Tony Evans Jr. creates space for country-defined R&B in the pop landscape
Three years have elapsed since 2020’s racial reckonings caused massive upheaval in industries worldwide — mainstream country music included. Although, as a result, more than ever, the potential has emerged for what Black artistry in the genre has gained in terms of scope of diversity; a glass ceiling now possibly exists insofar as the potential of Black artists to achieve industry-redefining success.
Enter into the conversation Tony Evans Jr., an unsigned but intriguing 24-year-old artist from a half-hour outside of Atlanta, Georgia. Five singles and an EP into a career that he’s primarily focused on occupying an intersection best described as smooth country-inspired R&B inspired by the decade between 1979-1989 in both genres, his latest single, “Need Somebody,” arrived on Feb. 3, 2023.
Evans has intentions of shattering that ceiling.
“I play the songs that people who love country — but don’t acknowledge it publicly — will love,” says the singer-songwriter.
“Personal, romantic songs that have a universal appeal? I play things that, when I was growing up, I would be playing in playlists alongside hip-hop in the parking lot at Cascade and Golden Glide (two adult skating rinks in Atlanta’s suburbs) the night before we’d all go four-wheeler riding and fishing.”
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Suppose you’re a social media-aware country fan. In that case, you know that for the past three years, Evans has existed to a frequently-commenting fanbase as a handsome, magnetically sensual and smooth crooner.
Better yet, Evans’ recent cover of Luke Combs’ 2017 hit “One Number Away” earned a shout-out from the 13 consecutive-time Billboard Country Airplay chart-topping artist himself. It follows artists including Jimmie Allen, Mickey Guyton and Dustin Lynch co-signing his work.
His emerging notability rounds out the most impressive array of star-made African-American talent the Americana, country and roots scenes have seen in a half-century.
In the wake of — but not solely linked to — reparational equity in country music, Mickey Guyton is now a four-time Grammy-nominated recording artist. Moreover, five Black male artists have achieved Billboard chart-topping success. Even deeper, two of those artists — Jimmie Allen and Kane Brown — are burgeoning moguls with labels, management and publication groups under their leadership.
Deeper still, Brittney Spencer and Yola are frequently seen onstage and co-signed by Brandi Carlile and Maren Morris. At the same time, Allison Russell has emerged as a globally-renowned multiple-time award-winning Americana superstar.
Evans’ social media-defined path to success follows a trend since COVID-19’s onset where BRELAND and Blanco Brown can achieve 700,000 followers between TikTok and Instagram — with those followers liking posts over four million times — and grow that into more significant success.
It’s also worth noting that Priscilla Block (another atypical outlier to the stereotypical expectations ascribed to country music’s chart-toppers who experienced growth in popularity during quarantine) has 150% more fans and 600% more likes. Though she lacks a No. 1 at country radio, she’s had her work highlighted in the New York Times, is opening for Shania Twain in 2023 and has the underpinnings of success that could expand far past being a flash in the pan No. 1 hit-making bridge-builder ushering country music into a pop-aimed, social media and streaming-defined era.
The potential for a Black star of the modern era to meet or exceed Charley Pride’s 29 No. 1 singles in 14 years still feels unattainable. However, perhaps there are pieces of Evans’ creative DNA that are uniquely different than those which define BRELAND and Blanco Brown highlights what about him could allow for success that expands past BRELAND and Brown, plus past Block, too.
“Nat King Cole, Frank Sinatra, Sam Cooke, Elvis Presley, Teddy Pendergrass, Marvin Gaye and George Strait were fully-formed artists and singer-songwriters who didn’t exist solely in the grind of churning out viral, yet authentic content, so I can’t be that either,” says Evans.
Evans is a second-generation musician who notes that “all he’s ever known” is the pursuit of excelling like the country, pop and soul crooners he’s named. They are also renowned for their ability to charm female fans worldwide instantaneously.
Evans also being inspired by those desires is entirely intentional.
Related to Pendergrass, he, in 1982, occupied a similar position to Evans, but in aiming for an R&B to country crossover. It’s an important note for contextualizing Evans’ potential.
The vocalist had sold five million albums and achieved eight top-ten R&B chart singles since breaking out from being the lead singer of Harold Melvin & The Blue Notes in 1976. By 1982, he’d courted Cecil Du Valle — a British composer and keyboard player with two Master’s degrees in music — to aid him.
Du Valle’s goal? To create a version of Kenny Rogers’ Lionel Richie-written ballad “Lady” that Pendergrass could use to broaden his musical and social appeal to a broad, interracial array of (primarily) female audiences.
Pendergrass performed Du Valle’s composition of “Lady” live in London at the Hammersmith Odeon on Feb. 3, 1982. Forty-four days later, while driving his Rolls Royce in his Philadelphia hometown, he lost control of the vehicle and slammed it into a tree. As a result, Pendergrass was paralyzed from the waist down for the rest of his life. Though eventually again successful, his allure was never the same.
Aiding Evans, like DuValle, is producer and arranger Ron Fair. If unknown by name, he’s unquestionably familiar by sound. Between 2002-2010, Fair’s number-one singles on Billboard’s pop and R&B charts include “Lady Marmalade” (Christina, Pink, Mýa, Lil’ Kim), “Be Without You” (Mary J. Blige) and “Where Is the Love?” (Black Eyed Peas).
Evans describes Fair as a “perfectionist,” whose pop-aware knowledge of melodic structures and adoration of classic country has aided his craft immensely.
When asked what he looks forward to the most, next, with his well-prepared art, Evans offers an obvious but focused answer.
“I’m ready to be as much a player on social media as on stages everywhere. It’s exciting that my fans will see me in full — not on their cell phone — as I take the next step in my artistry.”
