Over the course of the last 15 years, Eric Church has established himself as one of the most ambitious artists in country music.
In an era where it’s become difficult to monetize recorded music amidst the rise of online streaming, Church has sold nearly six million albums in America, tallying five platinum records thanks to a run of 30 singles that have reached gold or platinum status.
While most artists have avoided the album, focusing instead on the single, Church doubled down, releasing a triple album, Heart & Soul, this past April, super-serving his loyal Church Choir crowd with 24 new songs recorded during the pandemic. After a layoff of about 700 days, he’s finally back on the road in support of it.
Church thrives in the live setting and frequently looks to shake up just how fans experience live music. Following the success of his “Double Down” tour in 2019, which saw the country superstar staging multi-night runs in each city, radically altering the setlist throughout, Church is back to “Gather Again” with his fans.
This time around, he’s innovating by looking back. Aside from four large video screens hanging overhead, his stage is refreshingly unencumbered by the trappings of the modern concert experience, putting the focus squarely on the music being performed in the round in collaboration with his stellar seven piece backing band.
Without having to focus on all of the moving parts that dictate today’s concerts run identically night in and night out, Church is free to dig deep in his catalog, offering fans a unique experience each night while conjuring up the unpredictability that used to make concerts unforgettable.
Once famously kicked off his spot as opener on a Rascal Flatts tour for repeatedly playing too long, Church is clearly influenced by musicians like Bruce Springsteen who performs marathon sets alongside a band capable of rolling out even the most obscure songs from a vast catalog at the drop of a hat.
A student of artists like Bob Dylan, the Grateful Dead or Pearl Jam, who’ve all gone to great lengths to feature extremely diverse setlists, Church rolled out one of his most unique ever Friday night in Chicago, a chronological affair which drew from all seven of his studio albums in order during the main set.
In between covers by Springsteen (“I’m On Fire”) and Jackson Browne (“The Load-Out”) to close the show, Church went back to album three (2011’s Chief) followed by a pair of songs from his 2006 debut during the encore, spelling out the date - 3.11 - for those paying close attention.
“How you guys feelin’, Chicago on a Friday night?” quipped Church. “We’re gonna do something a little different as we go. You’ll pick up on it,” he said, setting the stage for the one of a kind set to follow. “Prepare for a long night!” he continued, introducing “Guys Like Me.”
Over the course of nearly three hours in Chicago, Church and company tore through an electrifying concert performance which hit on virtually every facet of his recorded career.
“And now, from North Carolina…” came the announcement as Church made his way toward the United Center stage. Once home to NBA legend and North Carolina native Michael Jordan, the intro imitated the now iconic call of Chicago Bulls public address announcer Ray Clay as a fellow Tar Heel took to the Windy City stage.
While Springsteen has long been the easy flash point, and the name of one of his biggest hits, it’s the E-Street Band that’s the better comparison live, with his stellar group the engine that drove Friday night’s performance as Church, surrounded by fans, explored the expanse of his unique stage at the center of the United Center floor (one featuring runways at either side which could take him straight into the sold out crowd).
Funky keyboard introduced “Smoke a Little Smoke.” Searing slide guitar soon cut through as backing vocalist Joanna Cotten joined, chipping in on tambourine. Church turned to face drummer Craig Wright, smiling wide as things started to boil over.
“I think they’re pretty damn ready tonight!” he said to the band, examining his Chicago audience. Putting down his guitar, Church headed off stage as his band started to channel a Stonesy groove early on “Drink in my Hand,” the crowd quickly drowning out his lead vocal.“Sh-t!” exclaimed the singer in a humorous moment, spilling a beverage as he made his way up the stairs and back to the band.
Stripping things down, it was just keyboards and the soaring vocal of Cotten supporting Church as he put forth a Friday night take on “Like Jesus Does.” Picking things back up, six band members crowded around Wright’s drum kit, channeling Led Zeppelin’s “Nobody’s Fault but Mine” as Church bound down the left runway to deliver “Cold One,” maintaining his bluesy edge later during the intro to “Like a Wrecking Ball.”
Referencing Elvis Costello as keyboards kicked in, Church would go on to namecheck Chicago songwriter Jeff Tweedy of Wilco during “Mr. Misunderstood,” a jangly jaunt accurate in all its call outs.
“You know, when I was younger, the world got incredibly weird,” said Church, referencing the pandemic as Friday night’s show bolted toward closing. “After about 25 garage beers, I feared maybe we’d never get to do this again,” he said, noting a “Gather Again” tour set to continue through June before moving north into Canada. “But I’d dream about this. I thank you all very much.”
