Slayyyter Sells Out House of Blues for ‘WORST GIRL IN AMERICA’ Tour
Written by John Mai | September 29, 2026
Photo by Madison Truscan (Dallas Observer)
With a momentum reminiscent of Charli XCX’s brat era, WOR$T GIRL IN AMERICA feels like the album that is pushing Slayyyter from hyperpop cult favorite into full-blown pop star. Her sold-out Dallas show definitely adds to this theory. By the time I arrived at the venue, a line had already wrapped around the building and stretched several blocks down the street despite the lingering summer heat. The crowd was dressed for the occasion: trucker hats, bunny ears, and outfits one can only describe as ‘cunty’. If the girls and gays were willing to turn it out for her like this, there no doubt this concert was going to be good.
Once I reached the pit, the anticipation was tangible as fans rushed to grab a good view of the stage. Yapping with people in the audience, it was clear that these fans weren’t here to play, with many having followed Slayyyter since her earlier releases. This was a crowd ready to turn it out.
The night opened with Pearly Drops, a producer duo whose dreamy electronic-indie sound offered a surprisingly chill start to the night. Their set included “Rat Girl,” “Bloom for Me,” “Kiss Away the Pearly Drops,” and “Call for Help.” Quirky, quiet, and confident, their music felt hazy and intimate, like a calm before the mother storm Slayyyter was brewing.
The curtains opened to reveal an entire house with its yard as a stage set, complete with grass, clothes hanging from a clothesline, and associated props. Based on the look of it, Slayyyter had transformed the House of Blues stage into a visage of St. Louis, where she grew up. Even with such a large set, it still felt too small for Slayyyter's giant stage presence.
To kick off the show, Slayyyter started with “DANCE…,” a beat which many recognized even if they didn’t know it belongs to Slayyyter. A perfect, iconic intro that built anticipation in the audience, which erupted the moment Slayyyter appeared from the door of the stage house.
Dressed in a belted green athletic top, micro shorts, and a decorated hat, Slayyyter immediately commanded the stage. Right off the bat, she traded lyrics with an audience that could match her word for word, a pattern that would continue for the majority of the night.
“OLD FLING$” pushed the energy even higher, swapping the opening track’s anticipation for playful, bumping hyperpop while delivering siren-like vocals. Slayyyter was already hitting some of the highest notes of the night with ease, and this was just the beginning of the show.
Moving into “OLD TECHNOLOGY,” the show took a darker turn. The industrial instrumentals hit even harder with the live band, giving the track a gritty rock edge that matched Slayyyter’s increasingly forceful vocals. The air in the crowd was just as loud, both from screaming the lyrics and vape smoke filling the air — pretty fitting with the song’s anthemic lyrics, “I’m doing drugs tonight.”
“BROKE BITCH FREE$TYLE” further pushed this intensity into something almost primal. Drums loud as hell. Heads banging. Hair whipping. This was a moment in the show that felt like it was reaching a euphoric high both on stage and in the crowd.
Then “CRANK” took that energy and detonated it.
The crowd hit their peak, reciting every lyric word for word as Slayyyter threw herself into the performance, headbanging and sending her hat flying as she roared into the microphone. The energy only got more hype when the stage suddenly dimmed and “crank 2” came on, a heavier evolution of the song from her forthcoming response album, WOR$T MAN IN AMERICA, inspired by the aftermath of her ex cheating on her.
That intensity culminated in “YES GODDD,” which leaned fully into rock and metal. Bathed in red light, Slayyyter growled into the microphone and worked the crowd with complete command. Much like with “OLD TECHNOLOGY,” the live band gave this performance a heavier, grittier backbone, making it sound almost like metal.
When SLAYYYTER returned in a sparkly fringe outfit, the mood shifted.
“CANNIBALISM” brought a darker but more playful energy, while the unreleased “nekromantik” offered one of the few moments when the audience wasn’t singing every word back. The show then settled into its most melodic stretch with “GAS STATION” and “UNKNOWN LOVERZ.” Bouncy, dreamy, and accompanied by bubbles floating through the venue, this selection of songs felt like a different form of coping with her troubles. Where the first half embraced self-destruction and excess, this portion seemed like fantasy and escapism.
With Slayyyter riding a carousel horse onstage as bubbles filled the air, the vibe felt more dreamlike, with an undercurrent of sadness — a sadness that would bubble up through her performance of her second unreleased track of the night, "I think he’s got a girl.” This song felt like a cold confrontation with the reality of her sadness. Once again, SLAYYYTER hit her soaring high notes with ease, but this time they sounded less like a siren’s call and more like a mournful wail.
Still, SLAYYYTER didn’t wallow in this mood for long.
“I’M ACTUALLY KIND OF FAMOUS” and “$T. LOSER” brought the energy back, restoring the confidence and swagger that had defined the first half before she returned backstage for her final outfit change. In her absence, the unreleased “hymn” / “DEMONIC PRAYER” played, which I didn’t realize was an entirely new song at the time. Afterward, she performed “WHAT IS IT LIKE, TO BE LIKED?” and closed with “BRITTANY MURPHY.”
For the encore, Slayyyter returned with “brand new chanel$,” a song which confronts her cheating partner, the woman she imagines he moved on to, and her grief about it all. However, she then performed “BEAT UP CHANEL$,” a song which celebrates her desires and exudes self-assurance. It was an ending that felt like a reclamation — not just of her confidence, but of everything messy, chaotic, beautiful, and fun about her.
That may be the most compelling thing about Slayyyter’s success right now. After going through the grinder that is the Hollywood machine, Slayyyter seems to be tapping into a sound and identity that feels very authentic to herself, possibly due to signing to a new record label which has allowed her more creative control. With this new wave of success from WOR$T GIRL IN AMERICA, it’s genuinely exciting to see what Slayyyter will do with this new attention. She already had the vocal talent, stage presence, and creative vision, it’s a matter of whether we can keep up.
Follow Slayyyter:
Instagram: @slayyyter
Spotify: Slayyyter
