At Faneuil Hall/Quincy Market-June 4 & 11, 2005

Ryanhood Triggers Youth Dance Uprising at Quincy Marketplace

BOSTON, MA—June 4 & 11, 2005 - In deference to full disclosure, I duly confess to holding out on filing this report. Yes, I’ve held out on this. Operating, always, in my own crude self-interest, I pushed back the post date of this Ryanhood review so that writer Rhonda Eudaly’s superb Live DVD & Club Passim Performance Reviews could enjoy an extended run as the “new” item in the Ryanhood Reader section. Her contribution has been an enormous success both in terms of numbers of unique viewers attracted and positive feedback received (crafty veterans of this site know that info@rvtour.org connects you directly to the nerve center—as it were—that serves as this site’s brain trust). So, this report actually harkens back to two Faneuil Hall/Quincy Market performances in the first half of the month of June.

I may not have needed to file it at all, given that both performances were merely yet two more excellent musical presentations by Ryanhood, in par with their heretofore established playing standards. The only single thing I could add that hasn’t already been mentioned in other reports is that I finally got the opportunity to hear Ryan and Cameron perform “We Used To” as a duo. I realize that they have played this song at other shows; I’ve just not had the chance to hear it live until I saw them on June 4. That alone was well worth the trip down to Boston’s tourist paradise.

The real reason for this account is to verify and exhibit evidence that, yes, exuberant and enthusiastic kids do indeed dance to Ryanhood’s music. I was on-hand to procure pictorial evidence of such behavior for your perusal.

Another fan pointed this not-so-unusual phenomenon out on Ryanhood’s MySpace.com page. To wit, she wrote the following; “Hey you guys are awesome. I know you probably hear that a lot but it is true. I saw you for the first time about 3 weeks ago in front of Quincy Market with crazy kids dancing. Remember?” She went on to write other magnificent things about Ryanhood as well.

Exuberant youth dancing up a storm to Ryanhood is not an aberration. It has been occurring since their very first set at Faneuil Hall/Quincy Market back in May of 2004. What may have been extraordinary is that they could get kids to dance wildly in mid-to-high 90s temperatures with unbearable haze and humidity to boot. This was the prevailing weather condition on both days involved in this report. That, simply, is the remarkable element.

Another thing I’d like to take the opportunity to point out, especially to newer viewers, is how Ryanhood stands apart from their fellow musical performers at this Annual Summer Street Performer’s Festival (all of the musicians are enormously talented, incidentally). The Marketplace is a major attraction in Boston for both tourists and natives alike. Hundreds, often thousands, of visitors flock to the Marketplace during the summer, especially on weekends. The daunting task for all the performers is to entice passers-by to stop and pay attention to them. This can be an overwhelming chore for the musical performers, who must compete with various magicians, jugglers, and acrobatic acts that are very popular and well established in this series. Typically it is they (the visual performers) who draw the largest and most enthusiastic crowds.

Musical performers can’t compete effectively unless their music is very good, accessible, and relevant to as many onlookers as possible. Uniqueness in itself isn’t adequate; many of the musical performers sound outright eccentric, and come off as oddities—which make them interesting to hear and watch for a short period of time but usually fails to keep people’s attention for too long. In addition, the musical performers MUST interact with the crowd between musical selections in a manner comparable to the magicians, jugglers, and acrobat barkers, who integrate sharp and quick impromptu comedic wit in their act. Most of the performers are seasoned pros, having performed in the series for several years.

Ryan and Cameron have been phenomenally successful in drawing crowds AND retaining them. The attraction begins immediately upon their sets’ commencing. They’re good looking; they dress well; their act is more visually alluring than the mostly solo musical performers because they are an ensemble; and Cameron Hood’s interaction with the crowds rivals even the most seasoned professional visual performers (as does Ryan’s; however, this role is usually assumed by Cameron).

I’ll suggest, once again, that the appeal of Ryanhood’s music cuts across gender and age. Many have observed that they sing as well as they play. Many listeners like the harmonies; others enjoy both players’ guitar technique and the muscular aspects of Ryanhood’s musical presentation. And yet others appreciate Ryanhood’s folk element; some astutely perceive all the diverse factors inherent in the music.

For lack of a more concise phrase, I have described what Ryan and Cameron do as “fusion folk.” What is being fused into the mix is in the ears of the listener. One middle-aged male told me that he loved Ryan’s playing; to him it has bluegrass rudiments, and he said that he absolutely loved the soundtrack to the film Oh Brother Where Art Thou and thought it was great that a young person played this wonderful music. Another college-aged male told me that he thought Ryan played in the great jazz tradition. These two observations were made in regards to the same song being performed!

Younger listeners are equally enthralled with Ryanhood. An enthusiastic 15-year old female told me that she thought Ryanhood was “funky.” I think this was an excellent observation! I’ll revise my description of their music to “funked-up fusion folk.” Better yet, I’ll cease to offer any other narrow musical categorizations and instead conclude that what Ryanhood do is all-encompassing.

I would suspect that Ryanhood performances at the Fanueil Hall/Quincy Market 2005 Street Performer’s Festival will be few and far between. They’re just too busy with other performance commitments these days; one look at their date sheet will make this readily apparent. In one sense this is unfortunate, since this setting and open environment is so ideal as a means of presenting themselves to new listeners. In another sense, it’s a natural and logical progression for them; moving forward as their CD title suggests. So if you happen to be in Boston on a weekend where they’re available to perform down at Fanueil-by-the-Sea, then by all means see them there while you still can.

Oh, and one more thing, if I may. I have confidently declared Ryan and Cameron’s residency to date at the Street Performers Festival a resounding success. I realize that I’m very biased, but this opinion is being submitted to all from a professional observer. I'd like to think that I know what I’m talking about. At least in this case I believe I do.

David P. Dionne