George Clinton & Parliament Funkadelic, Mystic Theater Petaluma, 2/17/20

As I walk into Petaluma’s Mystic Theater, I hear this in passing, “The Mothership has landed!” That statement is pertaining to the show at hand with the master of all things funky and freaky, George Clinton and his new generation of Parliament Funkadelic. Let’s just say that the psychedelic circus has come to town with all its wacky, high-energy glory, and I was there to witness the magic.

Sadly, this is George Clinton’s “Farewell Tour”.  At 79 years old, he thinks it’s a bit time to settle down, but not before giving his fans one last “give up the funk” party to end all parties. Clinton has been at this game of out-of-this-world performances since the ’70s, creating hybrid music that encompasses rock, funk, Motown, heavy metal, hip-hop, and soul all while exploring various electronic sound technologies and lyricisms. He relishes in blurring the lines of White & Black music, as music knows no racial division. Clinton is a songwriter, rapper, producer, and Captain of The Mothership. He has developed an influential and eclectic form of performance that incorporates the ideas of futuristic vibes, outlandish fashion, psychedelic culture, and surreal humor.

Clinton is touring with, literally, a new generation of PFunk that includes his son and daughter, many of his grandkids and kids of PFunk alumni. Now, forgive me for being unclear on a few things here. Truth be told, I have no idea who everyone onstage was or what their names were, as it was too hard to keep track. But at any given moment, the stage was filled with up to 20 people including two guitarists, three backup singers, keys, drums, bass, sax, a ton of MC’s and rappers and Mr. Clinton himself, all giving it their all as they bounced, danced, twerked, and interacted with each other while blasting us with tightly played music.​

It was pure chaos in the best sense of the word. There were sexy costumes, sequins, guitar-shredding-hair flips, sexual innuendo, platform shoes, the sharing of joints all amid a swirl of active antics on stage. The band continually gave high fives, fist bumps, and handshakes to the crowd throughout the night. MC’s came and went, rapping and rhyming to the PFunk beat. Mics were pointed to the audience, and copious amounts of sing-alongs were had during significant hits such as “Give Up The Funk”, “Flash Light”, and many covers of well-loved hop-hop and soul tunes. Featured also were many new songs from Clinton’s latest studio album Medicaid Fraud Dogg, which brings PFunk into the 21st century with current themes lyrically and wicked funk-rock beats. The racially mixed crowd smiled and smiled and smiled, while much hooting, hollering, and cheering ensued. There was true love from the players to the audience. ​

Because of his ailing health, Clinton spent much of his time sitting midstage in a chair, but when he got up to sing or dance around with his band, his life force came shining through, and you could tell his spirit was right where it belonged, regardless of what his body tells him. His smiles and laughter from the stage all gave the idea of a man who has had it all, gave it his all, and is now reigning high in his Mothership. He is the rightful King of Funk, a true showman who has been WOWing crowds for decades. So I wish him well in his retirement, though I must admit, I highly doubt I am the only one who hopes that retirement does not last.