What we tried to do with the record is capture what we do live and then just tighten it up a little bit, make it translate on record. Live, we may come across some stuff and jam on it, but the record brings it in and focuses on what we needed to do. We worked hard and we didn't rush it. I think we alright with this one.
Backatown represents Andrews's national[2] and major label debut.[3] The tracks "In the 6th", "Hurricane Season" and "Backatown" pay homage to the culture and neighborhoods of New Orleans, Andrews hometown.[4] He refers to his diverse musical style as 'supafunkrock'.[5]
Lenny Kravitz provides guitar and backing vocals on "Something Beautiful"Allen Toussaint wrote and performed on "On Your Way Down"
Andrews is supported by his band Orleans Avenue: bassist Mike Ballard, guitarist Pete Murano, saxophonist Dan Oestreicher, drummer Joey Peebles, and percussionist Dwayne Williams.[8] Andrews plays trombone and trumpet[9] and provides lead vocals on five tracks.[10]
Lenny Kravitz, who Andrews apprenticed under[2] as a member of his backing band,[11] plays guitar and sings backup on "Something Beautiful".[1] Marc Broussard contributes backing vocals on "Right to Complain".[9]Allen Toussaint plays piano[8] on the only cover song, a reworking of his own "On Your Way Down".[4]
Nate Chinen said in The New York Times that the album is "more polished and less thrilling than Trombone Shorty's live shows" but goes on to call it "firm in its purpose with swagger to spare". He closed his review with "It's a sound born of New Orleans, unmistakably, and if it heralds an ambitious ascent, it also attests to an unbroken spirit."[9]
Noting the wide appeal of Backatown, Carla Meyer of The Sacramento Bee wrote that it "provides comfort for fans of jazz, rock, pop, funk and however you want to classify James Bond theme music".[5]Geoffrey Himes of The Washington Post compared Andrews's vocals to Stevie Wonder and noted that the album has "second-line rhythm that could only come from New Orleans".[10]
Thom Jurek of Allmusic called the music "aural gumbo" and the album a "fingerpopping, butt-shakin' mix set" that "crackles and burns with an unburdened, unfettered, passionate live feel". He went on to call it "everything popular American music should be".[8] Will Hermes of Rolling Stone said the album is "both deeply rooted and culturally omnivorous" and referred to Andrews as "a Katrina survivor trying to hold on to the old while building the new".[12]
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