It’s been a big year for Slayyyter. An internet cult icon for years, her journey is one that could be easily misconstrued as an overnight success. It feels like she was always meant to be — and has always been — this massive of a supernova. It’s been a lengthy and difficult path to pop stardom, however, with the artist herself stating that she was near giving up before the success of her monumental 2026 project “WOR$T GIRL IN AMERICA.” But her success came at the right time, as she has never been more deserving of the magnitude of her crowds as she is now.

Slayyyter descended upon Roadrunner on Sept. 26 in all her rowdy glory, met by a crowd already hungry for a party. She kicked off the show, however, in an unexpected fashion. As light poured through the windows of the tiny prop house onstage and illuminated the humble clothesline, plastic lawn chairs, and large cross composing the set, the serene hum of an organ began. Her interlude track “*PRAYER*” started blaring through the speakers, with the voice of the singer herself pleading, “Lord / Grant that I may seek to comfort rather than be comforted / To understand rather than be understood.” A solemn prayer for the debauchery ahead, her closing “Amen,” marked the true beginning of the festivities.

Kicking off with the explosive buildup of the highly popular “DANCE…,” Slayyyter had the audience jumping not even a minute into the track. Strolling casually out of the house in a pink trucker hat and leather jacket, she looked as self-assured as ever. She seamlessly transitioned into “OLD FLING$,” setting her long blonde curls free as she grew comfortable onstage. She was the very picture of liberation, dancing wildly with her hair flowing in the wind. Her energy never failed to rub off on the crowd, as they fed to her exactly what she fed them.

She looped in the robotic “OLD TECHNOLOGY,” asking, “Boston, are you doing drugs tonight?” She brought the track to life with booming live electric guitars and head-banging metal vocals. “BROKE B*TCH FREE$TYLE” brought with it heavy drums and more shouting, as the energy only built.

The undeniable peak of the first act was the viral “CRANK:” a raucous, riotous, thumping anthem that seemingly every person was yelling along to. The energy was so fiery and intense that it almost felt like such a heavy-hitter should have come later in the show, but perhaps it was just that one wished the song’s energy could last forever. Slayyyter kept the energy up as long as possible though, transitioning into the equally noisy “crank 2.” The almost violent techno-metal of “YES GODDD” followed, during which she thrashed her head around and screamed with a fervor.

The second act of the show saw Slayyyter in a fabulous fringe dress, preparing the crowd for glamour and a more refined tone. The rockabilly slinkiness of “CANNIBALISM!” brought out more of a diva persona, as she sauntered about the stage. Slayyyter then performed an unreleased track, titled “nekromantik!” Surprisingly, the song was an energetic lowlight of the evening, perhaps only in comparison to the exuberance of her “WOR$T GIRL IN AMERICA” tracks. She kept the calm tone with “GAS STATION,” and bathed in pink light, she displayed a soft vulnerability with “UNKNOWN LOVERZ” and another unreleased ballad “i think he’s got a girl,” somberly declaring her need to love and be loved. The section was a necessary breather and was reflective of the actual range of sentiments one would encounter on an otherwise wild night out at the club. The section was human and honest: a delicately composed collection of her more emotional tracks.

Slayyyter returned to her usual explosive self with “I’M ACTUALLY KINDA FAMOUS” AND “$T. LOSER,” snapping out of her moment of introspection and instead engaging in the cattiness of both tracks. As she exited the stage for a brief intermission, the reverent prayer began again, taking on a different tone — one that sparked the dreadful feeling that eventually every party has to come to an end.

The subsequent performance of “WHAT IS IT LIKE, TO BE LIKED?” and “BRITTANY MURPHY.” only exacerbated the feeling that the morning after was here. All the anxieties coming from the untamed evening before had arrived, and as sunlight crept in, everything was beginning to look less glamorous. Slayyyter sang of her desire to be remembered and to be forgiven for her sins, exemplifying the thoughts that come with the sobering light of day.

As she closed with the vulnerable “brand new chanel$” and the cathartic “BEAT UP CHANEL$,” the evening seemed to be wrapping into one perfect package of all the highs and lows that a night out is composed of. Slayyyter makes it clear that all she wants is to feel it all, singing, “I want nasty afterparties, banged up at the motel / I want beat-up Chanels, I want something for real.” The shared release of emotion that her music provides was there in all its glory.

A complete night is not necessarily a perpetually happy night. It is full of all the trashy, messy, naked vulnerabilities that she sings of, and without those emotions, one would not feel the euphoric bliss of the party highs. Slayyyter delivered a whole and complete evening, full of prayers that one’s sins will be washed away by morning, and equally full of the hope that the party can last forever.

—Staff writer Ariana N. Barillas Santizo can be reached at [email protected].