BEGIN:VCALENDAR VERSION:2.0 PRODID:SoDel X-WR-CALNAME:Trombone Shorty & Orleans Avenue &mdash\; Might Not Make it Ho me Tour BEGIN:VEVENT UID:271932025-07-26 DTSTART:20250726T230000Z SEQUENCE:0 TRANSP:OPAQUE DTEND:20250726T040000Z 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 &mdash\; Might Not Make it Home To ur 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 Award-nominated\nNOLA icon and his bandmates tap ping into the raw power and\nexhilarating grooves of their legendary live show\, channeling it all\ninto a series of tight\, explosive performances that blur the lines\nbetween funk\, soul\, R&B\, and psychedelic rock. The writing is bold and\nself-assured\, standing up to hard times and loss wi th grit and\ndetermination\, and the playing is muscular to match\, mixing pop gleam\nwith hip-hop swagger and second-line abandon. Wild as all that may\nsound\, Lifted is still the work of a master craftsman\, and the\nal bum’s nimble arrangements and judicious use of special\nguests—from Ga ry Clark Jr. and Lauren Daigle to the rhythm section\nfrom Shorty’s high school marching band—ultimately yields a\ncollection that’s as refine d as it is rapturous\, one that balances\ntechnical virtuosity and emotion al release in equal measure as it\ncelebrates music’s primal power to br ing us all together. “I think\nthis is the closest we’ve ever gotten t o bottling up the live show\nand putting it on a record\,” says Shorty\, whose audiences have grown\nexponentially in recent years. “Normally wh en I’m in the studio\,\nI’m trying to make the cleanest thing I can\, but this time around\, I\ntold everybody to really cut loose\, to perform like they were onstage\nat a festival.” If anybody knows their way aroun d a festival\, it’s\nTrombone Shorty. Born Troy Andrews\, he got his sta rt (and nickname)\nearlier than most: at four\, he made his first appearan ce at Jazz Fest\nperforming with Bo Diddley\; at six\, he was leading his own brass band\;\nand by his teenage years\, he was hired by Lenny Kravitz to join the\nband he assembled for his Electric Church World Tour. Shorty ’s\nproven he’s more than just a horn player\, though. Catch a gig\, o pen\nthe pages of the New York Times or Vanity Fair\, flip on any late-nig ht\nTV show and you’ll see an undeniable star with utterly magnetic\ncha risma\, a natural-born showman who can command an audience with the\nbest of them. Since 2010\, he’s released four chart topping studio\nalbums\; toured with everyone from Jeff Beck to the Red Hot Chili\nPeppers\; collab orated across genres with Pharrell\, Bruno Mars\, Mark\nRonson\, Foo Fight ers\, ZHU\, Zac Brown\, Normani\, Ringo Starr\, and\ncountless more\; play ed Coachella\, Bonnaroo\, Lollapalooza\, Newport\nFolk\, Newport Jazz\, an d nearly every other major festival\; performed\nfour times at the GRAMMY Awards\, five times at the White House\, on\ndozens of TV shows\, and at t he star-studded Sesame Street Gala\, where\nhe was honored with his own Mu ppet\; launched the Trombone Shorty\nFoundation to support youth music edu cation\; and received the\nprestigious Caldecott Honor for his first child ren’s book. Meanwhile\nin New Orleans\, Shorty now leads his own Mardi G ras parade atop a\ngiant float crafted in his likeness\, hosts the annual Voodoo\nThreauxdown shows that have drawn guests including Usher\, Nick Jo nas\,\nDierks Bentley\, Andra Day\, and Leon Bridges to sit in with his ba nd\,\nand has taken over the New Orleans Jazz & Heritage Festival’s\nhal lowed final set\, which has seen him closing out the internationally\nreno wned gathering after performances by the likes of Neil Young\, the\nBlack Keys\, and Kings of Leon. “I owe all that to my mother\,” says\nShorty . “She passed recently\, but she continued to inspire me right\nup until she transitioned\, and that’s why I put a picture of her\nholding me up at a second line on the cover of this album. She lifted\nme up my whole l ife.” As if his New Orleans roots weren’t already\ndeep enough\, Short y decided to take over a recording studio in the\nLower Garden District af ter the release of his latest album\, 2017’s\nSeefried-produced Parking Lot Symphony. Dubbing the space Buckjump in\na nod to the second lines he grew up playing in\, Shortly immediately\nset about converting the studio into a freewheeling sonic laboratory\,\none where he and his friends could push themselves creatively without\nany artistic or commercial restraints . “Having my own studio meant\nthat the band and I could capture stuff i n the moment any time we were\nfeeling inspired\,” says Shorty. “It me ant that we could take\nchances and experiment. I could call the guys up w ith an idea in the\nmiddle of the night and they’d say\, ‘We’ll meet you there in an\nhour!’” That sense of excitement and liberation is p alpable on\nLifted\, which opens with the addictive “Come Back.” Fuele d by a\nbottom-heavy rhythm section\, buoyant keys\, and bright flashes of \nbrass\, the track pairs a hip-hop groove with hard rock energy as\nShort y delivers silky smooth vocals that float effortlessly above the\ninstrume ntal fray. As its title might suggest\, the song is a reckoning\nwith loss and regret\, but like much of the album\, it refuses to\nsurrender to dis appointment\, keeping its chin held high as it presses\nforward and fights for what it wants. The effervescent “What It\nTakes” gets profoundly funky as it celebrates the strength and\ngrowth that can emerge from times of struggle\, while the bittersweet\n“Forgiveness” leans into the ban d’s R&B side as it works to move\non from pain and betrayal\, and the bl istering “I’m Standing\nHere” (which features a mind-bending guitar solo from Gary Clark\nJr.) rushes headlong into the maelstrom. “I grew u p watching\nwrestling as a kid\,” Shorty says with a laugh\, “and I if I was a\nwrestler\, ‘I’m Standing Here’ would be the song they play ed when\nI came into the ring. It’s all about standing tall no matter wh at\nlife throws at you.” Shorty makes sure to celebrate the good times\n on the album\, too\, reveling in the joy of love and friendship and\nfamil y throughout. The spirited “Might Not Make It Home” commits\nto lettin g go and living in the moment\; the playful “Miss\nBeautiful” embraces the thrill of desire while offering a twist on\nthe second line tradition \, with an electric bass stepping in for the\ntuba\; and the feel-good “ Everybody In The World” (which features\nthe New Breed Brass Band) finds common ground in our universal desire\nfor love and acceptance. But it’ s perhaps the electrifying title\ntrack\, which lands somewhere between Ea rth\, Wind & Fire and Shorty’s\nold tourmate Lenny Kravitz that best enc apsulates the spirit of the\nalbum\, wrapping earnest emotion in a high-oc tane package that offers\nyou no choice but to move your body. “The whol e time we were making\nLifted\, I couldn’t help but think about how much fun it would be to\nget onstage and play it for an audience\,” Shorty r ecalls. “Usually\nwhen I make an album\, I record the songs first and fi gure out how\nwe’re going to present them live afterward\, but with this record\, I\nwas in the studio imagining the lights flashing on the hits a nd the\naudience singing everything back to us. I could see the whole thin g in\nmy head.” For Trombone Shorty\, the show never ends. Not by a long \nshot. 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 Award-nominated NOLA icon and his bandmate s tapping into the raw power and exhilarating grooves of their legendary l ive show\, channeling it all into a series of tight\, explosive performanc es that blur the lines between funk\, soul\, R&B\, and psychedelic rock. T he writing is bold and self-assured\, standing up to hard times and loss w ith grit and determination\, and the playing is muscular to match\, mixing pop gleam with hip-hop swagger and second-line abandon. Wild as all that may sound\, Lifted is still the work of a master craftsman\, and the album ’s nimble arrangements and judicious use of special guests—from Gary C lark Jr. and Lauren Daigle to the rhythm section from Shorty’s high scho ol marching band—ultimately yields a collection that’s as refined as i t is rapturous\, one that balances technical virtuosity and emotional rele ase in equal measure as it celebrates music’s primal power to bring us a ll together. “I think this is the closest we’ve ever gotten to bottlin g up the live show and putting it on a record\,” says Shorty\, whose aud iences have grown exponentially in recent years. “Normally when I’m in the studio\, I’m trying to make the cleanest thing I can\, but this tim e around\, I told everybody to really cut loose\, to perform like they wer e onstage at a festival.” If anybody knows their way around a festival\, it’s Trombone Shorty. Born Troy Andrews\, he got his start (and nicknam e) earlier than most: at four\, he made his first appearance at Jazz Fest performing 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 assembled for his Electric Church World Tour. Shorty’s proven he’s more than just a horn player\, though. Catch a gig\, open the pages of the New York 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 showman who can command an audience with the best of them. Since 2010\, he ’s released four chart topping studio albums\; toured with everyone from Jeff Beck to the Red Hot Chili Peppers\; collaborated across genres with Pharrell\, Bruno Mars\, Mark Ronson\, Foo Fighters\, ZHU\, Zac Brown\, Nor mani\, Ringo Starr\, and countless more\; played Coachella\, Bonnaroo\, Lo llapalooza\, Newport Folk\, Newport Jazz\, and nearly every other major fe stival\; performed four times at the GRAMMY Awards\, five times at the Whi te House\, on dozens of TV shows\, and at the star-studded Sesame Street G ala\, where he was honored with his own Muppet\; launched the Trombone Sho rty Foundation to support youth music education\; and received the prestig ious Caldecott Honor for his first children’s book. Meanwhile in New Orl eans\, Shorty now leads his own Mardi Gras parade atop a giant float craft ed in his likeness\, hosts the annual Voodoo Threauxdown shows that have d rawn guests including Usher\, Nick Jonas\, Dierks Bentley\, Andra Day\, an d Leon Bridges to sit in with his band\, and has taken over the New Orlean s Jazz & Heritage Festival’s hallowed final set\, which has seen him clo sing out the internationally renowned gathering after performances by the likes of Neil Young\, the Black Keys\, and Kings of Leon. “I owe all tha t to my mother\,” says Shorty. “She passed recently\, but she continue d to inspire me right up until she transitioned\, and that’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.” As if his New Orleans roots weren’t already deep enough\, Shorty decided to take over a recording studio in th e Lower Garden District after the release of his latest album\, 2017’s S eefried-produced 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 where he and his friends could push themselves creatively without any artistic or commercial restraints. “Having my own studio meant that the band and I c ould capture stuff in the moment any time we were feeling inspired\,” sa ys Shorty. “It meant that we could take chances and experiment. I could call the guys up with an idea in the middle of the night and they’d say\ , ‘We’ll meet you there in an hour!’” That sense of excitement and liberation is palpable on Lifted\, which opens with the addictive “Come Back.” Fueled by a bottom-heavy rhythm section\, buoyant keys\, and bri ght flashes of brass\, the track pairs a hip-hop groove with hard rock ene rgy as Shorty delivers silky smooth vocals that float effortlessly above t he instrumental fray. As its title might suggest\, the song is a reckoning with loss and regret\, but like much of the album\, it refuses to surrend er to disappointment\, keeping its chin held high as it presses forward an d fights for what it wants. The effervescent “What It Takes” gets prof oundly funky as it celebrates the strength and growth that can emerge from times of struggle\, while the bittersweet “Forgiveness” leans into th e band’s R&B side as it works to move on from pain and betrayal\, and th e blistering “I’m Standing Here” (which features a mind-bending guit ar solo from Gary Clark Jr.) rushes headlong into the maelstrom. “I grew up watching wrestling as a kid\,” Shorty says with a laugh\, “and I i f I was a wrestler\, ‘I’m Standing Here’ would be the song they play ed when I came into the ring. It’s all about standing tall no matter wha t life throws at you.” Shorty makes sure to celebrate the good times on the album\, too\, reveling in the joy of love and friendship and family th roughout. The spirited “Might Not Make It Home” commits to letting go and living in the moment\; the playful “Miss Beautiful” embraces the t hrill of desire while offering a twist on the second line tradition\, with an electric bass stepping in for the tuba\; and the feel-good “Everybod y In The World” (which features the New Breed Brass Band) finds common g round in our universal desire for love and acceptance. But it’s perhaps the electrifying title track\, which lands somewhere between Earth\, Wind & Fire and Shorty’s old tourmate Lenny Kravitz that best encapsulates th e spirit of the album\, wrapping earnest emotion in a high-octane package that offers you no choice but to move your body. “The whole time we were making Lifted\, I couldn’t help but think about how much fun it would b e to get onstage and play it for an audience\,” Shorty recalls. “Usual ly when I make an album\, I record the songs first and figure out how we ’re going to present them live afterward\, but with this record\, I was in the studio imagining the lights flashing on the hits and the audience s inging everything back to us. I could see the whole thing in my head.” F or Trombone Shorty\, the show never ends. Not by a long shot. Venue: Freem an Arts Pavilion. DTSTAMP:20261028T221054Z END:VEVENT END:VCALENDAR