Written and Photographed by: Max Bennett
Temperatures in Philadelphia have been pushing 100 degrees, so the last thing anyone wants is more heat. But at Johnny Brenda’s Saturday night, three local acts turned the heat up all the way, delivering heavy riffs, dance-inducing punk, blistering solos, and mind-bending aural trips.
Psychedelic rockers Slomo Sapiens celebrated the release of their sophomore album, The Holy Babble, by headlining the gig, with Wax Jaw and Flatwaves opening the show.
Flatwaves hit the stage first and brought a thundering bass tone that served as the driving force of their set, which featured vocals reminiscent of 90s rock frontwomen, with both guitarists taking turns singing lead and at times belting lyrics in tandem. While the guitars bathed the crowded venue in swirling, ambient shoegaze leads, drum fills provided contrast with bursts of speed and ferocity.
It’d be a shame not to shout out Flatwaves bassist Stephen Edwards, who was at center stage during the set and was hyping up the crowd during and between songs. From standing on his monitor doing hair flips to chugging what was left in a can that was tossed on stage, he helped set the tone for the remainder of the show.
Wax Jaw came out strong with an incredibly high-energy vibe. The crowd already fired up from Flatwaves, picked up on the band’s intensity and spirit instantly. Kids were moshing around, throwing in a little two-stepping, as soon as the set kicked off. It’s unclear if Wax Jaw is influenced by hardcore punk, but their set was dripping with rhythms from the golden era of punk.
At this point, no one in the crowd seemed to care about how hot it’s been. Everyone was feeding off the music, sweat be damned. The vibe, as the kids say, was immaculate.
What set Wax Jaw apart from other punk acts was the ripping guitar solos. Both guitarists took turns shredding solos and lead riffs, which aren’t that common among punks thanks to curmudgeons like Johnny Ramone, who actively worked to be a mediocre player. Early in the set, one guitarist broke a string on his Telecaster and busted out a black Les Paul, which felt more fitting given the pace Wax Jaw and Flatwaves set. The Les Paul likely made the show a bit more physically demanding for the already frenzied shredder, as they’re considerably heavier than Telecasters.
Regardless, the band tore through their set, with singer Shane Morgan putting some serious attitude into her performance. The vocalist may be short in stature, but her presence was larger than life on stage. She commanded the crowd at one point to crouch down. On the band’s mark, everyone leapt into the air in unison and the band rushed right into another dance-punk banger.
Not once during the set did Wax Jaw slow down. It was going to be a tough act to follow for Slomo Sapiens.
Unfortunately, Wax Jaw said they won’t be gigging much for a bit. Fortunately, that’s because they’re working on a new alum, so stay tuned to their socials for updates on fresh material.
Slomo Sapiens hit the stage not long after 11 p.m. for their headlining set. The band’s second album was released June 7, and they’ve hit up Brooklyn, Asbury Park, and Richmond recently to support the “The Holy Babble.” As part of the celebration, Johnny Brenda’s was offering two signature cocktails. Well, one cocktail and a city wide.
The vibe shifted with Slomo Sapiens. To say they had less energy than Wax Jaw would be wrong: the energy was just different. While both bands share punk elements, Slomo is rooted in psychedelia, blues, and stoner/sludge. Frontman Ceallaigh Manaaki is a blues head when it comes down to it. His other band — simply called Manaaki and featuring members of Sixteen Jackies, St. James & the Apostles, & Grave Bathers — is a heavy blues outfit that puts on a hell of a show, as well.
With Slomo came less moshing and more tripped-out vibing from the crowd. A Slomo show would surely be a heady event with a bit of psychoactive chemicals rushing through your blood. That’s not to say catching a set sober is boring: it’s still a must-see display of virtuosity and creativity.
Manaaki and multi-instrumentalist Mike Sanzo traded guitar licks and riffs, with Manaaki taking the bulk of the set’s guitar solos. The set’s opening song, Desert Head/Slacker, is the lead track on “Babble.” It features a dizzying guitar solo that breaks the bounds of traditional keys and modes found in popular blues rock. That particular solo gives feelings of mystery, confusion, and unease, and in the best ways possible. A live rendition of it is even more enthralling, as the band nailed the track’s eeriness and intrigue in a way possible only on stage.
When taking his solos, Manaaki kicked his rig into gear with a wah pedal that sent his tone through the mix, giving the crowd crisp and fiery leads.
Sanzo, bassist Greg Geiger, and drummer Jon Pritchard backed Manaaki on vocals. A band this good with members who can all sing well is like getting ice cream after eating cake. A pure treat. 
The vocals had some modulation, too. Manaaki’s words were often saturated with a fuzzy effect, like the tracks on their studio releases. It’s always appreciated when a band works to deliver a nearly identical version of their recordings when playing out.
But some deviation is welcome, too. Stone Bones, an anthemic track on “Babble,” featured a bit of a jam, it seemed. The song felt like an extended version with more instrumentality from all four members as they grooved together, laying down serious solos.
Slomo Sapiens closed the show with “Stone Bones,” but came back out for one more song after a few minutes of the crowd beckoning them back to the stage.
Overall, it was a great show and a prime display of Philadelphia’s vibrant music scene. And a shout-out to Johnny Brenda’s for keeping the temperature comfortable amid the heatwave.
Slomo Sapiens: Instagram; Facebook; YouTube; TikTok; Bandcamp; Spotify; Soundcloud
Wax Jaw : Instagram; Bandcamp; TikTok; YouTube; Spotify; Soundcloud
Flatwaves : Instagram; Bandcamp; Spotify; Bandsintown; YouTube; Website
