Fewer local bands have generated as much enthusiasm or brought fresh energy to London’s vibrant scene as genre-blending rock group Man/Woman/Chainsaw. Still in their early 20s, they have captivated live audiences with their raw energy, and the release of their EP ‘Eazy Peazy’ late last year, along with their recent double single ‘Adam & Steve/MadDog’, has solidified their reputation as the leading newcomers in the city.
In the midst of their busy schedule, CLASH managed to chat with the band about their music, touring, and their recent selection for the Fender Next Class of 2025. The group appeared on an iPhone screen, spending the first minute attempting to turn it sideways to fit all six members. As the camera shifted from the carpeted studio, I was greeted by the faces of Billy Ward, Vera Lappänen, Clio Harwood, Billy Doyle, and Lola Cherry. “Emmie is actually here; we just can’t find a spot where all six of us fit on the screen,” Lappänen mentions as their keyboardist Emmie-Mae Avery briefly pops into view to wave.
The six-piece has had a frantic month, performing at festivals in Germany and the Netherlands, as well as local favorites like End Of The Road and All Points East. “It’s great for the planet; we’re big environmental advocates,” Cherry quips. Regardless of their carbon impact, the South Londoners were recently recognized as one of the acts in the Fender Next 2025 class. The band unanimously agrees that the aspect they're most eager about is simply the guitars.
“It makes me feel like a huge nerd, but it means I can continue learning to use different styles, and with Fender, you can't really go wrong,” Ward shares. Lappänen adds, “You just feel incredibly fortunate to be recognized for something like this. Also, I’ve never been able to afford a P-Bass, so if you had told my 16-year-old self who was buying her first bass that I’d be gifted one, I wouldn’t have believed it. We’re fortunate.” As Lappänen’s Timberlands momentarily obstruct the phone camera, Starwood remarks, “We’re perhaps more blessed than lucky; we’ve put in the work.”
They understand they’re not merely fortunate, even if the cognitive dissonance sometimes makes it feel that way. “Sometimes I walk into rehearsal, glance at our gig calendar, and think, ‘What am I even doing?’, but if I had known a few years ago that I’d be touring for two months straight, I’d think I was lucky and it was the coolest thing ever,” Lappänen says. “Often, it feels like you’re not getting much in return, then something like this Fender opportunity happens and you’re like, ‘Oh my god, so much is going on,’” Cherry adds. Yet, ever the professionals, Ward views the Fender recognition as a chance to evolve their sound and remain focused on the final product. “It’s very much about keeping our eyes on the goal. We’re still working on an album and haven’t reached that point yet, but opportunities like this are fantastic because they may open doors for us,” he continues.
Their organic ascent means increased support from others; labels, managers, and whoever else. Sometimes this support is beneficial, sometimes it feels overwhelming. “It’s really nice to have others involved when people value what you’re doing enough to assist you,” Lappänen states, “but I also feel more pressure and maybe a bit less creative freedom because I’m aware there are now many people to please.” Avery shares, “A part of me misses playing The George or The Windmill every week, when there was no pressure. You’re just hanging out with people while making music.”
All six members of Man/Woman/Chainsaw are keenly aware of both the joys of their newfound recognition and the pressures that accompany it. “I’ve only just realized this is a job,” Lappänen reflects, “it’s daunting, but when you perform live, you remember how enjoyable it is to play gigs for people.” Starwood recalls her experience at Green Man Festival last year when her violin broke mid-performance: “It’s nice because in a regular job if you mess up an important business meeting there are likely repercussions, whereas in this job if you mess up, you just keep going.” True to her word, she continued playing even as her instrument began to fail.
Their packed August schedule mainly consists of festival appearances, something they have only just begun to experience, having been more accustomed to playing in smaller, intimate venues. “This is our first proper summer on the festival circuit,” Ward notes. For them, it’s the logistics of performing in such a large setting that induce both nervousness and excitement. “I remember the last time we played a proper festival, our van broke down on the way
The trio’s tour schedule for 2026 features a three-night residency at the renowned Brixton Academy in London.
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Few local bands have generated as much enthusiasm or brought fresh vitality to London’s diverse music scene as the genre-blending rock group Man/Woman/Chainsaw.