MAN/WOMAN/CHAINSAW + UNCLE JUNIOR – CONCORDE 2, BRIGHTON 30.9.26
Few emerging bands have generated as much word-of-mouth excitement over the past few years as London’s Man/Woman/Chainsaw.
Touring in support of their debut album ‘Cannonball’, released via Fiction Records, the six-piece arrived at Brighton’s Concorde 2 on Wednesday night with a growing reputation as one of the UK’s most inventive young live acts.
With violin, keys, synths and dual guitars woven into the mix, their music shifts effortlessly between fragile beauty and exhilarating chaos, often within the space of a single song. The band, consisting of Billy Ward (vocals and guitar), Vera Leppänen (vocals and bass guitar), Emmie-Mae Avery (vocals, keys, and synths), Clio Starwood (violin), Lola Cherry (drums) and Billy Doyle (guitar), continue to expand their sound way beyond conventional indie-rock boundaries.
Excitement and energy were evident from the outset, as Clio Starwood danced her way onto the stage during the intro music beneath a backdrop reflecting the album artwork of ‘Cannonball’. The atmosphere was already charged before the opening notes of ‘Only Girl’. Huge cheers greeted the band, and they responded with a performance that was sharp, dynamic and immediately engaging.
Vera proved a strong focal point throughout the evening, without over dominating. Bass in hand, she bounced and swayed across the stage, her vocals adapting constantly to the changing moods of the songs. Whether delivering soaring melodic passages during ‘Canyons’ or the controlled fury of ‘Still Angry’, she demonstrated an impressive ability to move between softness and intensity with ease.
Billy Ward provided an effective counterbalance. His more direct vocal style on songs such as ‘The Thing’ and ‘Adam & Steve’ highlighted the contrast at the heart of Man/Woman/Chainsaw’s songwriting. Throughout the set, the band’s dual-vocal approach remained one of their strengths, with Billy and Vera alternately trading lines, harmonising together and supporting one another in ways that continually refreshed the material.
Just as important was the contribution of the wider ensemble. Clio Starwood’s violin remains central to the band’s identity, adding drama, melancholy and moments of outright exhilaration. From the elegant introduction to ‘Canyons’ to the explosive climaxes that followed, her playing frequently transformed songs, helping them break free from standard indie-rock structures.
Emmie-Mae Avery also enjoyed several standout moments, particularly on ‘Get Up And Dance’, where her lead vocal helped steer the track from a hushed opening into one of the night’s most infectious crescendos. Billy Doyle’s sharp guitar worked even included using of a violin bow. Behind it all, drummer Lola Cherry anchored the band’s frequent stylistic shifts with precision and power, ensuring that even their most abrupt changes felt purposeful rather than chaotic.
What impressed about Man/Woman/Chainsaw is their willingness to embrace contrast. Songs often began quietly, often with different musicians taking the lead before shifting gear into communal releases. ‘Snakebite’ opened with violin and keys before gradually gathering strength, while ‘Goddamn, Lizard Man!’ paired Billy’s almost spoken-word storytelling with darker textures and subtle vocal support from Vera.
The crowd responded enthusiastically to every change of direction. By the time unreleased track ‘Scab’ arrived midway through the set, Vera’s instruction that “you have to dance to this song” barely seemed necessary. Not only violinist Clio, who appeared unable of standing still throughout the performance, but Concorde 2 steadily transformed into a swaying, bouncing mass of movement.
That energy reached another level during ‘Flick Of The Wrist’, whose increasingly frantic pace had the venue floor moving beneath the crowd. Meanwhile, older favourite ‘Ode To Clio’ showcased the band’s roots, allowing Clio’s violin to take centre stage before escalating into a thrilling musical duel between violin and guitars that earned one of the night’s loudest receptions.
A cover of The Breeders’ ‘Cannonball’ felt both an obvious choice and a clever one. Introduced by Clio’s violin and featuring Emmie-Mae on lead vocals and keyboard at its core, the band made the song unmistakably their own, transforming a beloved alternative rock classic into something that sat naturally alongside their own material.
The evening concluded with lead single ‘Nosedive’. Even a brief technical issue could not derail the moment. If anything, the enforced restart only amplified the audience’s anticipation. Vera threw herself around the stage with relentless energy, her hair flying as she moved to the music before launching into a series of high kicks. Clio stood triumphantly on the very edge of the stage with violin aloft, while the entire band embraced one final euphoric release. Crowd and performers sang and danced together as the energy spilled from the stage into every corner of the room.
In many ways, the show reflected their journey from 2024’s ‘Eazy Peazy’ EP to ‘Cannonball’. The debut album may reveal a band refining and focusing its ideas, but live, Man/Woman/Chainsaw more closely retain the volatility, edge and exhilarating unpredictability that first made them such an exciting proposition. They continue to sound like a band determined to follow their own path. Judging by the reaction at Concorde 2, plenty of people are eager to follow them on their evolving journey.
Man/ Woman/ Chainsaw:
Billy Ward – vocals and guitar
Vera Leppänen – vocals and bass guitar
Emmie-Mae Avery – vocals, keys, and synths
Clio Starwood – violin
Lola Cherry – drum
Billy Doyle – guitar
Man/ Woman/ Chainsaw setlist:
‘Only Girl’ (from 2026 ‘Cannonball’ album)
‘The Thing’ (from 2026 ‘Cannonball’ album)
‘Canyons’ (from 2026 ‘Cannonball’ album)
‘Adam & Steve’ (a 2025 single)
‘Snakebite’ (from 2026 ‘Cannonball’ album)
‘Get Up And Dance’ (from 2026 ‘Cannonball’ album)
‘Goddamn, Lizard Man!’ (from 2026 ‘Cannonball’ album)
‘Still Angry’ (from 2026 ‘Cannonball’ album)
‘Scab’ (unreleased)
‘Flick Of The Wrist’ (from 2026 ‘Cannonball’ album)
‘Lighter’ (from 2026 ‘Cannonball’ album)
‘Ode To Clio’ (from 2024 ‘EazyPeazy’ EP)
‘Something Else To Give’ (from 2026 ‘Cannonball’ album)
‘Connonball’ (a cover of The Breeders)
‘Nosedive’ (from 2026 ‘Cannonball’ album)
Opening the evening were Hampshire trio Uncle Junior, a band whose blend of post-punk urgency, alt-rock eccentricity and DIY energy made for an impressive introduction to the night.
The three-piece played with the confidence and chemistry of a group far more established than their recent release history might suggest. Despite having only just unveiled debut single ‘Melt Me’, Uncle Junior already appear to possess a clear musical identity.
They launched into ‘Baby Shoes’ with crashing drums and jagged guitar lines, Oli Noble’s snarling vocals immediately establishing the band’s rough-edged appeal. ‘PSHE’ increased the tempo further, with Oli bouncing around the stage as the trio’s energy levels rose alongside the growing crowd response.
Uncle Junior demonstrated an impressive ability to shift mood as well as pace. ‘AD’ introduced a darker, more brooding atmosphere, driven by powerful basslines and emotionally charged vocals, while ‘Richard’ moved between intimate guitar-led passages and explosive bursts of noise.
New single ‘Melt Me’ highlighted the band’s melodic side without sacrificing intensity, balancing heavier indie-rock moments with a more reflective conclusion. Elsewhere, ‘I Love You, Kenneth Copeland’ moved from loose grooves to feedback-laden post-punk chaos.
Closing with the up-tempo ‘I Know You’, Uncle Junior finished in a frenzy of energy that left a strong impression and provided an ideal curtain-raiser for Man/Woman/Chainsaw.
Uncle Junior:
Oli Noble – vocals and guitar
Eric Rye Lees – bass
Isaac West – drums
Uncle Junior setlist:
‘Baby Shoes’
‘PSHE’
‘AD’
‘Melt Me’ (a 2026 single)
‘I Love you, Kenneth Copeland’
‘Richard’
‘The Long Retreat’
‘I Know You’
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