If you’ve never heard of George Clinton and Parliament Funkadelic, you need to read 'Scar Tissue', Anthony Kiedis’ autobiography.
It was only appropriate that through Funkadelic’s opening set, this tour introduces us to the Chili's history before we get to see them recount it themselves.
Don’t be disappointed you might not hear every single song you came for – there’s not enough time to include everything. But they’ll give it a red-hot try.
George Clinton lauds over the stage in a gigantic white coat as conductor, director, narrator and producer (as he did on 'Freaky Styley') of the sometimes 17 people on stage. It’s super heavy, it’s hip hop, it’s not as much funk as you might expect but there is brass, three MCs, three outrageous female singing, dancing entities and a whole lotta groove.
George Clinton - image © Zoe Russell
The guitarist has three foot-long red and blue (and more) hair extensions that he whips more than nay nays. It’s hectic party bangers and not much reprieve.
It looks like a street party, crammed into the space that’s left in front of the Peppers’ set-up behind, which only becomes impressive once you see the roadies load out all of Clinton’s set-up, including swapping out all the foldbacks and you see how much space the Chili's get to use. And need to.
Cue: the art of the grand entrance.
Is that a clarinet minuet? What? The instrumentalists of RHCP jam, and then there’s the first guitar swap (it happens almost every song).
RHCP - image © Zoe Russell
And then the topographically rich riffage of 'Around The World' begins its exploration of the Entertainment Centre. It’s a rich dive into the depths of the universe and then the lonely riff of 'Otherside', (also from 1999’s 'Californication' album) stirs the entire room to echo.
“How long, how long, will I slide…”. Yeah, it’s been TWELVE YEARS guys. For crying-out loud.
Chad fills around and Flea’s muttering something probably profane. Then 'Dani California' continues the navigation of all the feels and several US states.
Click here for more photos from the show.
Josh hollers like an angel, mostly, behind his fringe veil. He has some tech unrest during the night, but if you’re not a guitar-o-phile maybe you weren’t staring at him all night to notice, longing for every Frusciante-ism that John’s great friend and long-time collaborator chooses to display.
I wonder if it’s pressure or privilege Josh feels to replace/ emulate his mate, and either way it’s captivating to watch. Is that THE strat John wrote it on? Do you care anymore? It’s been almost a generation since he left.
Things change, but do you really think he would have left the band in the hands of someone undeserving? I don’t believe so for a second.
RHCP - image © Zoe Russell
Flea, however, is still bouncing after all these years. “I hope you feel as privileged as I do to have heard Parliament for crying TF out-loud,” he decrees. It’s beautiful to notice the respect they have for their once-upon-a-time producer, who helped them shape their early sound and ancient tremors of the ground breakage.
Kiedis’ shirt is off and the second percussionist is back out as well as keys for 'Dark Necessities'. Flea and Josh end up playing at each other in close quarters as Flea has always done – it’s almost like an embrace, which is of course what they’re doing spiritually, as they embrace the whole room from your insides out. Perfection.
“Are u ready?” Kiedis cries. Of course we are, but he corrects us: “I’m talking to Josh. Are you ready?” Josh is nodding excitedly and when he gets a chance to speak admits: “I am sucking air at the moment, but I’m ready.” He starts the chords for 'Strip My Mind' and these glorious oooohhs come out.
RHCP - image © Zoe Russell
There are two mics on stage Josh uses, one at the front right of the drum kit and one on stage left (that’s your right).
I’m not going to detail the entire show because there are other websites for that and it was almost two hours of vast historical landscape and incredible musicianship, particularly from one of the founding pillars, Flea, and early addition Chad in his signature sleeveless-overalls.
They cover The Stooges, they 'Throw Away Your Television', of course there’s 'Californication' with extended intro, an homage to Funkadelic, a couple of new tracks and Flea’s solo track 'Pea' from the 'One Hot Minute' album – during the dark '90s bit – which is mostly just profanity, but well known and shouted out by the auditorium.
Chad has so much work to do through all of this (and a really cool spiral cymbal), and adds extra heaviness to plenty of places where it wasn’t on the recordings. The band and the tracks have grown, extended their personalities and melded a little with the times but also congruently defied them.
Josh makes some ballet kinda moves and Chad has a laugh about it. “Earthquakes are to a girl’s guitar, they’re just another good vibration” and snap go the drums and the incredible atmospheric release.
RHCP - image © Zoe Russell
One hour in, and I put on the rest of my onesie cos I just can’t be seated anymore as 'Don’t Forget Me' begins to be formed. “Let’s rock this place like we’re about to f...ing die,” bellows Flea.
And during a jam with Flea and Josh, not thinking the pedals are set up for it, they launch into a beautiful 'Soul To Squeeze'. Then stall. And stop. And 'By The Way' comes out of nowhere and takes you everywhere.
The encore is Josh solo covering Elvis Costello’s 'Watching The Detectives', gradually joined by Chad, Flea’s handstanding and then the opus that is 'Dreams Of A Samurai'.
The beat-up strat comes out and Chad kicks off 'Give It Away' as the take-home message for the evening, joined also by George Clinton. What they got you gotta give it to your mama.
Tickets are still available for tonight in Brisbane (after a late release for GA tickets yesterday afternoon).
