Jeff Wilson
Enquirer contributor

A paradox seems to plague Cincinnati music festivals. Long before it changed names, our Jazz Festival lost any connection with jazz, and our second and last World Music Festival already watered down its lineup to broaden its appeal.

So when Annie's advertised a first-ever Funk Fest, concert-goers had reason to be wary. Would the audience be treated to an evening of electronic drums, cheesy keyboard fills and synthesized bass? Would a string section accompany the performers?

Oddly, Friday's outdoor concert delivered exactly what it said it would: funk. More precisely, it offered slammin', hard-edged, old-school funk. The Bar-Kays and Cameo helped shape the sound of funk in the 1970s and '80s, and the crowd of 1,200 was well aware of their stature in the funk world.

During an hour-long set, the Bar-Kays dipped back as far as the 1970s, when, along with Parliament and the Ohio Players, they ruled the dance floors.

Driven by drummer Shamakah Ali and bassist James Alexander, the ten-piece band handled the intricate rhythms and complex arrangements of "Traffic Jammer" and "Sexomatic" with stunning precision. Extended instrumental vamps on "Holy Ghost" and "Freak Show on the Dance Floor" allowed seasoned veterans to stretch out and raise the energy level even higher.

Keyboardist Ezra Williams paid tribute to Roger Troutman by playing a voice box in a style that echoed the deceased soul legend, and Larry Dotson, who started singing with the Bar-Kays in 1970, proved that he remains a convincing front man.

During its 70-minute set, Cameo trotted out numerous up-tempo hits, including "Single Life" and "Candy." Lead singer Larry Blackmon, sporting a bright red codpiece that matched his top hat, stopped one song to say, "That was too funky ... It's getting out of hand."

From there, it only got funkier. Preceding a two-song encore, Cameo's biggest hit, "Word Up," was the raunchy highlight of the set and of the evening.