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Renowned country music artist Eric Church has unveiled his highly anticipated album titled “Evangeline vs. the Machine.” If you are familiar with his iconoclastic approach—which transcends traditional country music norms—you can easily guess which aspect of the title he leans towards. While he maintains his impressive streak of hits and continues to hold his status as a major live performer, Church has deliberately crafted unique moments in this album. This is evident in his live performances and, particularly in this record, where you can find orchestral strings, horns, and a choir featured prominently on almost every track.

In an engaging discussion with Variety just before the release of this eight-track album, Church elaborated on what inspired him to incorporate such distinctive musical elements throughout the project. He also hinted at how much of this style will carry over into his upcoming fall tour, tickets for which go on sale on May 9. It’s clear that even the unique structure of the concerts he has planned reflects a thoughtful artist who is charting his own course while attracting an expansive audience. Despite facing criticism from some who believe he should stick to the traditional hits, Church remains undeterred and is determined to make his mark with Evangeline.

What significance does the title “Evangeline vs. the Machine” hold for you? While there is a track titled “Evangeline” on the album, it only represents part of the overall title concept.

Observing how children engage with their environment today, whether through TikTok, YouTube, or podcasts, reveals our deep connection to our devices and the overarching “machine” we navigate daily. For me, the title symbolizes a struggle between creativity and the mechanism that fosters it. This mechanism can often stifle or dull the edges of true artistic expression. I’ve experienced this firsthand in my career. For instance, my performance at Stagecoach last year was a highly creative, one-of-a-kind show, yet it existed within a larger, mechanized framework. This album embodies the tension between the creative spirit and the machine that it must adapt to. As I grow older, I’ve noticed that embracing this creative essence becomes increasingly challenging in a world that often values the disposable over the special. This lengthy explanation captures the essence of where the title originated.

Reflecting on your memorable performance at Stagecoach, where you showcased a unique set with a choir, how did that experience shape the music you wanted to create?

Absolutely, and I appreciate that. The most crucial question for me was, Was it a good performance? The reaction I received was unprecedented. I’ve never poured so much effort and investment into a show as I did for that performance, as it was solely reliant on me and the choir’s voices. For 90 to 100 minutes, the responsibility was mine to deliver. While some may argue that the setting at Stagecoach, with its plethora of TikTok content creators, was not ideal, I understood that the platform could amplify a creative moment like that far more than a regular show in Iowa. Ultimately, when I listened to the recording afterward, I felt it was a success. It was executed well, and that’s what matters most to me.

It’s reminiscent of Bob Dylan’s electrifying moment at Newport, which was initially met with mixed reviews. People often reference it as a significant turning point in music history, yet many attendees at the time felt it fell flat. Sometimes, as an artist, you must be willing to push creative boundaries and say, “This is a unique experience for this audience, and we’re fully committing to this moment.” You need to trust your artistic instincts and allow them to guide you throughout the creative process.

This album embraces a specific vibe and takes creative risks, yet it may not be polarizing. By focusing on a single cohesive sound, it’s easier to establish a vibe than when releasing multiple albums simultaneously, as I did with “Heart,” “&”, and “Soul.” This album is compact, containing just eight tracks, even though I had many more songs written. I aimed for a stylistic consistency, so how did I determine the tone or style of this project?

A lot of this stems back to my performance at Stagecoach, in a way. The sentiment from that show bled into the new album. After Stagecoach, we went into the studio, and I became fascinated with incorporating orchestral elements like strings, horns, and a choir, capturing those sounds live. When we first recorded the initial song, it felt like a daring experiment. It was inspiring to hear those diverse instruments’ interpretations of the music. I distinctly remember the moment the voices and strings came together, creating a tension in the song that my guitar alone couldn’t convey. So, back to your question, not every song translates well to that orchestral setting.

When I think of “Clap Hands,” a song by Tom Waits, I recall watching a film where that song played during a dramatic moment. I noticed a different element within it, so I grabbed my guitar as the credits rolled, rewound the film, and worked the song out in my head. It wasn’t something I initially considered, but I believed it could work beautifully with our current lineup. I arranged it acoustically and shared it with Jay Joyce, my longtime producer. He was immediately enthusiastic, suggesting we cut it the following day. We went into the studio and recorded “Clap Hands.” This experience highlights the importance of being attentive to the room’s energy and selecting songs that fit that atmosphere.

How much creative freedom did you allow yourself while working on this project?

One of the latest additions to the album was “Fingers of Time,” which is our current single. We decided to incorporate that along with “Rocket’s White Lincoln.” The reason for their later addition was that when you introduce strings and orchestral elements, the drama intensifies, creating a rich, thick sound. Initially, we planned for the album to contain just six songs. As we revisited the recordings, I realized that while everything sounded great, it felt too serious. There wasn’t any smile or relief from the tension within the album. I voiced my thoughts, and Jay completely agreed with me.

This collaborative approach allowed us to build upon the album, recognizing what it needed. We added “Fingers of Time” and “Rocket’s White Lincoln” to introduce a bit of levity and a new flavor to the project, all while maintaining the essence of what we had created in the studio.

Several songs—seven or eight, to be precise—that didn’t make the album could easily be considered hit songs. The previous time we recorded was in January 2020, just before the onset of COVID-19. The release was delayed until 2021 because, like everyone else, we were uncertain about the world’s direction. The last time my team and I were together in the studio was over five years ago, which left me with a backlog of songwriting and material I knew fans would love. Many songs that didn’t make it onto this album are excellent, but they simply didn’t resonate with the current sound we were cultivating in the studio. It’s fascinating that some songs evolved in ways I never anticipated when I first sat down with just my guitar.

What was the first track you recorded that made you feel truly connected to the project?

For me, that moment came the very first time I stepped into the studio. Typically, when you enter a studio, you have your band or a small team present. However, this time I walked in to find 40 people in the room—strings, horns, and a choir of ten strong voices. The dynamic shifted dramatically. Introducing elements like strings, horns, and a choir added layers to the music that I had never experienced before. It wasn’t just about getting the drums tuned right; it transformed into a performance-centric endeavor. Each section knew its role, and it was up to me to deliver that performance and capture it authentically. I think the vibe emerged somewhere between “Bleed on Paper” and “Johnny,” which I had been performing during my residency in Nashville with a choir.

What we often miss in music today is the coherence of an album. Many records span 35 songs, making it challenging to maintain a consistent vibe. With two decades in the industry and numerous albums under my belt, I aimed to create an album with a definitive essence, reminiscent of classic records like “Pet Sounds.” We had to establish a clear identity for this project. It’s true that we left some significant hits on the cutting room floor. We tried various songs and ultimately decided that they didn’t enhance the album’s integrity. When you can hone in on an album’s vibe, you can really make it resonate.

I understand that this perspective might be seen as old-fashioned, but I still gravitate towards albums that have a cohesive sound. You can hear a song and instantly identify its origin. Jay and I both agreed that while this approach might be risky, we wanted to lean into it.

You mentioned the large ensemble involved in your recordings, but the sound doesn’t always come off as lush. Instead, there are edgy or minimalistic elements that balance the rich instrumentation.

Orchestral music has a long history, but today, it often gets relegated to large power ballads. Frequently, the string components can be replicated through a keyboard. I told Jay that I wanted this album to feel cinematic. Strings excel at building tension—something you can also achieve with guitars through various chord progressions. Using minor and major chords creatively, along with diminished elements, adds a layer of tension. However, the strings inherently possess a unique ability to elevate that tension.

Several tracks in this album explore a theme prevalent throughout your career: writing about the essence of music itself. From “Springsteen” to “Record Year,” you’ve continually revisited this concept, including a few songs on this latest album. It’s fascinating how your work reflects on the power songs hold.

I am a genuine music lover. I still believe that music serves as a magical journey. It possesses a unique ability to transport us to different times and places, evoking powerful memories. I can recall specific songs and the moments tied to them, whether it was driving with a girlfriend or enjoying a concert on the lawn. A significant part of my career has revolved around capturing these sentiments. While I could easily create catchy songs that don’t provoke such reflections, I naturally gravitate towards those that do. There are certain songs that have left a lasting impact on my life and make me feel youthful again. This is precisely what “Fingers of Time” expresses—the entire chorus embodies this idea. Many people resonate with this feeling when they hear the song. It’s a shared experience, especially when I listen to music with my children, who are 13 and 10. We get in the car, and they want to play the latest TikTok hits while I introduce them to The Allman Brothers. I often say, “Trust me, you need to know this.” As I age, I find myself appreciating the musical foundations that shaped my identity.

When you reference various songs in “Fingers of Time,” how do you choose which ones to highlight?

You better make sure they’re noteworthy!

Recently, you performed a benefit concert for the victims of Hurricane Helene in North Carolina, featuring “Darkest Hour,” which is included in this album. Do you feel that song connects directly to the hurricane experience?

Interestingly, it didn’t begin that way. Before the hurricane struck, we had already recorded the song. It’s fascinating how the creative process aligns with real-life events. Initially, I had the chorus tuned three keys lower, influenced by the sounds of Sly and the Family Stone, and I experimented with a falsetto I had never attempted before. It was quite a challenge. After the hurricane hit, I called my manager and expressed that although we were off schedule, I couldn’t think of a song more fitting for the moment than “Darkest Hour.” We decided to prioritize its release, deviating from our usual schedule.

While it wasn’t our original choice for a single, its thematic relevance to the situation was undeniable. I genuinely love the song; however, I understand it can be polarizing for some fans. I don’t mind that polarization; in fact, as I progress in my career, I believe it’s something to embrace. If I merely aimed to create hits, I could have easily done so, given my experience. However, this song felt unique and unlike anything we had released before, especially with its processional wedding march intro. It was different and resonated with the sentiment I wanted to express in North Carolina as people came together to help.

We dedicated this song to North Carolina and successfully raised funds for those affected. This experience reinforced the idea that music can indeed matter. Looking back on my career, one of the highlights I’ll cherish is the impact we made with “Darkest Hour” and how we approached it.

You’ve recently announced a new tour. Can you summarize your thoughts on its scope and significance?

For this tour, my vision includes three shows at Red Rocks in Colorado. Each stop will reflect the essence of those three nights. On the first night, we’ll feature an orchestra and a large band. The second night will showcase my core group, the Original Gang. Finally, on the third night, I’ll perform acoustically. The typical one-night show will incorporate elements from all three Red Rocks performances. You’ll experience the essence of Evangeline, complete with strings and horns woven into some of our classic tracks. You’ve seen songs like “Mistress (Named Music)” and “Knives (of New Orleans)” before, but not in this format. We’ll also take a journey through my musical evolution, culminating in an intimate moment with just me and my guitar.

I enjoy transitioning from grand to intimate moments throughout a performance. This tour will have a theme and a structured flow, which I believe fans will appreciate as they anticipate the journey we’ll embark on together.

Here’s the official itinerary for Eric Church’s “Free the Machine” tour:
starred dates on sale May 16; all others on sale May 9

Sept. 12 || Pittsburgh, Penn. || PPG Paints Arena || Elle King
Sept. 13 || Columbus, Ohio || Nationwide Arena || Elle King
Sept. 18 || Philadelphia, Penn. || Wells Fargo Center || Elle King*
Sept. 19 || Boston, Mass. || TD Garden || Elle King

Sept. 20 || Brooklyn, N.Y. || Barclays Center || Elle King
Sept. 25 || Green Bay, Wisc. || Resch Center || Marcus King Band
Sept. 26 || Milwaukee, Wisc. || Fiserv Forum || Marcus King Band
Sept. 27 || Des Moines, Iowa || Wells Fargo Arena || Marcus King Band
Oct. 2 || Detroit, Mich. || Little Caesars Arena || Marcus King Band
Oct. 3 || Lexington, Ky. || Rupp Arena || Marcus King Band
Oct. 9 || Indianapolis, Ind. || Gainbridge Fieldhouse || Marcus King Band
Oct. 10 || Grand Rapids, Mich. || Van Andel Arena || Marcus King Band
Oct. 11 || Cleveland, Ohio || Rocket Mortgage FieldHouse || Marcus King Band
Oct. 23 || Salt Lake City, Utah || Delta Center || Charles Wesley Godwin
Oct. 24 || Boise, Idaho || ExtraMile Arena || Charles Wesley Godwin
Oct. 25 || Spokane, Wash. || Spokane Arena || Charles Wesley Godwin
Nov. 6 || Vancouver, B.C. || Rogers Arena || Charles Wesley Godwin
Nov. 7 || Portland, Ore. || Moda Center || Charles Wesley Godwin
Nov. 8 || Seattle, Wash. || Climate Pledge Arena || Charles Wesley Godwin
Nov. 13 || Sacramento, Calif. || Golden 1 Center || Charles Wesley Godwin
Nov. 14 || Fresno, Calif. || Save Mart Center || Charles Wesley Godwin
Nov. 15 || Inglewood, Calif. || Intuit Dome || Charles Wesley Godwin