George HaffendenThe King of P-Funk returned to the capital on his latest farewell tour.
After announcing in 2018 he was retiring from touring – and embarking on an international tour to say farewell – George Clinton returned home and changed his mind. He announced he would do some more shows instead.
A year later, more “farewell” shows were scheduled internationally, and well, who could resist another trip aboard the Mothership? Not me, that’s for sure.
Originally scheduled for June 2020, the pandemic pushed his (potentially) final London show back to last week, taking place at the O2 Forum in Kentish Town. A relatively small venue for a man of such influence, it was a sell-out affair, impressive for a wet Monday evening.
The cost of living crisis clearly hasn’t impacted the P-Funk universe yet, as Clinton continues to tour with his mega-group of musicians, singers and rappers. By my count, there were about 20 people on stage, no doubt giving the poor technicians at the mixing desks panic attacks with so many microphones to manage.
The core group – drummer, bassist, guitarists and keyboardist – anchor the sound throughout the show, while the horns, rappers and singers come on when needed. Even then, the stage looks small with so many musicians crowded around.
Now 81, Clinton still cuts an energetic figure on stage, even if his contribution to the music itself is minimal. He does contribute vocals, but leaves the bulk of it to his younger employees. He doesn’t play anything, acting more like a pensioner hype-man, waving and gesticulating to the crowd constantly, lapping up adoration from the crowd. He was either really enjoying himself, or stoned out of his mind. Or possibly both.
Cynically you could assume Clinton’s decision to continue touring is simply a way of keeping these musicians (many of which are his extended family) employed. Who would hire the rappers he takes on tour with him?
That said, the musicianship is largely top notch. The line-up has been broadly similar to his last UK shows, but there’s a new trumpeter and trombonist, and a great new lead guitarist. When they hit their stride, there’s few bands funkier.
There’s also the ridiculous too: Clinton himself trying to get low while dancing, a multitude of outrageous outfits (and changes), and one guitarist – God’s Weapon – performing half the show in his boxers (although in fairness, it probably is hot on stage). And then there’s clearly some elements to the show that aren’t needed, extended rap sections for instance, which probably only are featured to give Clinton’s relatives a shot at their own music careers.
But all that is forgotten when the ensemble launch into the classic P-Funk hits such as “Tear the Roof of The Sucker”, “Flashlight”, “Knee Deep” and “Atomic Dogg”. On these, the band is sensational and the crowd buzzing.
Sometimes though the band keep grooving to the point where it’s hard to know where one jam ends and another begins with extended horn and guitar solos that dazzle. But with significant time given to Clinton’s “third generation” of P-Funkers, it means there isn’t enough time for more of his classic songs. There’s no “Mothership Connection” or “Maggot Brain” or “Can You Get To That”, which is shame – especially considering there was enough time for a very loud cover of “Jump Around”. It’s still funky and enjoyable, but could be even better.
Especially as it’s on the classics that the band really are at their best. Their version of “Standing on the Verge” is electrifying, and the vocals of member Uche – who has a single out featuring Bootsy Collins no less, and was on American Idol – on “Flashlight” and “One Nation Under A Groove” are great.
The band member who really does steal the show is long-time saxophonist Greg Thomas, who not only kills it on several sax solos – but is a brilliant singer as well. In fact, the horn section sounds great whenever they are on stage (and, if you asked me, should be on stage all the time).
Still, this is George Clinton’s show and at 81 he can do what he likes. He can play the classics, or he can try giving us some new music that is alright, but not quite the good stuff. But he still knows how to entertain, and while there might not be expensive flying spaceship sets on stage any more, this was a thoroughly enjoyable way to spend a Monday evening.
The question is then, what will happen when (or, if) he does actually retire?
Clinton’s presence on stage naturally legitimises the group around him. The line-up has always been pretty fluid, with OG members leaving or passing away, but in fairness the current P-Funk line-up is broadly similar to his last UK shows, with the addition of a new trumpeter and trombonist, and a great new lead guitarist.
But without Clinton, will Parliament-Funkadelic go on? The better musicians will no doubt be snapped up elsewhere, but will this “third generation” of Parliament-Funkadelic be able to continue without it’s leader? Maybe that’s why Clinton has come out of retirement before he’s even got there: his family needs the work.
And to be fair, at least Clinton is trying something new. It would be enough for him to just churn out the classics easy enough, and take the money. Yet he’s always been forward looking, even it hasn’t always worked. He clearly loves this music still, after all these years. His role on stage may have diminished to bandleader/cheerleader, he still remains at the centre of the P-Funk universe.
With so many greats already gone, George Clinton is one of the few funk pioneers left. Who can refuse the man a final, blistering tour? Not the UK it seems, where all his shows seem to have been huge successes.
So, as Clinton flashed a smile and walked off stage, it was a magnificent farewell performance. And if that’s the last time we see Clinton in the flesh, what a way to bow out.