Sheila E. & The E-Train at the 47th Annual Tri-C JazzFest

Sheila E. & The E-Train
State Theater
47th Annual Tri-C JazzFest
Cleveland, OH
June 25, 2026

Under new artistic director Orlando Watson, the 47th edition of Tri-C JazzFest opened with a program that reflected the festival's broader recalibration. With a lineup emphasizing artists with strong Cleveland ties and frequent references throughout the weekend to the increasingly elastic notion of "jazz adjacent," the festival appeared intent on broadening its audience while testing the boundaries of its identity. Whether that approach ultimately succeeds will become clearer in future editions.

As an opening-night statement, however, Sheila E. and the E-Train proved difficult to fault. The veteran percussionist brought the kind of polished, high-energy production that blurred the lines between jazz, funk, soul and pop while never sacrificing musicianship.

The set established its groove immediately with The Stylistics' "People Make the World Go Round," propelled by Curtis Bertron's layered keyboard textures and Mychael Gabriel's assertive guitar work. A seamlessly assembled medley linking Sly Stone's "Everyday People," The Pointer Sisters' "Yes We Can Can" and Tower of Power's "Oakland Stroke" underscored Escovedo's Bay Area roots, the latter serving as an especially appropriate nod to her musical upbringing under her father, legendary bandleader Pete Escovedo.

Although her reputation rests on formidable percussion skills, Escovedo demonstrated equal command as a frontwoman, moving comfortably between drum set, timbales, and lead vocals while maintaining constant rapport with the audience. Her extended feature during "Yellow Submarine" was the evening's technical centerpiece. Beginning with crisp double-stroke figures on closed hi-hats, she gradually expanded the rhythmic palette through shifting accents, dynamic contrasts and orchestrated movement around the kit before reducing the texture to hand percussion, creating a satisfying dramatic arc.

The ensemble functioned less as a backing band than as a collaborative unit. Bassist Raymond McKinley injected a welcome dose of deep funk during a feature incorporating "Brick House" and "We Want the Funk," while vocalist Lynn Mabry brought warmth and conviction to "Blackbird," supported by Bertron's understated accompaniment before Gabriel entered with tasteful commentary.

Escovedo also understood pacing. A reflective reading of Burt Bacharach's "What the World Needs Now," accompanied by brief remarks on compassion and unity, provided an effective emotional reset before the inevitable audience favorites, "A Love Bizarre" and "The Glamorous Life," transformed the State Theater into a dance floor. Throughout both numbers, her timbale work remained crisp, forceful, and impeccably placed, complementing rather than overwhelming the groove. The evening succeeded because its showmanship rested on a solid musical foundation. For a festival navigating an evolving artistic identity, Sheila E. and the E-Train supplied an opening-night performance that balanced entertainment value with genuine musical substance.