Produced by: Kesey Enterprises, Double Tee Concerts
Support: Pimps of Joytime, Yak Attack, Blu Eye Extinction
Date: Saturday, July 30, 2022
Event Type: General Admission, All Ages
Gates Open at: 5 pm
Show Starts at: 6:15 pm
Tickets: All ages advance tickets are general admission and available now for $50 online at TicketsWest.
Unless sold out, tickets will also be available at the The Cuthbert Amphitheater Box Office on the day of the show for $55 beginning at 5:30 p.m. when the Box Office opens.
The general admission concert is open to everyone of all ages.
All tickets subject to service charges and /or user fees.
George Clinton revolutionized funk and R&B at large as the mastermind of Parliament and Funkadelic. Versed in gospel, doo wop, and soul, Clinton — a singer, songwriter, bandleader, and master conceptualist — scored his first hit as co-writer and lead vocalist of the Parliaments’ “(I Wanna) Testify” (1967), a fiery if tame precursor to what he and his ever-changing collective unleashed the following decade, highlighted by a clutch of animated and everlasting funk classics that topped the R&B chart.
While P-Funk temporarily laid dormant, Clinton went solo with Computer Games (1982), the source of another number one R&B hit, “Atomic Dog,” leading to three additional albums for Capitol and sporadic solo affairs during the following decades with Epic, Paisley Park, and a series of independents. A hip-hop godfather, his P-Funk and solo recordings have been sampled innumerable times, and he has worked in the flesh with many of those whose creativity he has fueled, from Digital Underground and Snoop Dogg to OutKast and Kendrick Lamar. Also the driving force of the unmatched Parliament-Funkadelic live spectacle, Clinton toured relentlessly until 2019, the same year he was handed a Lifetime Achievement Award by the Recording Academy. If there was a Mount Rushmore for funk, Clinton would no doubt be part of the sculpture between the likes of James Brown and Sly Stone. Given that the P-Funk Mothership made its final touchdown at the Smithsonian’s National Museum of African-American History and Culture, the notion is not all that absurd.