to pivot when needed to bring music to his fans the way he wants — like after he was let go from an opening slot on Rascal Flatts’ tour in 2006, when he booked a series of club shows in the same cities, on the same nights as the Flatts tour would play, and dubbed it the “Me and Myself Tour.”
Not content with the status quo, he’s shaken things up with songs such as the marijuana-centered “Smoke a Little Smoke,” and music videos for “Lightning” and “Homeboy” that were filmed the former Tennessee State Prison. He took his 2015 album Mr. Understood directly to fans first, with a surprise release to members of his fanclub. And more recently, he’s displayed his artistic freedom onstage at freewheeling residencies and/or shows at the Country Music Hall of Fame and Museum, as well as at own Chief’s bar in downtown Nashville, and during festivals such as CMA Fest and Stagecoach.
So, it’s no surprise that many songs on Evangeline Vs. The Machine album, out today (May 2), center on the power of music as a healer, encourager, energy lifter, emotional solace and infinite creative source. However, the muses behind the steely-eyed defiance that vibrates through the album run far deeper and wider than the Nashville industry’s machinations. Inspired by the collaborative approach of New Orleans jazz, Church approached the new album with the all-encompassing, spontaneous nature of a live show, teaming again with producer Jay Joyce and bolstering his core blend of country, rock and soul with a choir, horns and full-bodied strings.
What his succinct, eight-song album lacks in length, it more than makes up for in depth of creativity and intention, with songs that stretch well beyond country music’s typical lyrical trifecta of relationships, trucks and alcohol. Evangeline Vs. The Machine finds Church writing and recording songs inspired by his own discomfort with being creatively bound, as well as by the natural disaster of Hurricane Helene and by the tragedy of the Covenant School shooting that took place in 2023.
Here, Billboard ranks the eight songs on his new project.
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