BEGIN:VCALENDAR VERSION:2.0 PRODID:SoDel X-WR-CALNAME:Trombone Shorty & Orleans Avenue at Freeman Arts Pavilion BEGIN:VEVENT UID:160972023-06-09 DTSTART:20230609T220000Z SEQUENCE:0 TRANSP:OPAQUE DTEND:20230609T040000Z LOCATION:31806 Lake View Drive\nSelbyville Delaware 19975 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31806 Lake View Drive\nSelb yville Delaware 19975;X-APPLE-RADIUS=49;X-TITLE=31806 Lake View Drive:geo: 38.466017,-75.112054 GEO:38.466017;-75.112054 SUMMARY:Trombone Shorty & Orleans Avenue at Freeman Arts Pavilion CLASS:PUBLIC DESCRIPTION:It was after midnight when TROMBONE SHORTY stepped offstage a t the\nHouse of Blues in New Orleans\, but he wasn’t done playing yet. N ot\nby a long shot.\n\n“I had an idea for a new song right after the sho w\,” says Shorty\,\n“so the band and I decided to go straight into the studio and record\nit that night. We were still sweaty and buzzing from t he energy of the\ngig\, and we definitely carried that vibe into the sessi on with us.”\n\nTake a listen to _LIFTED_\, Trombone Shorty’s second release for\nBlue Note Records\, and you’ll hear that same ecstatic ener gy\ncoursing through the entire collection. Recorded at Shorty’s own\nBu ckjump Studio with producer Chris Seefried (Fitz and the Tantrums\,\nAndra Day)\, the album finds the GRAMMY-nominated NOLA icon and his\nbandmates tapping into the raw power and exhilarating grooves of their\nlegendary li ve show\, channeling it all into a series of tight\,\nexplosive performanc es that blur the lines between funk\, soul\, R&B\,\nand psychedelic rock. The writing is bold and self-assured\, standing\nup to hard times and loss with grit and determination\, and the playing\nis muscular to match\, mix ing pop gleam with hip-hop swagger and second\nline abandon. Wild as all t hat may sound\, _Lifted _is still the work\nof a master craftsman\, and the album’s nimble arrangements and\njudicious use of special guests—f rom Gary Clark Jr. and Lauren\nDaigle to the rhythm section from Shorty’ s high school marching\nband—ultimately yields a collection that’s as refined as it is\nrapturous\, one that balances technical virtuosity and e motional\nrelease in equal measure as it celebrates music’s primal power to\nbring us all together.\n\n“I think this is the closest we’ve ever gotten to bottling up the\nlive show and putting it on a record\,” says Shorty\, whose audiences\nhave grown exponentially in recent years. “No rmally when I’m in\nthe studio\, I’m trying to make the cleanest thing I can\, but this\ntime around\, I told everybody to really cut loose\, to perform like\nthey were onstage at a festival.”\n\nIf anybody knows the ir way around a festival\, it’s Trombone Shorty.\nBorn Troy Andrews\, he got his start (and nickname) earlier than most:\nat four\, he made his fi rst appearance at Jazz Fest performing with Bo\nDiddley\; at six\, he was leading his own brass band\; and by his teenage\nyears\, he was hired by L enny Kravitz to join the band he assembled for\nhis Electric Church World Tour. Shorty’s proven he’s more than\njust a horn player\, though. Cat ch a gig\, open the pages of the _New\nYork Times _or _Vanity Fair_\, f lip on any late-night TV show and\nyou’ll see an undeniable star with ut terly magnetic charisma\, a\nnatural born showman who can command an audie nce with the best of\nthem. Since 2010\, he’s released four chart toppin g studio albums\;\ntoured with everyone from Jeff Beck to the Red Hot Chil i Peppers\;\ncollaborated across genres with Pharrell\, Bruno Mars\, Mark Ronson\, Foo\nFighters\, ZHU\, Zac Brown\, Normani\, Ringo Starr\, and cou ntless more\;\nplayed Coachella\, Bonnaroo\, Lollapalooza\, Newport Folk\, Newport Jazz\,\nand nearly every other major festival\; performed four ti mes at the\nGRAMMY Awards\, five times at the White House\, on dozens of T V shows\,\nand at the star-studded Sesame Street Gala\, where he was honor ed with\nhis own Muppet\; launched the Trombone Shorty Foundation to suppo rt\nyouth music education\; and received the prestigious Caldecott Honor\n for his first children’s book. Meanwhile in New Orleans\, Shorty now\nle ads his own Mardi Gras parade atop a giant float crafted in his\nlikeness\ , hosts the annual Voodoo Threauxdown shows that have drawn\nguests includ ing Usher\, Nick Jonas\, Dierks Bentley\, Andra Day\, and\nLeon Bridges to sit in with his band\, and has taken over the New\nOrleans Jazz & Heritag e Festival’s hallowed final set\, which has\nseen him closing out the in ternationally renowned gathering after\nperformances by the likes of Neil Young\, the Black Keys\, and Kings of\nLeon.\n\n“I owe all that to my mo ther\,” says Shorty. “She passed\nrecently\, but she continued to insp ire me right up until she\ntransitioned\, and that’s why I put a picture of her holding me up at\na second line on the cover of this album. She li fted me up my whole\nlife.”\n\nAs if his New Orleans roots weren’t alr eady deep enough\, Shorty\ndecided to take over a recording studio in the Lower Garden District\nafter the release of his latest album\, 2017’s\nS eefried-produced _Parking Lot Symphony_. Dubbing the space Buckjump\nin a nod to the second lines he grew up playing in\, Shortly\nimmediately set about converting the studio into a freewheeling sonic\nlaboratory\, one wh ere he and his friends could push themselves\ncreatively without any artis tic or commercial restraints.\n\n“Having my own studio meant that the ba nd and I could capture stuff\nin the moment any time we were feeling inspi red\,” says Shorty. “It\nmeant that we could take chances and experime nt. I could call the guys\nup with an idea in the middle of the night and they’d say\,\n‘We’ll meet you there in an hour!’”\n\nThat sense of excitement and liberation is palpable on _Lifted_\,\nwhich opens with the addictive “Come Back.” Fueled by a\nbottom-heavy rhythm section\, buoyant keys\, and bright flashes of\nbrass\, the track pairs a hip-hop gr oove with hard rock energy as\nShorty delivers silky smooth vocals that fl oat effortlessly above the\ninstrumental fray. As its title might suggest\ , the song is a reckoning\nwith loss and regret\, but like much of the alb um\, it refuses to\nsurrender to disappointment\, keeping its chin held hi gh as it presses\nforward and fights for what it wants. The effervescent “What It\nTakes” gets profoundly funky as it celebrates the strength a nd\ngrowth that can emerge from times of struggle\, while the bittersweet\ n“Forgiveness” leans into the band’s R&B side as it works to move\no n from pain and betrayal\, and the blistering “I’m Standing\nHere” ( which features a mind-bending guitar solo from Gary Clark\nJr.) rushes hea dlong into the maelstrom.\n\n“I grew up watching wrestling as a kid\,” Shorty says with a laugh\,\n“and I if I was a wrestler\, ‘I’m Stand ing Here’ would be the\nsong they played when I came into the ring. It ’s all about standing\ntall no matter what life throws at you.”\n\nSho rty makes sure to celebrate the good times on the album\, too\,\nreveling in the joy of love and friendship and family throughout. The\nspirited “ Might Not Make It Home” commits to letting go and living\nin the moment\ ; the playful “Miss Beautiful” embraces the thrill of\ndesire while of fering a twist on the second line tradition\, with an\nelectric bass stepp ing in for the tuba\; and the feel-good “Everybody\nIn The World” (whi ch features the New Breed Brass Band) finds common\nground in our universa l desire for love and acceptance. But it’s\nperhaps the electrifying tit le track\, which lands somewhere between\nEarth\, Wind & Fire and Shorty ’s old tourmate Lenny Kravitz that best\nencapsulates the spirit of the album\, wrapping earnest emotion in a\nhigh-octane package that offers you no choice but to move your body.\n\n“The whole time we were making _Li fted_\, I couldn’t help but\nthink about how much fun it would be to get onstage and play it for an\naudience\,” Shorty recalls. “Usually when I make an album\, I record\nthe songs first and figure out how we’re go ing to present them live\nafterwards\, but with this record I was in the s tudio imagining the\nlights flashing on the hits and the audience singing everything back\nto us. I could see the whole thing in my head.”\n\nFor Trombone Shorty\, the show never ends. Not by a long shot.\n X-ALT-DESC;FMTTYPE=text/html:

It was after midnight when \;Tr ombone Shorty \;stepped offstage at the House of Blues in New Orleans\, but he wasn&rsquo\;t done playing yet. Not by a long shot.

\ n\n

&ldquo\;I had an idea for a new song right after the show\,&rdquo\; says Shorty\, &ldquo\;so the band and I decided to go straight into the st udio and record it that night. We were still sweaty and buzzing from the e nergy of the gig\, and we definitely carried that vibe into the session wi th us.&rdquo\;

\n\n

Take a listen to \;Lifted\, Trombone Shorty&rsquo\;s second release for Blue Note Records\, a nd you&rsquo\;ll hear that same ecstatic energy coursing through the entir e collection. Recorded at Shorty&rsquo\;s own Buckjump Studio with produce r Chris Seefried (Fitz and the Tantrums\, Andra Day)\, the album finds the GRAMMY-nominated NOLA icon and his bandmates tapping into the raw power a nd exhilarating grooves of their legendary live show\, channeling it all i nto a series of tight\, explosive performances that blur the lines between funk\, soul\, R&\;B\, and psychedelic rock. The writing is bold and se lf-assured\, standing up to hard times and loss with grit and determinatio n\, and the playing is muscular to match\, mixing pop gleam with hip-hop s wagger and second line abandon. Wild as all that may sound\, \;Lif ted \;is still the work of a master craftsman\, and the album&rsq uo\;s nimble arrangements and judicious use of special guests&mdash\;from Gary Clark Jr. and Lauren Daigle to the rhythm section from Shorty&rsquo\; s high school marching band&mdash\;ultimately yields a collection that&rsq uo\;s as refined as it is rapturous\, one that balances technical virtuosi ty and emotional release in equal measure as it celebrates music&rsquo\;s primal power to bring us all together.

\n\n

&ldquo\;I think this is t he closest we&rsquo\;ve ever gotten to bottling up the live show and putti ng it on a record\,&rdquo\; says Shorty\, whose audiences have grown expon entially in recent years. &ldquo\;Normally when I&rsquo\;m in the studio\, I&rsquo\;m trying to make the cleanest thing I can\, but this time around \, I told everybody to really cut loose\, to perform like they were onstag e at a festival.&rdquo\;

\n\n

If anybody knows their way around a fes tival\, it&rsquo\;s Trombone Shorty. Born Troy Andrews\, he got his start (and nickname) earlier than most: at four\, he made his first appearance a t Jazz Fest performing with Bo Diddley\; at six\, he was leading his own b rass band\; and by his teenage years\, he was hired by Lenny Kravitz to jo in the band he assembled for his Electric Church World Tour. Shorty&rsquo\ ;s proven he&rsquo\;s more than just a horn player\, though. Catch a gig\, open the pages of the \;New York Times \;or \;Va nity Fair\, flip on any late-night TV show and you&rsquo\;ll see an u ndeniable star with utterly magnetic charisma\, a natural born showman who can command an audience with the best of them. Since 2010\, he&rsquo\;s r eleased four chart topping studio albums\; toured with everyone from Jeff Beck to the Red Hot Chili Peppers\; collaborated across genres with Pharre ll\, Bruno Mars\, Mark Ronson\, Foo Fighters\, ZHU\, Zac Brown\, Normani\, Ringo Starr\, and countless more\; played Coachella\, Bonnaroo\, Lollapal ooza\, Newport Folk\, Newport Jazz\, and nearly every other major festival \; performed four times at the GRAMMY Awards\, five times at the White Hou se\, on dozens of TV shows\, and at the star-studded Sesame Street Gala\, where he was honored with his own Muppet\; launched the Trombone Shorty Fo undation to support youth music education\; and received the prestigious C aldecott Honor for his first children&rsquo\;s book. Meanwhile in New Orle ans\, Shorty now leads his own Mardi Gras parade atop a giant float crafte d in his likeness\, hosts the annual Voodoo Threauxdown shows that have dr awn guests including Usher\, Nick Jonas\, Dierks Bentley\, Andra Day\, and Leon Bridges to sit in with his band\, and has taken over the New Orleans Jazz &\; Heritage Festival&rsquo\;s hallowed final set\, which has see n him closing out the internationally renowned gathering after performance s by the likes of Neil Young\, the Black Keys\, and Kings of Leon.

\n\n

&ldquo\;I owe all that to my mother\,&rdquo\; says Shorty. &ldquo\;She passed recently\, but she continued to inspire me right up until she trans itioned\, and that&rsquo\;s why I put a picture of her holding me up at a second line on the cover of this album. She lifted me up my whole life.&rd quo\;

\n\n

As if his New Orleans roots weren&rsquo\;t already deep en ough\, Shorty decided to take over a recording studio in the Lower Garden District after the release of his latest album\, 2017&rsquo\;s Seefried-pr oduced \;Parking Lot Symphony. Dubbing the space Buckjump in a nod to the second lines he grew up playing in\, Shortly immediately set about converting the studio into a freewheeling sonic laboratory\, one whe re he and his friends could push themselves creatively without any artisti c or commercial restraints.

\n\n

&ldquo\;Having my own studio meant t hat the band and I could capture stuff in the moment any time we were feel ing inspired\,&rdquo\; says Shorty. &ldquo\;It meant that we could take ch ances and experiment. I could call the guys up with an idea in the middle of the night and they&rsquo\;d say\, &lsquo\;We&rsquo\;ll meet you there i n an hour!&rsquo\;&rdquo\;

\n\n

That sense of excitement and liberati on is palpable on \;Lifted\, which opens with the addictive & ldquo\;Come Back.&rdquo\; Fueled by a bottom-heavy rhythm section\, buoyan t keys\, and bright flashes of brass\, the track pairs a hip-hop groove wi th hard rock energy as Shorty delivers silky smooth vocals that float effo rtlessly above the instrumental fray. As its title might suggest\, the son g is a reckoning with loss and regret\, but like much of the album\, it re fuses to surrender to disappointment\, keeping its chin held high as it pr esses forward and fights for what it wants. The effervescent &ldquo\;What It Takes&rdquo\; gets profoundly funky as it celebrates the strength and g rowth that can emerge from times of struggle\, while the bittersweet &ldqu o\;Forgiveness&rdquo\; leans into the band&rsquo\;s R&\;B side as it wo rks to move on from pain and betrayal\, and the blistering &ldquo\;I&rsquo \;m Standing Here&rdquo\; (which features a mind-bending guitar solo from Gary Clark Jr.) rushes headlong into the maelstrom.

\n\n

&ldquo\;I gr ew up watching wrestling as a kid\,&rdquo\; Shorty says with a laugh\, &ld quo\;and I if I was a wrestler\, &lsquo\;I&rsquo\;m Standing Here&rsquo\; would be the song they played when I came into the ring. It&rsquo\;s all a bout standing tall no matter what life throws at you.&rdquo\;

\n\n

Sh orty makes sure to celebrate the good times on the album\, too\, reveling in the joy of love and friendship and family throughout. The spirited &ldq uo\;Might Not Make It Home&rdquo\; commits to letting go and living in the moment\; the playful &ldquo\;Miss Beautiful&rdquo\; embraces the thrill o f desire while offering a twist on the second line tradition\, with an ele ctric bass stepping in for the tuba\; and the feel-good &ldquo\;Everybody In The World&rdquo\; (which features the New Breed Brass Band) finds commo n ground in our universal desire for love and acceptance. But it&rsquo\;s perhaps the electrifying title track\, which lands somewhere between Earth \, Wind &\; Fire and Shorty&rsquo\;s old tourmate Lenny Kravitz that be st encapsulates the spirit of the album\, wrapping earnest emotion in a hi gh-octane package that offers you no choice but to move your body.

\n\n

&ldquo\;The whole time we were making \;Lifted\, I couldn& rsquo\;t help but think about how much fun it would be to get onstage and play it for an audience\,&rdquo\; Shorty recalls. &ldquo\;Usually when I m ake an album\, I record the songs first and figure out how we&rsquo\;re go ing to present them live afterwards\, but with this record I was in the st udio imagining the lights flashing on the hits and the audience singing ev erything back to us. I could see the whole thing in my head.&rdquo\;

\n \n

For Trombone Shorty\, the show never ends. Not by a long shot.

DTSTAMP:20261028T080046Z END:VEVENT END:VCALENDAR