The last time Slayyyter toured, in 2023, she struggled to break even and had to fly home boxes of unsold merch. Back then, she was still largely the domain of Twitter gays: a subcultural figure to those who assessed music in terms of “flops” and “bops”.
Then, midway through 2025, she released the electro-trashy Beat Up Chanel$, and suddenly caught everyone’s attention. With a career-defining Coachella set earlier this year, she had broken through into the mainstream alongside a class of flop-no-more artists – Zara Larsson, Raye and Tinashe – who had spent years seeming cruelly shut out of its central sphere, only to break through with a surprise big hit. For these artists, and Slayyyter in particular, the urgency of a last chance had become as galvanizing as the urgency of a first.
