My friend and I scrambled to find our seats in the Glenn Close Theatre of the College of William and Mary’s Phi Beta Kappa Memorial Hall as five musicians found their marks. Each musician stood on a designated rug, designed to absorb sound and reduce fatigue. Good thing too, because as soon as the band was counted off by Quentin E. Baxter (drums), the energy in the room surged and never dimmed.
From the moment they launched into their set, the group commanded the audience. Along with Baxter, the group featured Kevin Hamilton (bass), Quiana Parler (vocals), Clay Ross (guitar, vocals) and Charlton Singleton (trumpet, vocals). Together, they make up Ranky Tanky, a two-time Grammy-winning band known for blending music from the Gullah culture with jazz, soul and funk. The name “Ranky Tanky” stems from a Gullah expression that loosely translates to “get funky” or “work it.”
During their performance the night of Friday, Feb. 8, the band displayed a deep understanding of their music’s power and natural flow. The band performed a set where the music seemingly unfolded through them, even evoking improvisational exclamations from Parler and Singleton throughout most of the songs.
The band performed songs “Let Me Be,” “All For You” and “Lift Me Up” from their live album “Live at the 2022 New Orleans Jazz & Heritage Festival.” The album won the Grammy for Best Regional Roots Music Album in 2022.
As they performed “Freedom,” the band’s harmonies soared through the theatre, the message undeniable. “Take our homes / Take our names / They say behind four walls/ Is where we’ll remain.” The harmonies filled the room, ending with “Oh, say can you see? / We ain’t free!” as Parler’s unmistakable timbre rang out.
They later sang a song bearing their own name, inviting the audience into a call-and-response. As Ross called out—“Pain in my head!”—the crowd answered with “Ranky Tanky!” The exchange continued, building energy with each line: “Pain in my heart!” “Ranky Tanky!” “Pain in my foot!” ”Ranky Tanky!” until finally, the refrain echoed through the theater, uniting the room in rhythm and voice.
Between songs, the band took moments to connect with the crowd, introducing themselves, their rapport and facts about Gullah culture.
Singleton got close up to the microphone and highlighted famous Gullah traditions, from beloved dishes like shrimp and grits to well-known songs such as “Michael Row the Boat Ashore” and “Kumbaya.” He also pointed out that the clapping pattern in what many recognize as “Patty Cake,” hitting on beats two and four, is “uniquely Gullah.”
The audience, a mix of students and community members, leaned in, some already familiar with the deep-rooted history of Gullah music, others, like myself, discovering it for the first time. Singleton had a way of entertaining and connecting with the audience unlike any artist I had seen. While his comedic moments created a lively, communal atmosphere, I have to say one of the night’s highlights came during the encore.
Each member of the band left the stage one by one. Nervous glances around the audience questioned if the concert was over. But the bassist, Kevin Hamilton, remained on stage. He began his solo with a mesmerizing stringed groove. As he began slapping the sides of his bass, the energy in the room swelled. Feet tapped, heads bobbed and even seated, no one was still. The audience clapped along, cheering as the rhythm took over.
As the night came to a close, I was struck by that unmistakable sign of a great band—when the music fades and you feel your ears actually missing the sound.
