Let’s start with a little history lesson. Around the late 2010s, a scene began to emerge based out of the south of London. This was a scene full of experimental and boundary-pushing artists, all based around The Windmill in Brixton. Many young bands cut their teeth at this venue, eventually blowing up into juggernauts of the underground. One of these bands is, incidentally, Man/Woman/Chainsaw. Formed in 2019 by Billy Ward and Vera Leppänen, they have expanded into a sextet of some of the finest musicians in the British Isles. Now, they are taking their critically acclaimed debut album Cannonball on the road - and they stopped at Rescue Rooms to show just how much they can do...
One thing I noticed about the show, even before stepping through the doors, was the hurried state of it all. I found it refreshing that the opener, the incredible Bathing Suits, was set to be on stage no more than half an hour after the doors opened, and that Man/Woman/Chainsaw were going to be performing only about half an hour after Bathing Suits left the stage. It gave the show a sort of impatient, excited feel that I really loved. As well, the sold-out state of the show quickly materialised as the ground floor was nearly packed after little more than 20 minutes - and completely full by the time Bathing Suits left the stage.
Speaking of Bathing Suits, their performance was absolutely amazing. The set began with a feedback jumpscare, as seemingly the whole crowd had an out-of-body experience for a second as the blaring noise shot through. Their entire set felt like a mix of Charli XCX and Merzbow, as scratchy, dissonant guitars punched through the thumping drums and technical, groovy bass. I must give special props to Elise Hughes, as she really seemed to hold the tracks together as chaos unfolded around her. If I had to describe this set using one single idea, it would be Berghain dealing with the fall of mankind. The music was hypnotic, frenzied, unabashed, and completely free. Frontwoman Freja Blevins is absolutely electric; I was completely enamoured by her performance through smoke and flashing lights.
The standout track of their set would have to be Empathy, a blistering electro-noise masterpiece that dials up the intensity until it just collapses. Whether it is Hughes attacking her bass, guitarists Alex Mulholland and George Dickinson scratching at their guitars, or Blevins straddling the equipment with a flower in her mouth, Bathing Suits is serving destruction.
After a short break, Queen’s seminal We Will Rock You started blaring through the sound system as Man/Woman/Chainsaw walked through the side door to the stage. The first song, Only Girl, felt like an injection of adrenaline as they kicked straight into their signature vocal melodies and irresistible energy. Specifically, violinist Clio Starwood was vivacious throughout the entire show, putting her violin down whenever it was unneeded and dancing like a superfan. But the entire band put on a masterclass of a show, performing to the highest standard song after song. My favourite part of Man/Woman/Chainsaw is the fact that Ward, Leppänen and keyboardist Emmie-Mae Avery all trade lead vocals, and so it was amazing to see the setlist put together in such a way that it showed every vocalist at their very best.
In terms of standout tracks, there are far too many to mention: Adam & Steve took me right back to watching bootleg videos of the band performing at The Windmill during their come up; Snakebite was absolutely aching in the best way possible; Still Angry really showed off guitarist Billy Doyle’s creativity with his usage of a violin bow on his guitar; and the trading of lead vocals during Goddamn, Lizard Man was just lovely to see. The entire set can be summed up in a single word: symphonic (and it is not just because of the use of violin). The band is just maximalist in the greatest way possible. That said, that does not mean they have lost their noisier, chaotic roots, as songs such as Ode to Clio bring back the jamming sound of their early releases, while drummer Lola Cherry ties everything together with her steady rhythm.
Covering any song by Kim Deal is a challenge (as any Pixies or Breeders tribute act will tell you) but Man/Woman/Chainsaw did an amazing interpretation of The Breeders’ hit track Cannonball. I have personally seen The Breeders live when they last came to Nottingham, and the band absolutely did the track justice.
Leppänen’s bubble chainsaw signalled that the show was coming to an end, and it went out with a bang. Nosedive is perhaps one of the most life-affirming songs of the year, and seeing it live gave me literal chills. Their performance transported my mind to the idea of running through fields, enjoying existence to the fullest, and living. It was a perfect song to end the set.
Bands like Man/Woman/Chainsaw come through once in a blue moon; one of those acts that break out of their small, niche scene to become a seminal group for those who take the time to appreciate them. Where they will take their beauty next is not known, but if this show and what has been shown of unreleased songs is any tell, it will be a moment for the ages.
Man/Woman/Chainsaw performed at Rescue Rooms on 5 October 2026, with support from Bathing Suits
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