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Trisha Yearwood has a new album on the way — and a new label partnership.
Virgin Music Group has teamed with Yearwood and her label, Gwendolyn Records, for new music from the three-time Grammy winner as well as her more recent catalog. The deal reunites Yearwood with Universal Music Group’s Music Corporation of America (MCA), the Nashville-based label she recorded for from 1990 through 2006. MCA will continue to work Yearwood’s catalog from that timeframe.

Yearwood’s new album, The Mirror — her first project in more than six years — is set for release on July 18. The album marks Yearwood’s first set of songs fully co-written and co-produced by the singer herself. In previewing the new project, Yearwood will release two new songs, “The Wall or The Way Over” and “Bringing the Angels.” The album is available for preorder in digital, CD, standard vinyl and limited-edition custom color vinyl formats.

“I’m honored to join forces with Virgin Music Group as I embark on this exciting new chapter,” Yearwood said in a statement. “Bringing my Gwendolyn label into the MCA/Universal family truly feels like coming home. I can’t wait to share my new album, The Mirror. Creating this music has been one of the most rewarding experiences of my life.”

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“Trisha Yearwood is one of the most talented and enduring artists in the world,” Jacqueline Saturn, president of Virgin Music Group North America/executive vp of global artist relations, said in a statement. “We are so proud to have her and her Gwendolyn Records catalog on our roster and are looking forward to her legions of fans hearing this incredible new music.”

“We are thrilled to welcome Trisha Yearwood back to the family, coming full circle as we celebrate and amplify her iconic MCA catalog,” added Mike Harris, president/CEO of MCA. “In partnering her Gwendolyn Records label with Virgin Music Group, Trisha enters an exciting independent chapter — one where she retains creative and commercial control, supported by a world-class global team. We are so happy for her.”

“Trisha is one of the beloved artists in Nashville,” added Jen Bontusa, Virgin’s Nashville-based senior vp of label management. “It’s been amazing working with her and her team so far and we’re looking forward to a long and successful partnership.”

On Wednesday (April 30), Yearwood launched her first headlining tour in six years, starting with a show in Austin, Texas.

Yearwood previously released 10 albums for MCA, starting with her 1991 self-titled debut album, which included her breakthrough debut single: the No. 1 Billboard Country Airplay hit “She’s in Love With the Boy.” Yearwood’s time at MCA Nashville brought other chart-toppers including “Thinkin’ About You,” “XXXs and OOOs (An American Girl)” and “Perfect Love.”

SiriusXM has teamed up with Morgan Wallen to launch the exclusive SiriusXM channel Morgan Wallen Radio. The limited-run channel launches Thursday (May 1) and runs through May 31, coinciding with the upcoming release of Wallen’s new album I’m the Problem on May 16. Morgan Wallen Radio is available to subscribers in their cars on channel […]

This is partner content. Ariat hosted an exclusive event featuring a showcase of their latest fashion, a captivating performance by Annie Bosko, and delicious food. Stay tuned for an inside look at Ariat’s presence at Stagecoach! Narrator: Stagecoach isn’t just about the festival, it’s also about all the amazing events, like the exclusive brunch at […]

Lainey Wilson is set to make her feature film debut, Variety reports. The country star is set to appear in the upcoming film adaptation of Colleen Hoover’s book Reminders of Him, with the movie set to release on Feb. 13, 2026. The Universal film, directed by Vanessa Caswill, will also reportedly include actors Nicholas Duvernay, […]

Megan Moroney and Kenny Chesney were tourmates last year on Chesney’s Sun Goes Down Tour, and now the two country artists are set to release a collaboration, “You Had to Be There,” on May 9.

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Moroney revealed the title and an audio clip of the upcoming collaboration on her social media accounts, and included what seemed to be more of the song’s lyrics, captioning the photos, “7 years later got a different point of view.” She also shared a carousel of photos, including one shot of her ticket purchase from a Chesney show at Mercedes-Benz Stadium in Atlanta that she attended in 2018, followed by photos of Moroney performing on Chesney’s tour last year.

The “Out Last Night” singer commented on Moroney’s Instagram post, writing, “As far as I know, this is the first song anyone has written for me. Thank you, Megan. I love ya,” and adding blue heart and palm tree emojis.

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During Chesney’s Sun Goes Down Tour, the two previously collaborated on a version of Moroney’s “Am I Okay?” and outside of tour life, the two singers seem to have forged a tight-knit friendship, with Moroney even being the one to introduce Chesney to the realm of TikTok.

Later this year, Chesney will be inducted as one of the newest members of the Country Music Hall of Fame, alongside music executive Tony Brown, and the late June Carter Cash. Chesney has long been a champion of uplifting female artists, previously welcoming Kelsea Ballerini to open shows on his I Go Back Tour in 2023; the two Knoxville-area natives also recorded the song “Half of My Hometown,” which won musical event of the year and video of the year at the Country Music Association Awards.

Meanwhile, Moroney is nominated for female artist of the year and for album of the year (for Am I Okay?) at the upcoming Academy of Country Music Awards. She was also honored during Billboard‘s annual Women in Music event earlier this year.

See Moroney’s announcement below:

The last time Morgan Wallen and Post Malone joined forces on record, it was for “I Had Some Help” — which debuted at No. 1 on the Billboard Hot 100, spent six weeks atop the chart, and was ultimately named Billboard‘s Song of the Summer for 2024. So when news came that the two were reuniting for a new single, expectations were understandably high.

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That new single, “I Ain’t Comin’ Back,” dropped two Fridays ago (Apr. 18) — just before Easter weekend, which made for good timing with the song’s “There’s a lot of reasons I ain’t Jesus, but the main one is that I ain’t comin’ back” hook. This week, the song debuts at No. 8 on the Hot 100: a strong entrance, but somewhat below the bar set by duo’s previous collaboration.

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How should Morgan Wallen and Post Malone feel about their new song’s initial performance? And will it still grow into a “Help”-sized smash? Billboard staffers discuss these questions and more below.

1. Morgan Wallen and Post Malone’s “I Ain’t Comin’ Back” debuts at No. 8 on the Hot 100 this week. Is that spot lower, higher, or about where you would have expected it to debut?

Katie Atkinson: I think that’s exactly where I would have expected. While their last team-up “I Had Some Help” debuted atop the chart, it also had a megawatt live debut at 2024 Stagecoach setting it up for success and was a lot more upbeat. This new one is still catchy but has a sleepier tempo. I think a top 10 debut for a midtempo country jam chock-full of Christian imagery is pretty impressive – especially given it’s the fifth song preceding Wallen’s next album.

Kyle Denis: Maybe a little bit lower. “I Had Some Help” was such a massive No. 1 debut that I expected at least a top five entry for the new duet. Nonetheless, “Comin’ Back” isn’t as immediately catchy as “Help,” it doesn’t have the glow of being the lead single from Post Malone’s big country pivot and Morgan already has so many other songs circulating – including one directly above “Comin’” (“I’m the Problem,” No. 7). 

Jason Lipshutz: About where I expected. “I Had Some Help” is the obvious analog, and while last year’s smash debuted at No. 1, that song possessed the glow of being Morgan Wallen and Post Malone’s first collaboration, and arrived as Wallen’s first single following his 2023 album One Thing at a Time. “I Ain’t Coming Back” has been preceded by a steady stream of music from both Wallen and Post, which likely blunted some of the immediate excitement around its release — but still, these are two brand-name chart titans, so a top 10 debut seemed all but guaranteed.

Jessica Nicholson: It debuts around where I thought it would. “I Had Some Help” was aided by the buzz of curiosity surrounding not only Post Malone releasing a straight-ahead country album, but also regarding just what a collab between a genre-fluid artist like Post Malone and one of country music’s top-echelon artists would sound like. This time around, fans are more familiar with a Posty-Wallen collab. On the Hot 100, the song is also battling against releases from Kendrick Lamar with SZA, Alex Warren’s hit “Ordinary” and even Wallen’s own title track to his upcoming album.

Andrew Unterberger: Definitely lower. It’s not surprising that it didn’t quite match “I Had Some Help,” but only because that song was an absolute monster right out of the gate, zooming past one of the most packed periods of pop music in recent memory and reigning for six weeks. But this song couldn’t even lap Morgan Wallen’s own “I’m the Problem,” which is hardly the most explosive Wallen hit in recent memory. With that history and the two artists’ combined star power — not to mention its slick sound, big chorus and the built-in Easter tie-in — it’s a slightly underwhelming bow for the duo, for sure.

2. “I Had Some Help,” the previous teamup of Wallen and Post, ended up spending six weeks at No. 1 and topping Billboard’s Songs of the Summer chart. Do you think this song has a chance of growing into a hit near that size, or will it be diminishing returns on the sequel?

Katie Atkinson: Diminishing returns, only because this one just doesn’t have the Song of the Summer potential of “Help.” This is a reliably great Morgan Wallen song, but it’s not the backyard-BBQ-soundtracking party-starter of last summer’s smash-hit duet. If I’m going to listen to some melancholy Morgan, right now I’ve got “Just in Case” on repeat instead.

Kyle Denis: I’m inclined to say the sequel won’t be as big as “Help,” for all the reasons I listed in my previous answer. It really helped that “Help” got so much room to be the primary song for consumers to focus on from both artists. With six songs already circulating from a 37-track album that’s due in a few weeks, there might just be a little bit too much Wallen in the air.

Jason Lipshutz: I think everybody involved would be totally fine with slightly diminished returns for one of the biggest hits of last year. “I Had Some Help” caught lightning in a bottle, as an immediate and immensely enjoyable sing-along that crystallized Posty’s newfound foray into country music. “I Ain’t Comin’ Back” follows a similar formula but with a slightly less catchy hook, and it’s been delivered a few months after we’ve received a full Post Malone country album and at a time where we’ve gotten a new Wallen single every few weeks. The circumstances of “I Ain’t Comin’ Back” will blunt its commercial impact to some degree, but as a sequel to a singular hit, it’s pretty clearly a success already. 

Jessica Nicholson: “I Had Some Help” had an instantly catchy groove, and the kind of post-breakup, pushback defiance fans love to hear in a breakup song. “I Ain’t Comin’ Back” shares much of that defiance, but in a slightly quieter, less-summertime-vibe way. It will be difficult to surpass the chart domination of “I Had Some Help,” especially given that “I Ain’t Comin’ Back” didn’t debut at No. 1 as its predecessor did, but fans have proven they are clamoring for any new music from Wallen, and that they loved Post’s country foray. Plus, with both Post Malone and Morgan Wallen being on the road this summer, that will keep the fans hearing this song through the summer months (assuming it makes it into their respective setlists), so it is possible that the song could gain greater strength.

Andrew Unterberger: I wouldn’t be surprised if it grows a little from here — radio’s gonna sink its teeth all the way into this thing, and the warm-weather months will undoubtedly be kind to it — but it seems pretty unlikely that it’ll grow into “I Had Some More Help.” (Particularly with all the competition it has from other recent Wallen releases, an already-crowded field which is about to quintuple in size with the release of the full I’m the Problem.) And that’s fine. Most sequels don’t quite live up their originals.

3. Wallen has released a steady stream of new songs in the run-up to his upcoming I’m the Problem album. Do you think this strategy is proving effective for promoting the new set, or is the volume getting to be too much?

Katie Atkinson: Considering it’s his record-extending fifth top 10 on the Hot 100 preceding the new album, I’d say he’s on to something. Not to mention, there are 37 songs on the standard release of I’m the Problem, so it’s not like he’s giving the whole album away ahead of time. Releasing seven total advance tracks out of 37 is like putting out two or three singles from a 13-track album, percentage-wise.

Kyle Denis: Part of me feels like it’s getting to be too much – and I think that’s evidenced by “Comin’” debuting lower than all five I’m the Problem singles that preceded it, despite being the only one to feature another artist. He could do with letting the singles breathe for a bit, especially with so much more music coming in such a short span of time.  

Jason Lipshutz: It depends on what the goal is, right? If Wallen is aiming for another long-lasting No. 1 smash along the lines of “Last Night” or “I Had Some Help,” then this deluge of new singles has not been as effective as releasing one focus track and placing the country superstar’s entire weight behind it. Yet if the mission is to make Wallen even more ubiquitous — constantly near the top of New Music Friday, always with multiple songs lingering around the top of the Hot 100, with plenty of headlines and new fodder for country radio — then this rollout has largely been a win for him. And considering that his new 37-song album arrives in a few weeks, this current moment might just be the tip of the iceberg.

Jessica Nicholson: Given today’s more-is-more streaming environment, it feels like an effective strategy. Morgan’s album will encompass 37 songs, so releasing seven of those songs (so far) amounts to approximately 19% of those songs being released ahead of time, so there will still be plenty of new music to dig into the moment the full album releases.

Andrew Unterberger: It’s a good short-term strategy that I do worry will have deleterious long-term effects. Undoubtedly this will all lead to a mighty first-week bow for I’m the Problem, and will confirm Wallen as the most dominant, ubiquitous country star of his generation — but it does feel like, after five years of near-continuous rising, the excitement with him as an artist and hitmaker is beginning to level off. But even in a worst-case scenario for him, it’ll be a while before it starts to really recede, and he’ll probably break a bunch more charts records in the meantime.

4. Post Malone has revealed that a second country album is in the works. Are you optimistic that the album will be able to repeat the success of F-1 Trillion, or would he have been better off leaving his country detour as a one-and-done?

Katie Atkinson: I’m very optimistic. I’m looking forward to what Posty can do standing on his own two feet, without 15 duets pairing him up with the biggest names in country on this one. If the F-1-ending solo highlight “Yours” — which finds Post sweetly singing about his daughter’s future husband — is any indication, he could have a seriously long future in this genre. Might be time for Posty to check out some real estate in Nashville.

Kyle Denis: I think Post has definitely been embraced by country listeners, and he’ll continue to strengthen that base with his just-launched Big Ass Stadium Tour. I think without novelty on his side, it will be a bit harder to repeat the success of F-1 Trillion, but it’s not entirely impossible. I think there’s a path for the album to be a success in its own right if he focuses on solo singles this time around. 

Jason Lipshutz: F-1 Trillion was such a profound success that I’m not surprised that Posty is hitching a ride back to Nashville for its follow-up. Country sounded like a natural fit for an artist who broke through in the hip-hop world, and considering how often those sounds are intermingling on the charts these days, the transition hasn’t sounded as forced as it might have during a different musical era. I don’t think there’s any chance that Post Malone remains a country artist for the rest of his career, but right now, he’s in a good groove, and he should continue exploring.

Jessica Nicholson: It would be hard to repeat the success of F-1 Trillion, unless he makes the next project as collaboration-heavy as F-1 Trillion, as teaming with so many country stars, and getting that co-sign from them, brought in fans of all of those artists. However, critically, many of his solo songs on his extended “Long Bed” version of the album were as good as his collaborative efforts, so it would be a chance to prove his status as a solo country hitmaker. That said, if the goal is entrenching himself into the country genre as an artist who is in it for the long haul, then consistently releasing country projects is an obvious essential step in accomplishing that aim, regardless of whether a new album reaches the all-genre chart pinnacle.

Andrew Unterberger: My guess would be that Post’s F-2 Trillion-type album ends up analogous to mgk’s second pop-punk set Mainstream Sellout — a chart-topping hit that generally does fine, but doesn’t quite generate the hits or the excitement of its predecessor.

5. One Thing at a Time moved 501,000 units in its first week. What’s your (mildly educated) guess for what I’m the Problem will post as its first-week number?

Katie Atkinson: I’m thinking it will be another half a milli. Wallen’s popularity has stayed steady in the last two years, and as evidenced by the top 10 performance of all five pre-release songs, people are still craving new music from him. My educated guess will be 502k just so he can say he bumped it up a step.

Kyle Denis: I’ll say… north of 450k, but it doesn’t surpass 501k.

Jason Lipshutz: 550,000. It’s got 37 tracks, it’s coming out during a relatively sleepy moment for new releases, and did I mention it’s got 37 tracks? The early streaming numbers should help Wallen’s latest secure his biggest debut yet.

Jessica Nicholson: Though this 37-song album barely exceeds the length its predecessor, the 36-track One Thing at a Time, Wallen’s celebrity status seems to have only grown since his last album. This album also includes collabs with Eric Church and Tate McRae, which should further spur fan excitement. I would conservatively estimate the project would come in at around 510,000 in first-week consumption.

Andrew Unterberger: I’ll say 485,000. Not quite the first week of One Thing, but close enough that nobody really tries to read too much into the decrease.

Today’s music executives pay particular attention to on-demand consumption. If a listener chose a particular song, rather than simply hearing something that came up randomly, it’s fairly safe to assume that the song had greater value to them.

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But, new artist Chase McDaniel argues, real-time listening might very well have more impact on listeners in certain situations since there’s a surprise element involved in the experience.

“There’s probably three times in my life that I can say a song changed my life, and it was always on country radio,” he says. “In this day and age, when you can go and select the song and play it yourself, or you go to some playlist and it’s this [artificial intelligence]/robot thing, it takes away the meaning. But when you hear it played on the radio, and it’s at the right time, and you don’t know why it’s on right now, and it feels like it’s for you, it feels divine.”

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McDaniel hopes his first radio single — “Burned Down Heaven,” released by Big Machine to country radio through PlayMPE on March 17 — has that kind of effect on those who hear it. It certainly had psychological value for McDaniel, since it forced him to confront a painful chapter from his past.

“[It was] this low point, just covered in shame and in guilt and loneliness, knowing what you’ve done and not being able to fix it,” he says. “That’s truly what that lyric’s kind of pointing to.”

Just as McDaniel’s been surprised a few times by a song on the radio, he was surprised by “Burned Down Heaven.” It emerged from a conversation with his grandfather, who was reflecting on his relationship with his wife.

If he were forced to choose, his grandfather said, “I think I would turn down heaven for your mamaw.”Preparing on Feb. 13, 2024, for the next day’s writing appointment, McDaniel started working with that “turn down heaven” phrase as a possible title. But on one run-through, he was shaken by a small mistake.

“I accidentally said the phrase ‘burned down heaven,’ as if it fell from the sky,” he remembers. “It was like it came from my subconscious. I literally felt like I got struck by lightning, because saying the phrase ‘burned down heaven’ felt like the worst imaginable thing that anyone could say.”

If the thought hit him that hard, then it might have some emotional value for other people, too, so he considered bringing it up the next morning, though he had some reservations: The idea of setting fire to heaven might offend some listeners. So he held it back when he showed up to write with Jon Nite (“Dancin’ in the Country,” “Break Up in the End”) at the Nashville studio of writer-producer Lindsay Rimes (“World on Fire,” “Heaven”). After they ran through some other ideas, McDaniel finally brought up “Burned Down Heaven,” and when he explained the metaphor, both co-writers were up for it. They started with the chorus, to make sure they landed the idea effectively, and to make the best use of McDaniel’s range.

“He’s got some of the [Jon] Bon Jovi [power] up there, but he’s also got some of the Josh Turner [richness],” Rimes says. “It’s those kinds of dynamics in his vocals. I wanted to bring both of those through, because they’re kind of a strong part of his brand.”

They pitched the chorus in a high range to create an explosive effect. They also massaged the stanza’s opening lyric to better address McDaniel’s nervousness about the title.

“It was really Jon’s idea to say, ‘Hey, let’s bring this back to Earth,’” McDaniel recalls. “When I said, ‘Feels like I burned down heaven,’ he said, ‘Where was it at?’ And I was like, ‘It was in this driveway.’ He’s like, ‘There it is: Feels like I burned down heaven in that driveway.’ It brought it back to planet Earth. It made it real.”

They focused on the fiery part of the title in the chorus, incorporating “matches,” “ashes” and “smoke,” though the words were slipped in subtly. When they got to the lower-pitched verses, they shifted to the spiritual part of the title, though they handled the religious allusions so lightly that they almost go unnoticed. “You want to feel like it’s real,” Nite says. “You want to feel like you’re in the emotion of this moment, rather than cute little sayings about heaven.”

McDaniel didn’t talk much about it during the write, but he built the storyline around a difficult breakup from his past. “It was definitely the best thing — I realized that over time — but it was something that I still hadn’t forgiven myself for,” he says. “Anytime that I feel like I’ve made a mistake or hurt somebody, it just weighs on me, and so I carried it for years.”

Despite all of McDaniel’s concerns going into the appointment, it all developed easily. They started at 11 a.m. and had a demo and vocal performance of the completed song by 1:30 p.m. In fact, while Rimes and McDaniel worked on the demo, Nite went to the backyard and started another song that also got finished that day.

The “Burned Down Heaven” demo was so well developed that they used it as a foundation for the final tracking session at Nashville’s Sound Stage with drummer Evan Hutchings, bassist Tony Lucido, keyboardist Alex Wright and guitarists Ilya Toshinskiy and Sol Philcox-Littlefield.

“I don’t think a lot changed once the band was on there,” Rimes says. “Obviously, there’s live drums and stuff like that, but the basic bones of the song were in there.”

McDaniel recut his vocal for the master version, singing the first verse and first chorus separately, so that his voice could overlap with itself as he transitioned into that chorus. The final touches were provided by Gideon Klein, a musician that Rimes hired to arrange strings and overdub all of the parts.

Big Machine released it on Valentine’s Day — exactly one year after it was written — and it performed well enough that the label issued it to radio a month later as fans presumably gravitated toward the honesty in McDaniel’s story.

“All the guys that listen to it are like, ‘You know what? I’ve been this sometimes, and I just have been too proud to say it,’” Nite says. “All the girls are like, ‘I’ve had five boyfriends that do this, and they’ve been too proud to say it, and it’d be amazing if somebody actually said it was their fault.’ I think that’s why it’s caught fire a little bit.”

For his part, McDaniel hopes that someone might hear “Burned Down Heaven” on the radio and have the same unexpected life moment that he’s experienced with the platform.

“I’m on a mission now in country music to spread the light and tell people that they matter and that they’re important,” McDaniel says. “This song isn’t straight up about mental health and survival, but it is reflective of shame. Anytime that you can’t live with your mistakes and you can’t accept the past and you can’t forgive yourself, it makes it hard.”

Post Malone and Jelly Roll kicked off their BIG ASS Stadium tour on Tuesday night (April 29) with a three-and-a-half hour extravaganza at Rice-Eccles Stadium in Salt Lake City, UT that featured both men playing their hits and fan favorites as well as Jelly jumping up on stage for a duet with Posty. Coming off […]

Kacey Musgraves is coming full circle with her new label deal, signing to the recently relaunched, Nashville-based Lost Highway Records. The eight-time Grammy winner was the final artist signed to the label in 2011. In 2012, Lost Highway was absorbed by Mercury Nashville as Musgraves was crafting her debut studio album Same Trailer, Different Park (which contained her breakthrough hit “Merry Go ‘Round”).
Now, she is the first artist signed to the revitalized label.

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Lost Highway’s revival was announced earlier this month, with former Thirty Tigers executive Robert Knotts and Universal Music Group Nashville (UMGN) executive Jake Gear serving as co-heads and executive vps of the resurrected label.

“Lost Highway was always a musical stable for artists who might be considered outliers or outlaws; those who live on the fringe,” Musgraves said in a statement. “In 2011, when other record labels questioned my songwriting and my more traditional country sound, Lost Highway believed in me, signing me to my first label deal and helped me take my music around the world. That journey has now come full circle in such a special way with John Janick and Interscope and I’m deeply honored to be able to once again call Lost Highway my musical home.” 

Musgraves is celebrating the label deal with Lost Highway Records by releasing her interpretation of the label’s namesake song, the Leon Payne-written “Lost Highway,” which Hank Williams covered in 1949.

John Janick, chairman/CEO, Interscope Capitol and IGA, said in a statement, “Kacey exemplifies the kind of culture- shifting, left-of-center artists that Lost Highway has always been known for. Given the close relationship she’s had with both Lost Highway and Interscope, it seemed only natural for her to be the first artist signed in this new chapter.”

Music exec Luke Lewis, who founded Lost Highway in 2000 and signed Musgraves in 2011, said in a statement: “For 20 years, my job was to run Mercury and MCA labels, which were primarily mainstream country endeavors. The last 10 years of my time there were passionately dedicated to starting and leading Lost Highway, which was the most rewarding time of my entire career. The label went on to cultivate some of the greatest singer/songwriters I have had the honor to work with, and I am extremely proud to have helped them further their amazing musical journeys. I am beyond grateful that this very special label is now in the hands of John Janick, Robert Knotts, Jake Gear and the Interscope team, and I am certain Lost Highway will have an incredible second inning.”

Eric Church is already gearing up for the release of his new album, Evangeline vs. The Machine on May 2, but this fall he will take that new project on the road when he launches his Free the Machine Tour, with 22 arena shows starting Sept. 12. Joining Church on varying dates on the tour […]