Before there was a group called Sublime with Rome, singer/guitarist Rome Ramirez would jam all night with former Sublime bassist Eric Wilson in a warehouse in San Pedro, California.

Ramirez, a Sublime fan since he was 12, had recently moved to Los Angeles to kick-start a producing career. Purely by chance, he met Wilson through a mutual friend who owned a studio in Orange County, and the two became fast friends.

“He’d always call me up at 2 in the morning or something and be like, ‘Yo, you want to come over and play some Stooges or some MDC?’” Ramirez said while driving with his Sublime with Rome bandmates to Las Vegas. The band kicks off this year’s Clear Summer Nights concert series at the Athletic Club of Bend on Saturday.

“I’d be like, ‘F— yeah, I’m on my way,’ and we’d just jam all night. All he wanted to do was just play drums while I played some punk rock so he can jam, and that’s still all Eric ever wants to do. And I was like, this is it, I made it. … I was like, ‘It doesn’t get much cooler than this.’”

It would get much cooler than that for Ramirez. In 2009, Wilson and original Sublime drummer Bud Gaugh resurrected Sublime with Ramirez filling the frontman slot left vacant by Bradley Nowell, who died of a heroin overdose in 1996. The band changed its name to Sublime with Rome following a legal dispute with Nowell’s family and estate, and has continued to tour and record new music since.

Gaugh left in 2011 and was replaced by journeyman drummer Josh Freese, who in turn was replaced by current drummer Carlos Verdugo. But even with lineup changes and after a decade of touring and recording — beating Sublime’s original run by close to two years — the trio remains rooted in the freewheeling spirit of Wilson and Ramirez’s warehouse jam sessions.

“For a band like Sublime with Rome, we could pretty much go out and try and find the best drummers or whatever, but that’s not really what makes the band — this band, anyway,” Ramirez said. “It’s really the camaraderie and just the overall vibe and how human beings are meshing together. You bring that into the studio, and it just creates a very natural and comforting element.”

That comes across on last month’s “Blessings,” the band’s third studio album (matching the original Sublime’s three studio albums) and first to feature Verdugo. The album, like its predecessors “Yours Truly” (2011) and “Sirens” (2015), smooths out some of the wrinkles of Sublime’s original reggae-meets-R&B-meets-punk sound.

But while the wild adventurousness and experimenting of the Nowell-led albums, especially 1994’s “Robbin’ the Hood,” may be in the past, “Blessings” finds Sublime with Rome taking more subtle leaps forward. The title track, one of the first songs Ramirez wrote for the album, balances darker subjects such as police shootings and racially motivated violence with an overall message of positivity inspired, in part, by Ramirez’s young family.

“After I wrote ‘Blessings,’ lyrically, I knew what I wanted to do with the album, and it was (to) just be honest,” he said. “That’s what ‘Blessings’ was. When I was writing that song, my wife was pregnant with my now 2-year-old son. There was a lot of things going on — there still is. Donald Trump was just recently inducted into the presidency, and there was just so much turmoil going on. I don’t know; I felt like I had to say something about that.”

“Thank U” brings back some of Nowell’s adventurous musical spirit. The short song features an electronic bassline and beat behind Ramirez’s croon, settling into a mellow groove that almost recalls “Waiting for My Ruca,” the first track on the first Sublime album, 1992’s “40oz. to Freedom.”

“That was the last song we put on the album,” Ramirez said. “I wrote it in 45 minutes, and I recorded all the vocals by myself in my room, and then brought it over to the guys and they did their thing on it. But it was just really, really quick. It was an ode to my wife saying, ‘Thanks for putting up with my bulls—.’”

Sublime with Rome’s recent success makes sense given Sublime’s increasing cachet on the modern music scene. A documentary film marking the band’s 25th anniversary debuted at the Tribeca Film Festival this year. Groups such as Common Kings (which will open the show at the Athletic Club), Tribal Seeds (Verdugo was once a member) and others have in recent years popularized a reggae-rock hybrid that has its roots in Sublime’s early experimentation.

Sublime formed in 1988 and remained an underground phenomenon for most of its career, only breaking through to the mainstream with 1997’s self-titled album. The record, which featured hits such as “Santeria,” “What I Got” and “Doin’ Time,” was released posthumously after Nowell’s death (Ramirez was 8 at the time).

Sublime with Rome’s set lists on the current tour have split evenly between new songs and classic Sublime, Ramirez said. He sees the effect of Sublime’s legacy first-hand as new generations discover the music through this band.

“Sublime created this whole thing — at least definitely popularized it and made it mainstream in America to where … other bands could come in and take the most popular parts of Sublime and then create movements off of it,” Ramirez said. “… It was left up to the fans to be like, ‘Damn, I want to start a band off of that song because I love that song right there.’”