I like Head-Fi. I've been lurking here since ... decades. So I want to contribute back a thoughts.
Because we're in the era of influencers: I paid for mine (and every other product mentioned here) out of pocket from my blue collar wages.
I bought the EVO hoping to get Ety sound in a motorcycle-helmet friendly shape. I'm very happy with them, but it is hard to articulate why. Yup, they put my helmet's JBL speakers to shame while still isolating nearly as well as foam earplugs, and they're better in every way than AirPods Pro but for convenience. I expected that, though. What I didn't expect is that they don't have the ER4 house sound ... and while I would have read that as a negative before listening to them, I write it now as a positive attribute.
The ER4 series (I used an ER4P for over a decade, then replaced them when the cable-joint failed with an ER4XR) has a distinctive sound I haven't heard anywhere else, not that I'm a prolific headphone hobbyist. The ER4 sounds like it is etching the music onto a sheet of glass that you can run your fingertips over and study in different lighting at your leisure. It is a lovely if unforgiving experience. Pity the track that clips, like Amy Winehouse's You Know I'm No Good. The EVO doesn't do this; the sounds are still there, but their edges aren't emphasized. Yet, I think the EVO is nonetheless more revealing than the ER4.
(Close listening setup: Apple Music -> USB -> Qudelix 5K -> stock cables -> EVO -> medium tri-tips. I do normally listen to my ER4XR with a balanced cable, though, so that might make a difference.)
Take a congested passage like in Metallica's My Friend of Misery (4:17), The White Stripes' Little Cream Soda (0:18), or My Chemical Romance's It's Not a Fashion Statement (3:06), and the EVO yawns a little bit. All the voices have their own full character without being pushed out of the way by the others; I haven't yet had a "wall of sound" experience with the EVO.
I'm hearing lyrics clearly now that were always muddy before. My favorite example is from Tori Amos' Crucify (2:05), where I've often heard, "got enough beer to start my own religion," but now it is "got enough guilt...", even showing the slightly swallowed "gu-" followed by the rising "-ilt" so clearly that it makes it hard for me to believe I've sometimes heard something else over the last 30 years. There's a simple clarity, or perhaps "intelligibility" is the word I want, that the EVO brings to the table.
A simpler sound stage -- Lyle Lovett's North Dakota, Hopetoun Brown's Hate I Don't Love You, or The Wood Brothers' Pilgrim -- shows the same excellent resolution for each voice, but reveals a bit of unpredictable placement for the voices. I think this is likely due to me still getting used to how the EVO fits. I've tried all the tips and settled on the same tips as I wear with the ER4, but they don't seat as deeply or stably with the EVO due to the size of the housing. Maybe I'll try some third party tips ... but it took me a few years to really settle on how to wear my ER4s, and I've only had a month or so with my EVOs, so we're in early days yet.
While the EVO is more forgiving with clipping or compression, it seems to reveal the lack of a full dynamic range on older recordings. Olafur Arnald's For Now I Am Winter ripples sensations across the entire spectrum, but Philip Glass' Metamorphosis (any of them) seems like it was recorded in a room draped with heavy velvet. Same thing, respectively, with Chris Stapleton's Cold and Van Morrison's Caravan. Or just compare Beethoven's 7th, Allegretto, from the Vienna Philharmonic (2013) vs London Symphony Orchestra (1960). I suspect this is a frequency response thing that could be accommodated with mild equalization on my Qudelix, but I've listened to some of these recordings many, many times and never thought about the range of richness before.
In short: the EVO is both more forgiving and more revealing than the ER4. Totally did not expect that, but I love it. The in-concha shape is far more accommodating than the infinite barrel, even if I'm still figuring out how to best fit the EVO to my ears. For recording engineers, the ER4 is likely a better choice because it makes problems impossible to ignore. But for listening, I'm finding the EVO pretty awesome, and I had for years thought that the ER4 was my endgame.
I have not, however, had much experience with other headphones in this price range ... maybe I ought to ... what's the phrase? That's right: "Sorry about your wallet."