With Special Guests
Blind Boy Paxton in SYD
D-Analogues in MELB
“When a horn is pressed to his lips, he shoots flames, occasionally indulging in a few showstoppy tricks, spitting out staccato notes like a lawn sprinkler or bleating an elongated phrase like a distant ambulance coming to the rescue. Rows of converts dance and smile. Andrews (Trombone Shorty) smiles back.” – The Guardian
Bluesfest favourite Trombone Shorty is bringing his energetic sound back to Australia. The New Orleans native began his career as a bandleader at the young age of six, toured internationally at age 12, and spent his teens playing with brass bands and touring worldwide with Lenny Kravitz.
Trombone Shorty's new album Parking Lot Symphony opens with a dirge, but if you think he’s here to mourn, you got it all wrong. That bit of beautiful New Orleans soul—‘Laveau Dirge No. 1,’ named after one of the city's famous voodoo queens—shows off our host's roots before the album branches out wildly and wonderfully.
As for why it's taken Andrews so long to follow 2013's Say That to Say This, the man says, "I didn't realize so much time passed. Some artists don't work until they put a record out but I never stopped going." Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters' Sonic Highways series; voiced the sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at the New Orleans Jazz & Heritage Festival; and released Trombone Shorty, a children's book about his life.
His shows are life affirming, good times that will thrill music lovers of all ages. Don’t miss him, with a schedule this packed who knows when he’ll be back!
His performances are high energy, soulful and totally full of joy, don’t miss them when they hit Sydney and Melbourne in April 2017.
“For True is the album that best seems to capture the blistering energy and momentum of a sweaty, brass-fueled rave-up at some hole-in-the-wall New Orleans club. On those terms, it’s pretty close to perfect.”- The Hurst Review