BEGIN:VCALENDAR
VERSION:2.0
PRODID:SoDel
X-WR-CALNAME:Trombone Shorty & Orleans Avenue
BEGIN:VEVENT
UID:239712024-07-15
DTSTART:20240715T230000Z
SEQUENCE:0
TRANSP:OPAQUE
DTEND:20240715T040000Z
LOCATION:31806 Lake View Drive\nSelbyville DE 19975
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31806 Lake View Drive\nSelb
 yville DE 19975;X-APPLE-RADIUS=49;X-TITLE=31806 Lake View Drive:geo:38.466
 017,-75.112054
GEO:38.466017;-75.112054
SUMMARY:Trombone Shorty & Orleans Avenue
CLASS:PUBLIC
DESCRIPTION:It was after midnight when Trombone Shorty stepped offstage at 
 the\nHouse of Blues in New Orleans\, but he wasn’t done playing yet. Not
 \nby a long shot. “I had an idea for a new song right after the\nshow\,
 ” says Shorty\, “so the band and I decided to go straight into\nthe st
 udio and record it that night. We were still sweaty and buzzing\nfrom the 
 energy of the gig\, and we definitely carried that vibe into\nthe session 
 with us.” Take a listen to Lifted\, Trombone Shorty’s\nsecond release 
 for Blue Note Records\, and you’ll hear that same\necstatic energy cours
 ing through the entire collection. Recorded at\nShorty’s own Buckjump St
 udio with producer Chris Seefried (Fitz and\nthe Tantrums\, Andra Day)\, t
 he album finds the GRAMMY-nominated NOLA\nicon and his bandmates tapping i
 nto the raw power and exhilarating\ngrooves of their legendary live show\,
  channeling it all into a series\nof tight\, explosive performances that b
 lur the lines between funk\,\nsoul\, R&B\, and psychedelic rock. The writi
 ng is bold and self-assured\,\nstanding up to hard times and loss with gri
 t and determination\, and\nthe playing is muscular to match\, mixing pop g
 leam with hip-hop\nswagger and second-line abandon. Wild as all that may s
 ound\, Lifted is\nstill the work of a master craftsman\, and the album’s
  nimble\narrangements and judicious use of special guests—from Gary Clar
 k Jr.\nand Lauren Daigle to the rhythm section from Shorty’s high school
 \nmarching band—ultimately yields a collection that’s as refined as\ni
 t is rapturous\, one that balances technical virtuosity and emotional\nrel
 ease in equal measure as it celebrates music’s primal power to\nbring us
  all together. “I think this is the closest we’ve ever\ngotten to bott
 ling up the live show and putting it on a record\,”\nsays Shorty\, whose
  audiences have grown exponentially in recent years.\n“Normally when I
 ’m in the studio\, I’m trying to make the\ncleanest thing I can\, but 
 this time around\, I told everybody to really\ncut loose\, to perform like
  they were onstage at a festival.” If\nanybody knows their 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 first appearance a
 t Jazz Fest performing with Bo\nDiddley\; at six\, he was leading his own 
 brass band\; and by his teenage\nyears\, he was hired by Lenny 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. Catch a gig\, open 
 the pages of the New\nYork Times or Vanity Fair\, flip on any late-night T
 V show and you’ll\nsee an undeniable star with utterly magnetic charisma
 \, a natural-born\nshowman who can command an audience with the best of th
 em. Since 2010\,\nhe’s released four chart topping studio albums\; toure
 d with everyone\nfrom Jeff Beck to the Red Hot Chili Peppers\; collaborate
 d across\ngenres with Pharrell\, Bruno Mars\, Mark Ronson\, Foo Fighters\,
  ZHU\, Zac\nBrown\, Normani\, Ringo Starr\, and countless more\; played Co
 achella\,\nBonnaroo\, Lollapalooza\, Newport Folk\, Newport Jazz\, and nea
 rly every\nother major festival\; performed four times at the GRAMMY Award
 s\, five\ntimes at the White House\, on dozens of TV shows\, and at the\ns
 tar-studded Sesame Street Gala\, where he was honored with his own\nMuppet
 \; launched the Trombone Shorty Foundation to support youth music\neducati
 on\; and received the prestigious Caldecott Honor for his first\nchildren
 ’s book. Meanwhile in New Orleans\, Shorty now leads his own\nMardi Gras
  parade atop a giant float crafted in his likeness\, hosts\nthe annual Voo
 doo Threauxdown shows that have drawn guests including\nUsher\, Nick Jonas
 \, Dierks Bentley\, Andra Day\, and Leon Bridges to sit\nin with his band\
 , and has taken over the New Orleans Jazz & Heritage\nFestival’s hallowe
 d final set\, which has seen him closing out the\ninternationally renowned
  gathering after performances by the likes of\nNeil Young\, the Black Keys
 \, and Kings of Leon. “I owe all that to my\nmother\,” says Shorty. 
 “She passed recently\, but she continued to\ninspire me right up until s
 he transitioned\, and that’s why I put a\npicture of her holding me up a
 t a second line on the cover of this\nalbum. She lifted me up my whole lif
 e.” As if his New Orleans roots\nweren’t already deep enough\, Shorty 
 decided to take over a recording\nstudio in the Lower Garden District afte
 r the release of his latest\nalbum\, 2017’s Seefried-produced Parking Lo
 t Symphony. Dubbing the\nspace Buckjump in a nod to the second lines he gr
 ew up playing in\,\nShortly immediately set about converting the studio in
 to a\nfreewheeling sonic laboratory\, one where he and his friends could p
 ush\nthemselves creatively without any artistic or commercial restraints.\
 n“Having my own studio meant that the band and I could capture stuff\nin
  the moment any time we were feeling inspired\,” says Shorty. “It\nmea
 nt that we could take chances and experiment. I could call the guys\nup wi
 th an idea in the middle of the night and they’d say\,\n‘We’ll meet 
 you there in an hour!’” That sense of excitement\nand liberation is pa
 lpable on Lifted\, which opens with the addictive\n“Come Back.” Fueled
  by a bottom-heavy rhythm section\, buoyant\nkeys\, and bright flashes of 
 brass\, the track pairs a hip-hop groove\nwith hard rock energy as Shorty 
 delivers silky smooth vocals that\nfloat effortlessly above the instrument
 al fray. As its title might\nsuggest\, the song is a reckoning with loss a
 nd regret\, but like much\nof the album\, it refuses to surrender to disap
 pointment\, keeping its\nchin held high as it presses forward and fights f
 or what it wants. The\neffervescent “What It Takes” gets profoundly fu
 nky as it\ncelebrates the strength and growth that can emerge from times o
 f\nstruggle\, while the bittersweet “Forgiveness” leans into the\nband
 ’s R&B side as it works to move on from pain and betrayal\, and\nthe bli
 stering “I’m Standing Here” (which features a\nmind-bending guitar s
 olo from Gary Clark Jr.) rushes headlong into the\nmaelstrom. “I grew up
  watching wrestling as a kid\,” Shorty says\nwith a laugh\, “and I if 
 I was a wrestler\, ‘I’m Standing Here’\nwould be the song they playe
 d when I came into the ring. It’s all\nabout standing tall no matter wha
 t life throws at you.” Shorty makes\nsure to celebrate the good times on
  the album\, too\, reveling in the\njoy of love and friendship and family 
 throughout. The spirited\n“Might Not Make It Home” commits to letting 
 go and living in the\nmoment\; the playful “Miss Beautiful” embraces t
 he thrill of desire\nwhile offering a twist on the second line tradition\,
  with an electric\nbass stepping in for the tuba\; and the feel-good “Ev
 erybody In The\nWorld” (which features the New Breed Brass Band) finds c
 ommon ground\nin our universal desire for love and acceptance. But it’s 
 perhaps\nthe electrifying title track\, which lands somewhere between Eart
 h\,\nWind & Fire and Shorty’s old tourmate Lenny Kravitz that best\nenca
 psulates the spirit of the album\, wrapping earnest emotion in a\nhigh-oct
 ane package that offers you no choice but to move your body.\n“The whole
  time we were making Lifted\, I couldn’t help but think\nabout how much 
 fun it would be to get onstage and play it for an\naudience\,” Shorty re
 calls. “Usually when I make an album\, I record\nthe songs first and fig
 ure out how we’re going to present them live\nafterward\, but with this 
 record\, I was in the studio imagining the\nlights flashing on the hits an
 d the audience singing everything back\nto us. I could see the whole thing
  in my head.” For Trombone Shorty\,\nthe show never ends. Not by a long 
 shot. Venue: Freeman Arts Pavilion.
X-ALT-DESC;FMTTYPE=text/html:It was after midnight when Trombone Shorty ste
 pped offstage at the House of Blues in New Orleans\, but he wasn’t done 
 playing yet. Not by a long shot. “I had an idea for a new song right aft
 er the show\,” says Shorty\, “so the band and I decided to go straight
  into the studio and record it that night. We were still sweaty and buzzin
 g from the energy of the gig\, and we definitely carried that vibe into th
 e session with us.” Take a listen to Lifted\, Trombone Shorty’s second
  release for Blue Note Records\, and you’ll hear that same ecstatic ener
 gy coursing through the entire collection. Recorded at Shorty’s own Buck
 jump Studio with producer Chris Seefried (Fitz and the Tantrums\, Andra Da
 y)\, the album finds the GRAMMY-nominated NOLA icon and his bandmates tapp
 ing into the raw power and exhilarating grooves of their legendary live sh
 ow\, channeling it all into a series of tight\, explosive performances tha
 t blur the lines between funk\, soul\, R&B\, and psychedelic rock. The wri
 ting is bold and self-assured\, standing up to hard times and loss with gr
 it and determination\, and the playing is muscular to match\, mixing pop g
 leam with hip-hop swagger and second-line abandon. Wild as all that may so
 und\, Lifted is still the work of a master craftsman\, and the album’s n
 imble arrangements and judicious use of special guests—from Gary Clark J
 r. and Lauren Daigle to the rhythm section from Shorty’s high school mar
 ching band—ultimately yields a collection that’s as refined as it is r
 apturous\, one that balances technical virtuosity and emotional release in
  equal measure as it celebrates music’s primal power to bring us all tog
 ether. “I think this is the closest we’ve ever gotten to bottling up t
 he live show and putting it on a record\,” says Shorty\, whose audiences
  have grown exponentially in recent years. “Normally when I’m in the s
 tudio\, I’m trying to make the cleanest thing I can\, but this time arou
 nd\, I told everybody to really cut loose\, to perform like they were onst
 age at a festival.” If anybody knows their way around a festival\, it’
 s Trombone Shorty. Born Troy Andrews\, he got his start (and nickname) ear
 lier than most: at four\, he made his first appearance at Jazz Fest perfor
 ming with Bo Diddley\; at six\, he was leading his own brass band\; and by
  his teenage years\, he was hired by Lenny Kravitz to join the band he ass
 embled for his Electric Church World Tour. Shorty’s proven he’s more t
 han just a horn player\, though. Catch a gig\, open the pages of the New Y
 ork Times or Vanity Fair\, flip on any late-night TV show and you’ll see
  an undeniable star with utterly magnetic charisma\, a natural-born showma
 n who can command an audience with the best of them. Since 2010\, he’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’s book. Meanwhile in New Orleans\,
  Shorty now leads his own Mardi Gras parade atop a giant float crafted in 
 his likeness\, hosts the annual Voodoo Threauxdown shows that have drawn g
 uests 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’s hallowed final set\, which has seen him closing o
 ut the internationally renowned gathering after performances by the likes 
 of Neil Young\, the Black Keys\, and Kings of Leon. “I owe all that to m
 y mother\,” says Shorty. “She passed recently\, but she continued to i
 nspire me right up until she transitioned\, and that’s why I put a pictu
 re of her holding me up at a second line on the cover of this album. She l
 ifted me up my whole life.” As if his New Orleans roots weren’t alread
 y deep enough\, Shorty decided to take over a recording studio in the Lowe
 r Garden District after the release of his latest album\, 2017’s Seefrie
 d-produced Parking Lot Symphony. Dubbing the space Buckjump in a nod to th
 e second lines he grew up playing in\, Shortly immediately set about conve
 rting the studio into a freewheeling sonic laboratory\, one where he and h
 is friends could push themselves creatively without any artistic or commer
 cial restraints. “Having my own studio meant that the band and I could c
 apture stuff in the moment any time we were feeling inspired\,” says Sho
 rty. “It meant that we could take chances and experiment. I could call t
 he guys up with an idea in the middle of the night and they’d say\, ‘W
 e’ll meet you there in an hour!’” That sense of excitement and liber
 ation is palpable on Lifted\, which opens with the addictive “Come Back.
 ” Fueled by a bottom-heavy rhythm section\, buoyant keys\, and bright fl
 ashes of brass\, the track pairs a hip-hop groove with hard rock energy as
  Shorty delivers silky smooth vocals that float effortlessly above the ins
 trumental fray. As its title might suggest\, the song is a reckoning with 
 loss and regret\, but like much of the album\, it refuses to surrender to 
 disappointment\, keeping its chin held high as it presses forward and figh
 ts for what it wants. The effervescent “What It Takes” gets profoundly
  funky as it celebrates the strength and growth that can emerge from times
  of struggle\, while the bittersweet “Forgiveness” leans into the band
 ’s R&B side as it works to move on from pain and betrayal\, and the blis
 tering “I’m Standing Here” (which features a mind-bending guitar sol
 o from Gary Clark Jr.) rushes headlong into the maelstrom. “I grew up wa
 tching wrestling as a kid\,” Shorty says with a laugh\, “and I if I wa
 s a wrestler\, ‘I’m Standing Here’ would be the song they played whe
 n I came into the ring. It’s all about standing tall no matter what life
  throws at you.” Shorty makes sure to celebrate the good times on the al
 bum\, too\, reveling in the joy of love and friendship and family througho
 ut. The spirited “Might Not Make It Home” commits to letting go and li
 ving in the moment\; the playful “Miss Beautiful” embraces the thrill 
 of desire while offering a twist on the second line tradition\, with an el
 ectric bass stepping in for the tuba\; and the feel-good “Everybody In T
 he World” (which features the New Breed Brass Band) finds common ground 
 in our universal desire for love and acceptance. But it’s perhaps the el
 ectrifying title track\, which lands somewhere between Earth\, Wind & Fire
  and Shorty’s old tourmate Lenny Kravitz that best encapsulates the spir
 it of the album\, wrapping earnest emotion in a high-octane package that o
 ffers you no choice but to move your body. “The whole time we were makin
 g Lifted\, I couldn’t help but think about how much fun it would be to g
 et onstage and play it for an audience\,” Shorty recalls. “Usually whe
 n I make an album\, I record the songs first and figure out how we’re go
 ing to present them live afterward\, but with this record\, I was in the s
 tudio imagining the lights flashing on the hits and the audience singing e
 verything back to us. I could see the whole thing in my head.” For Tromb
 one Shorty\, the show never ends. Not by a long shot. Venue: Freeman Arts 
 Pavilion.
DTSTAMP:20260524T165414Z
END:VEVENT
END:VCALENDAR