The first time I heard Shannon and the Clams I was floored. My cousin introduced me to the band just after the release of their 2013 album, “Dreams in the Rat House.” I found their eclectic, almost surrealist fusion of doo-wop, punk, and psych rock sound unique and powerful. I was hooked. When I tried to catch the Clams live 2014, I was denied entry: I was underage. 

But I turned 21 the following year and anytime they’ve been in town since, I haven’t missed a show. 

In October, the Clams once again returned to New York City at Webster Hall in support of their latest effort, “Year of the Spider,” delivering a night of eclectic, indie-rock magic that only the Oakland outfit could concoct. 

“Year of the Spider,” released in August, is the Clams 6^th full-length record since singer/bassist Shannon Shaw, guitar player Cody Blanchard, and drummer Nate Mahan formed the group in 2009. The record marks their second album with keyboardist Will Sprott and the return of Dan Auerbach as producer. Auerbach, most famous for his work as frontman of The Black Keys, also heads the label, Easy Eye Sound, on which the album was released. 

On this record, The Clams continued a departure from their garage rock roots to experiment with more atmospheric moods, following a trend they began on their previous album,
Onion.” The new songs showcase the group’s dynamic range, opting for a slower pace than previous efforts. Contrary to the lo-fi, garage rock feel of their earlier efforts, the production on this album is squeaky clean. 

Much of the tour’s recent setlist encompassed a great deal of the band’s more recent work. Despite appearing on the album, longtime drummer Nate Mahan did not return for the subsequent tour. Chris Icasiano, drummer for Seattle based outfit Bad Luck, had taken his place. 

The Clams’ shift in musical direction combined with their recent personnel change made for a whole different experience at their Webster Hall performance. . Icasiano’s approach was a far cry from the punk rock stylings of Mahan. Icasiano was laid back and “vibier,” than his predecessor, even when playing songs from the Clams’ more up-tempo, doo-wop repertoire. Sprott also added his own take to songs by playing on tracks that previously had no keyboard involvement. Together, the pair have drastically changed the feeling of classic Clams tunes on their most recent tour.

As a fan, seeing the band’s sound develop has been astonishing, and so the Clams’ evolution is a welcome one. I only hope that as they evolve, they don’t abandon the parts of them I fell in love with. I miss the raw, fuzzed-out guitar riffs and up-tempo jams that made me sweat on the dance floor. Their shows were akin to an LSD-fueled, high-school-dance fever-dream. All the world’s greatest artists have reinvented themselves time and time again. Nonetheless, I couldn’t help but feel like their unapologetic raw energy, their speed, was in part sacrificed to facilitate a more developed, clean, almost pop centric version of the Clams. Maybe it’s just ‘cos they didn’t play “Troublemaker,” I don’t know…

“Year of the Spider” is out everywhere – now!