Vancouver Special: Shannon Shaw at the Fox Cabaret

Shannon Shaw, vocalist and bassist for Shannon and the Clams, embarked on a tour supporting her debut solo record, Shannon in Nashville, this May.

As discussed in my review of Vundabar’s Vancouver show in February, the Fox Cabaret is a historic porn-theater-turned-music-venue in the city’s hip Mount Pleasant neighborhood. On May 9th, the Fox played host to Shannon Shaw and her band – Jose Boyer, Mark Cisneros, Garett Goddard, and Andrea Scanniello – for the first headlining show of their May tour. Shaw, frontwoman and founding member of Oakland’s ’60s-inspired garage rock outfit Shannon and the Clams, was north of the border to promote her solo record, Shannon in Nashville, released last June. 

I arrived at the Fox just after 10:00, and Shannon and the band took the stage right on schedule around 10:30. Visually, they looked every bit as glamorous as I’d expected, given what I know about Shannon and the Clams’ stage presence.

I imagine jeans and t-shirts are comfortable to play in, and giving no care to what you look like on stage might be “punk rock”, but there’s a certain magic in a band coordinating their wardrobe around a specific style to really cultivate an image.

Shaw herself was in her usual pinafore dress getup, complete with sparkly suspenders and guitar-shaped enamel pins on her collar. Her glittery black bass, which I recognized from the Shannon and the Clams show at the Belly Up Tavern that I attended last year, sat waiting at the back of the stage. Her bandmates were equally done up: Boyer, Cisneros, and Scanniello donned similarly adorned Mariachi band-esque jackets, and Goddard was rocking a neck scarf and an impressive handlebar moustache. Their outfits’ consistent color palette of red and black seemed intentional, given the venue’s similarly colored decor.

If you’re a fan of Shannon and the Clams’ retro, ’60s girl group vibe, you’ll find a bit of it here.

Shaw’s solo work maintains the dreamy, nostalgic feelings that the Clams’ shows evoke, and the individuals in attendance at this show were clearly here for that. A mix of twentysomething hipsters and over-fifty eccentrics made up the Thursday night crowd, bonded in their tattoos and ironic facial hair. A John Waters lookalike, complete with the iconic pencil moustache, towered over us all from a few rows back. A fitting character in the scene, as Shannon and the Clams have been described as “something from a John Waters lucid dream”.

The set began with “Golden Frames”, the opening track from Shannon in Nashville. This song set the mood for the night: a vintage-inspired, heartfelt soundtrack to sway along to, as sparkly and captivating as Shaw’s bass guitar. After “Golden Frames”, I turned to my friend and made the following very astute observation: “She’s really good”. My KCR reviews might be 2000+ words, but I’m clearly a lot more concise in person.

The consistent use of keyboards and the inclusion of a trumpet during “Leather, Metal, Steel” added to the unique, enchanting sound of the night’s entertainment.

Shannon played through eleven other songs from her album, taking occasional breaks to chat with the audience about the weather, the venue, and the “haunted” whisky bar at which she and the band had been treated to dinner before the show. “Coal on the Fire”, the closing track on Shannon in Nashville, was perhaps the most Nashville-esque song that she performed for us. Its jangling, old-school-country inspired sound was the most danceable of the night. “Cold Pillows”, with its heartbreaking lyrics and group harmonies, was clearly inspired by girl groups of the 1960s.

To the best of my recollection, Shaw performed every song from the record except for “Lord of Alaska”, likely to the dismay of the person who requested it for the encore. She concluded her set with “Cryin’ My Eyes Out”, dedicating it to her father and asking that we send him positive energy. This was one of my favorite songs of the night, and the importance of the song to Shaw was clear to all of us.

I find that the Clams’ instrumentals, which lean more towards a doo-wop/surf sound than Shaw’s solo work, sometimes mask the underlying emotion of their songs’ lyrics with an inherent danceability. That’s not a bad thing, but at this show, Shaw’s raw feelings took center stage both in her lyrics and in her delivery. She’s an incredible vocalist, and the combination of her words and her powerful, soulful voice had me mesmerized in the front row.

If you don’t have a professional camera, exclusively use the Huji app so your photos can still be ~art~

I’ve noticed that my music taste seems to be going through a transitionary period in recent months. I used to consider myself more of a music person than a lyrics person, caring more about the energy of a live show than about the message a song was trying to convey to me. I was happy to mosh along to songs like “Cheap Beer” by FIDLAR and leave a show covered in a hundred other people’s sweat. Now, I find myself overcome with emotion when listening to “Holy Shit” by Father John Misty and being brought to almost-tears while dancing to “Someday” at the Growlers’ Snow Ball III show.

The only prerequisite for the music I’m currently obsessing over is that it must break my heart.

The point is, I think Shannon Shaw’s performance resonated more with me now than it would have if I’d seen this show a year ago. I guess context is key: sometimes, a fun punk show is all I’m looking for. But when I’m feeling a bit lost, swaying along to songs about unrequited love and loss can be cathartic. Anyway, I digress. This is supposed to be a show review, not a diary entry. Do I understand the difference? Probably not.

I’ve praised Shannon and the Clams before on this blog, calling them one of the most underrated bands of our time (and I am such an authority on the matter). Onion, their sixth studio album released last February, was one of my favorite records of 2018. Both Onion and Shannon in Nashville were produced by the Black Keys’ Dan Auerbach, so I suppose it’s understandable that I’m also a big fan of Shaw’s solo record.

This brand of garage rock that Shaw has created, refined, and propagated throughout her different projects is just so unlike anything else in the music scene these days, and I’ve yet to find anyone else that comes close to imitating it.

I don’t want this review to read like an essay comparing Shannon’s sound to that of her other band, but I think the comparison is somewhat inevitable, given how integral she is to the Clams. This show was certainly as fun as the Shannon and the Clams show I attended, but it also felt like we were sharing something special as Shannon poured her soul out to us on stage. I guess my final verdict is this: if you like Shannon and the Clams, you’ll like Shannon Shaw. I mean, you already do. So is her solo stuff just more of the same? No, but it retains all the best parts of what we already know and love.

Written by: Andrea Renney

Top Music Picks of 2018 (That I Actually Listened To)

2018 was a year of new music from established favorites, debut full-lengths from up-and-coming artists, and singles in advance of forthcoming releases

As 2018 comes to a close, so too does my time at KCR, at San Diego State, and in San Diego in general. Between bouts of crying and while avoiding thinking about returning to Canada (the land of arctic boredom and a much more affordable healthcare system), I’ve spent some time reflecting on the new music released in 2018 that has soundtracked my California existence.

Southern California is a melting pot for the surf, garage, and punk genres, music that’s perfect for cruising down the freeway in the sunshine to (check out the undercard for this year’s Tropicalia Festival lineup and you’ll get a sense of what I’m talking about). As such, the majority of the new music I’ve been listening to and seeing live this year has come from bands based in California. However, the Golden State is almost always a stop for touring bands, so I’ve also had the chance to hear new stuff from those that hail from outside our perfect West Coast bubble.

So as a final parting gift to the loyal readers of my KCR blog posts (read: people on my Facebook friends list), I present to you: California Andrayah’s* favorite music released in 2018. As a fun bonus, I’ve included the most fitting freeways and neighborhoods to serve as a backdrop for your listening, based on my personal experiences. Let’s be real: you need a car to get around in San Diego, and since you can’t pick up AM 1610 all over the county, you’re going to need to play your own music if you can’t listen to San Diego’s Best AM/FM Radio Station according to The San Diego Union-Tribune 2018 Reader’s Poll. I’m talking about KCR here. It’s us. We’re the best.

*as an (un)interesting aside, every person I’ve met in California has pronounced my name like An-DRAY-ah. Technically, I am actually AN-dree-ah. I might stick with my new moniker, though, in an effort to try to convince myself I’m still in San Diego, going to Better Buzz four times a week and drinking alone at the Ugly Dog Bar when they’ve got a sour on special for $3 Tuesdays.

Records:

hoodratscumbags – Beach Goons

hoodratscumbags

Logan Heights’ Beach Goons released hoodratscumbags this August, and my introduction to the band was through this record on the day it came out. If you were lucky enough to catch them at The Live Wire, KCR’s new flagship concert series, back in September, you know that Beach Goons offers SoCal surf/garage rock with a Cumbia twist. hoodratscumbags marks the first release for Beach Goons in a couple years and the new record was highly anticipated by their fans. Founding member Pablo Cervantez sought to recognize Beach Goons’ Chicano/Mexican heritage with their new music, and songs like “Chunti” and “A.M.” really emphasize this influence.

Top picks: Vatos Tristes, Hrsb

Best use: Is it lame to listen to Beach Goons while driving down Logan Avenue? Maybe, but I’ve done it. Otherwise, hoodratscumbags is a good choice for driving around Ocean Beach. Consider playing it as you roll up to the Robb Field Skate Park so the skaters know you’re down with the local music scene. I recently bought my first skateboard, and this is a fact that I like to make known as much as possible.

My Own Mess – Skegss

My Own Mess

Australian garage/surf trio Skegss released their debut full-length back in September before embarking on a tour of their homeland with Chicago’s Twin Peaks. Maybe it’s Australia’s similar climate and its cultural emphasis on surfing, but My Own Mess fits right in with our SoCal music scene. It’s chock-full of slacker anthems about partying, watching TV, and fucking up. My favorite track on the record, “Margarita”, is one of those rare songs that I heard and instantly fell in love with, immediately qualifying it for Banger Status. If you’re a fan of bands like The Frights, SWMRS, or FIDLAR, you’ll probably be stoked on Skegss.

Top picks: Margarita, My Mind

Best use: Skegss is the band you want to start your day with. Not if your day consists of school or work, but when your day will be spent doing something fun, like laying on the beach or skateboarding. I have a skateboard now, so I can relate to this. My Own Mess is reserved for the 8 West (never the 8 East – this ain’t for driving home at the end of your fun day) on your way to the beach, or maybe the 5/805 North, if you’re bougie and heading to a beach in La Jolla.

I Don’t Run – Hinds

I Don't Run

This April, Hinds released I Don’t Run as a follow up to their debut record, 2016’s Leave Me Alone. Their sophomore effort is similar to Leave Me Alone musically, but it’s not a carbon copy. The all-girl garage rock group from Madrid, Spain digs a little deeper on I Don’t Run, and lyrically the songs get personal and serious at times. That’s not to say the music is slow and sad – the record still largely consists of the irresistibly fun and catchy songs Hinds is well known for.

Top picks: Tester, Rookie

Best use: Take a girls-only day trip to Los Angeles and put on I Don’t Run as you roll down Melrose Avenue scoping out your next Instagram photo op. Otherwise, a fun and semi-manipulative idea is to play “Tester” when driving with a guy who you suspect could be cheating on you, particularly for the lyric “Should I have known before you were also banging her?” I’m not actually speaking from experience here (give me a little credit), but I could see myself doing this. Or at least considering it.

Onion – Shannon and the Clams

Onion

I think Shannon and the Clams is one of the most underrated bands of our time. They blend doo-wop, surf, and garage rock into a unique sound that’s perfectly nostalgic, a sound that’s not often heard these days. I’m usually more of a music person than a lyrics person, but the lyrics on Onion‘s tracks stand out with their raw emotion and poignant themes. Set to the Clams’ signature retro instrumentals, the result is foot-tapping, danceable songs that are painfully beautiful underneath.

If I had to pick one record from this list to recommend to someone who hadn’t heard any of them, in the hopes that they would discover a new band to obsess over, it would be Onion. Send tweet.

Top picks: If You Could Know, The Boy

Best use: I like to listen to Shannon and the Clams during the rare times when I’m in 5:30 PM traffic, because I can be safely reckless and dance along to it while driving. A favorite spot is getting off the 163 and onto the 8, near Fashion Valley. It takes fifteen minutes to move half a mile – you can dance through the first five songs on the record while you wait.

The Dream and the Deception – The Aquadolls

The Dream and the Deception

Like Shannon and the Clams, I think The Aquadolls don’t get nearly the amount of recognition they deserve. The tracklist for The Dream and the Deception features nineteen songs that span the emotional spectrum, from sad to silly to pissed off. Singer, guitarist, and songwriter Melissa Brooks’ commitment to The Aquadolls is admirable – she self-released this record online in October and has plans to press it in on vinyl via her own label in the new year.

Top picks: Cigboi, Communicationissexy/Idkhow2communicate

Best use: My top picks above are fitting for driving home on the 94 East on a moody, rainy Friday night. You’ve left-swiped through everyone on Tinder and you’re feeling hopeless and lonely. “Why am I so alone?” you cry, as you ignore everyone and make no effort to meet people. Switch over to something more upbeat and positive, like “I’m a Star”, to remind yourself that you are, in fact, a star.

3 – Sextile

3

Good god, do I love Sextile. I love getting into music that’s a lot different than the usual things I listen to (see every other record on this list), and Sextile stands in stark contrast to the reverb-heavy surf rock that’s so popular in Southern California.  The Los Angeles based duo is not like anything I’ve ever heard – all the headbang-inducing and moshpit-inciting energy of punk with the added twist of a new wave dance beat. If you’ve ever wanted to go to a club and dance all night amid cool visuals, but you’re a bit too punk rock for something like that, check out Sextile.

Top picks: Spun, Paradox

Best use: Don’t listen to this in your car. See them live! Dance around in the strobe lights! Inhale the smoke machine smoke! Get slammed into and have your front row spot taken by a psycho ex! It’s all part of the experience.

Hypochondriac – The Frights

Hypochondriac

The Frights put out their third record, Hypochondriac, on Epitaph Records after signing with the punk label earlier this year. It’s quite a departure from 2016’s You Are Going To Hate This, and an even farther trip from 2013’s The Frights. Many of the songs are a lot softer and sadder, with the exception of the pop-punk/emo track “CRUTCH”. The new sound is good in its own right, but if you’re looking for the same surf-inspired tunes that put The Frights on the map, you’re going to need to look elsewhere.

Top picks: Alone, Whatever

Best use: The Frights will always remind me of driving on the 8 East and taking the College Avenue exit to get back to State (shoutout to “Cold” from The Frights for being my spring 2018 anthem). Otherwise, the driving vibe can vary: sometimes I’m shouting along angrily to “Over It” as I drive to the Taco Bell at University/College, sometimes I’m crying to “Goodbyes” on the 5. It’s a spectrum.

Singles:

“Drip” – The Marías and Triathalon

Drip

A definite outlier on this list, but if Statistics 101 taught me anything, it’s that…outliers exist? They validate your data? I don’t know. Anyway, this is a cool song. The Marías call themselves a “psychedelic soul” band, and Triathalon makes lo-fi R&B. The union of the two results in a multi-layered song that coalesces flawlessly – The Marías come in first with their signature funky-yet-smooth sound, Triathalon enters with a slowed-down, dreamy verse, and they link up in the outro. It is, in a word, a vibe.

Best use: This one’s a bit tricky. It’s definitely a nighttime song, but it’s not a party song. Play this at the end of the night, when you’re winding down and driving home after drinks at Sycamore Den in Normal Heights. The freeway is nearly empty and you can really feel the groove.

“Are You High?” – FIDLAR

Are You High?

Where can I download this damn song, FIDLAR? One of four tracks released by the band in 2018 (together with “Alcohol”, “Too Real”, and “Can’t You See”, from their upcoming third record Almost Free), it seems “Are You High?” was only released along with a music video on YouTube. It’s a shame, as this song is catchy as hell. It’s FIDLAR through and through, with strong guitars and lyrics referencing struggles with addiction. Guess you’ll just have to catch it at one of their live shows.

Best use: I’ve only ever listened to this on my Macbook while sitting in bed. So that, I guess.

“Glo Ride” – Hot Flash Heat Wave

Glo Ride

When I asked Nathan Blum and Ted Davis of Hot Flash Heat Wave (flex) if “Glo Ride” was indicative of what was to come for the band, Davis confirmed that their next record would be full of “headier, but still pop-oriented songs” like it. That appears to be the case, as they’ve since released two more songs that are in the same vein as this one. HFHW definitely seems to be heading in a more psychedelic direction, and “Glo Ride” is leading the way.

Actually, now that I’m listening to it again, this song is more similar to “Drip” than it is to the other music featured in this list. I’m not sure how this data affects the validity of my claims here. Oh well. Who really needs statistics? Just kidding. Stay in school, Aztecs.

Best use: I don’t really want to say this is a good makeout song, but… this is a good makeout song. Find a spot to park, and I’ll leave it at that.

Check out this Spotify playlist for all of the songs mentioned here.

Written by: Andrea Renney

Shannon and the Clams & Tropa Magica at the Belly Up Tavern

Shannon and the Clams showcased some garage doo-wop dance tunes to the Belly Up Tavern after Tropa Magica brought the house down.

The Belly Up Tavern played host to an unofficial pre-Desert Daze showcase on October 10th, featuring Oakland’s Shannon and the Clams and East Los Angeles’s Tropa Magica (formerly Thee Commons). Shannon and the Clams had been touring for much of 2018 when Tropa Magica decided to join them for a few bouts in the west. That night, both bands were joined by San Diego’s own Spooky Cigarette. Thankfully, each group brought something different for the Wednesday night crowd.

The Belly Up is a venue that’s worth the half-hour drive to Solana Beach. It’s big enough for touring bands to choose it over something smaller in San Diego, like the Casbah (another good venue in its own right), but still intimate enough for a disco ball over the dance floor. The heavy use of wood paneling throughout the space gives a homey, neighborhood bar-feel to the venue. Additionally, there’s a large shark suspended over one of the bars, with glowing red eyes staring eerily into the crowd. For an October show, the venue worked perfectly. It’s spooky season, baby!

First up on the Belly Up’s cozy stage (no barricades or front-row security here) was Spooky Cigarette. Beginning promptly at nine o’clock, they played a short, twenty-minute set as the 21+ crowd began filling the floor. Spooky Cigarette’s mellow, synth-heavy sound was well-received, while their style oozed Halloween vibes.

After what felt like an abnormally long delay, Tropa Magica took the stage and instantly got the crowd moving. The self-proclaimed “psychedelic cumbia punk” four-piece from East LA is known for their energetic live shows, so much so that LA Weekly praised them by declaring “if [they] aren’t the best live band in Los Angeles, they’re damn near the top.” The band played for roughly forty-five minutes, showcasing some songs from their debut, self-titled record released just last month. At the end of their set, they invited two fans on stage to play the tambourine and the cowbell – I believe it was a cowbell. In any event, the two appeared to be having the time of their lives. As the band exited the stage around half-past ten, it was clear that I wasn’t the only one who had been blown away by Tropa Magica’s performance; their music, stage presence, and energy coalesced into a truly remarkable set.

I think part of the reason why Tropa Magica seemed like the highlight of the night to me is that expectations for opening bands are typically quite low. Usually, opening bands fail to resonate that deeply with audiences, since most are likely to be there solely for the headliner. Fortunately, this was not the case with Tropa Magica. After hearing just a few songs, I was immediately making mental notes to see them again.

It was close to eleven o’clock when Shannon and the Clams finally took the stage, looking every bit what you’d expect from a band that blends ‘50s doo-wop and ‘60s garage rock – slim-cut pantsuits, pinafore dresses, and a sparkly bass guitar all included. If I had any concerns about whether they’d struggle to follow up an act as captivating and, to put it simply, as fun as Tropa Magica, they were quickly alleviated.

Opening with “The Boy,” the first track from the band’s sixth studio album, Onion, released earlier this February, Shannon and the Clams kept us grooving along to their songs about love and heartbreak for the duration of their set. Bass player Shannon Shaw and guitarist Cody Blanchard alternated vocal duties throughout the night, although perhaps some didn’t even notice – to quote a woman in the crowd at Shannon and the Clams’ 1:15 AM Desert Daze set three days after this show, “They have, like, the exact same voice! I’m really drunk, but they have the EXACT same voice!”. Credit is due solely to Shaw, though, for giving the best (and only, but still) rendition of White Rabbit by Jefferson Airplane that I’ve ever heard.

The band featured a majority of their discography, including favorites such as “Ozma” from 2013’s Dreams in the Rat House. After finishing their set around midnight, I immediately made a mental note to see them again – after all, their set was filled with irresistibly danceable songs. And I’m very glad I made that note, since I otherwise would never have been able to be a part of that riveting discussion about the vocal similarities between the band’s vocalists.

Review By: Andrea Renney