Upon arriving at Slayyyter’s stop on her WOR$T GIRL IN THE WORLD tour in Toronto earlier this month, people were buzzing with energy, even in the line outside. Concert-goers were all committed to the theme, with almost everyone in the venue wearing denim, trucker hats, ripped t-shirts, or bunny ears. The supporting act, Pearly Drops, opened the evening with some pretty funny jokes, impressive light production, and decent synth-pop that pleasantly surprised me. Slayyyter’s stage design was fairly simple, featuring the front of a house as a backdrop, a carousel horse, and a cross along with some fake cattails at the front of the stage.
The second that Slayyyter stepped on to the stage, wearing a flannel shirt, corset, and a trucker hat, the crowd erupted into a deafening cheer, almost drowning out the music. Transitioning seamlessly from one song into another, she performed rockier, punchier versions of all of the songs off her new album, along with some of their sister versions off her upcoming project, wor$t man in america, with an incredible, ferocious energy. Starting with “DANCE…,” her stage presence and attitude immediately captivated the audience, and she commanded the room. By the time the digicams were whipped out to record “old technology,” what really stood out to me was how active the crowd was, yelling every word louder than the last, and cheering whenever there were no words. They already knew they were witnessing something really special.
What followed was one of the highlights of the show for me: “CRANK,” along with its sequel “crank 2,” and “YES GODD,” the fastest and most chaotic songs of the night, were played back to back in a blitz of adrenaline. In the pandemonium of lights flashing, the audience all jumping, and Slayyyter giving her best metal-style growls and screams, I saw multiple hats and bunny ears being thrown into the air, drinks being spilt, and vapes and phones tumbling out of people’s hands. After an upbeat instrumental break by the band, during which she changed into a white, sparkly bodysuit, she slowed down the tempo for the next few songs. During “UNKNOWN LOVERZ,” performing on the carousel horse as the room filled with bubbles, she was able to belt her highest and most impressive notes of the night. The bridge and outro of that song were magical. As the crowd went quiet and the lights all went down except for one soft light, she resembled a mystical creature while singing about her desire for one undeserving, avoidant lover.
She ended her set with a cover of “BIRDS,” by the hardcore band Turnstile, showcasing her talent for that genre, with more impressive screams and belts, somehow even louder than the ones before. The encore, in which she performed “brand new chanel$,” and “beat up chanel$,” with extended outros and even extra choruses, was the climax of the event for me. The crowd’s energy was so high, and as the frenzy seemed to go on forever, we kept screaming and dancing the whole time.
As the show ended, everyone in the audience was looking around wide eyed, sweaty, exhausted, still reeling from the exhilaration of the performance, and trying to process what we just saw. I am certain with the amount of talent, dedication, and fan adoration that she has, Slayyyter will only get bigger. And the next time she comes to Toronto, she will definitely be playing for a much larger crowd. I can’t wait for her next project, wor$t man in america, releasing on December 4th, 2026, and am really excited to see what she has in store for us next!