Eric Church talks about a new album, 2025 tour, politics and music state

When they talk to Eric Church, they have found an unshakable spirit that is devoted to the response to music.

He is not interested in expanding quick hits or viral bait for social media. He wants to make music that counts.

His just published album “Evangeline vs. the Machine”, his first since 2021, is flooded with importance, although he is only 36 minutes long in eight songs

In the opening “Hands of Time”, the church, which will be on May 3, 48, recognizes the realities of aging with a wink through Namecheck songs from AC/DC, Bob Marley, meat bread and other artists who spoke to him in his youth.

The title of the album illuminates the struggle between the soullessness of the technology and a creative muse, which he explains in the song “Evangeline” (“Take me down to the water/Dunk my head in the river/raise your hands, all Hail Rock ‘n’ Roll”).

“The way people consume music puts creativity chains,” says Church from his home in Nashville. “The more machines are involved in our lives, whether technology or phones or AI, the less we can experience.”

The church will bring its ubiquitous dark glasses and its new round of rock-root country songs together with favorites such as “Smoke a Little Smoke”, “Springsteen” and “Drink in My Hand” for arenas all over the country in Pittsburgh. Tickets for the free The Machine Tour with the guests Elle King, Marcus King Band and Wesley Godwin are available on May 9th at 10 a.m.

The concerts, says Church, will “start in a great way and go to me and a guitar … go from big too small.”

In a thoughtful conversation, the church worked out why he wrote albums for his “10-year-old”, that chaos “bored” politics and why he did not regret after last year’s polarizing stag coach appearance.

Ask: Both “Evangeline” and “Hands of Time” have some great classic song references. Are these songs about the importance of music in your life?

Answer: a thousand percent. Music is the way I dealt with something good or bad in my life. I am a fan at first. Music was this siren for me at a young age and was always what I was based on when I struggled, devastated and triumph. Many of these inspiring artists appear on this album. They think about how they have committed themselves for their art, and I see that today there is no lack of care and thoughtfulness.

Do you think it is because the process of playing music has changed?

I do. Many artists these days they write a song on Tuesday and highlight it on Friday. There are these floods in the zone. I am an album child and I still know that it is the right way. We go through a time when many people hear an album from front to back. I see this with my children that music happens to something in the background, compared to something that influences them emotionally and artistically.

And it was definitely not just a background for them when they grow up.

For me it was something you committed and spent 45 minutes to listen to this artist. They didn’t have the television or did not sit there on their phone. When I make an album, I do it for my 10-year-old self, that would have listened to Front to Back. I don’t have the desire to make one or two songs here or there. I have to have something to say. That inspires me. That gives me my why. Even if I am the guy, the clouds shout, I don’t care. I still think when you are a long -time artist in business and have a loyal fan base with which you can play in your 20s and 50s, you have to build your career for albums.

The French horn that goes into “Evangeline” sounds after a tribute to the Rolling Stones’ “You can’t always get what you want.” Is it?

(Laughs) Two things that I didn’t see on this album were the French horn and the flute! Yes, there are many stones and many of the band that I also love.

Much of the music on this record comes from the StagoCoach show last year when it was only me and a choir. It may not have been the exact place for it, but also the perfect place because it got the greatest megaphone and was a unique show. At a festival, in which there were a lot of 30,000 tictokers and all the stuff “Look to me”, we wanted to do something that would take for fans, and then I started thinking about the orchestral parts for the album. The joy I achieved on this show was the doubling of creativity. The more success you are, the more rope you have and I believe that I can use every strand of this rope.

You wrote “Johnny” after the Covenant School shooting in Nashville in 2023. Do you ever worry about what some people think about songs in your fan base that have to do with weapons?

No, I was very in advance. I am an artist who played the deadliest mass shooting in history in Vegas (2017 Route 91 Harvest Festival, in which 60 people were killed and injured more than 400), and we have lost many fans. I own weapons and am a second change man, but until Vegas I never really had a point of view in one way or another. If you leave something like this, it changes your positions. I am still a second constitutional additive, but when it came to “Johnny” and shootings at the school, I always said about the shootings in Vegas that these wounds do not heal, they sheep. If something else happens – and it is inevitable – it tears the crusts and they bleed again.

And “Johnny” came to you after dropping your sons (Boone, now 13, and and Tennessee “Hawk”now 10) at school?

The school to which they go is a mile from the federal government and the most difficult thing I’ve ever done is to give it up the day after shooting. I remember that I moved in the parking lot after they got out and I was sitting there and didn’t want to go. I looked to the left and my right and there were four or five other parents who did the same. It was a helplessness and fear.

As fate wanted it, the devil was “the devil to Georgia” on the radio and the poetry that jumped on me: “Johnny Rosin up up up up up up up up up up up up up up up up up up up up up up up up up up up and play hard because the hell in Georgia is detached and the devil is done. If you win, you get this shiny violin from gold. Thought if it were only true that the devil was only in Georgia, but he is everywhere and did chaos.

I am sure that many people will resonate.

I think it’s my job. I am not an excessive political person. Politics generally bored me. It is nonsense and chaos and lets my eyes and ears bleed, no matter which side you are on. My points of view are often derived from things that I experienced, and I played Vegas and killed the fans and then played the Grand Ole Opry three days later and the seats opened in memory of them. I had these personal moments of loss and injured, and if something else happened like the federal government, the emotions were a bit lower and I was back in the same place.

You previously wrote “Darkest Hour” Hurricane Helene destroyed Part of her home state North Carolina last year, but published it immediately and directed all license fees from the song to those affected. How was it for you to play the benefit concert for Carolina in October?

We still spend half a year in North Carolina and the community we were in, destroyed. We had just recorded the song and I had the feeling that this had to be outside now. So we gave it to people in the long run and that led to the concert, which is the most important music that I did for concerts. The emotions of that night, the artists who came together, the quality of the music for 80,000 people … Then music is in top form when it makes a difference.

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Eric Church talks about a new album, 2025 tour, politics and music state

ByAmelia Journalton

By Amelia Journalton

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