On her third studio album, WOR$T GIRL IN AMERICA, Slayyyter turns what was supposedly a final hurrah into a chaotic collision of industrial grit and glossy vocals, bringing its unpredictable energy to the stage and keeping Montreal perpetually on its toes.
Text by Mia Colaner
Photos by Louis Alson
Slayyyter brought her gleaming, unruly take on sleaze-pop to a sold-out Théâtre Beanfield in Montreal on September 30, 2026, ushering in the live arrival of her third studio album, WOR$T GIRL IN AMERICA, as part of the WOR$T GIRL IN THE WORLD TOUR. It was hyper-feminine and gloriously excessive, where sleaze got dressed up, polished to a shine, and sent out for the night.
Slayyyter, born Catherine Grace Garner in St. Louis, Missouri, takes her stage name from Slater, the laid-back, effortlessly cool character of Richard Linklater’s Dazed and Confused. What was supposed to be her final album, one last creative fling before she left the music industry behind entirely, has become anything but a farewell. Slayyyter’s WOR$T GIRL IN AMERICA turned into the loudest beginning of her career yet.
There is something of the same cultural electricity that Ke$ha possessed in the 2010s in Slayyyter’s ability to arrive so boldly, while her restless pop sensibility echoes the spirit of Charli XCX’s BRAT in their similarly maximalist execution. Beneath the glitter and gloss, her techno arrangements channel the industrial pulse of The Chemical Brothers and the abrasive charge of Skrillex, giving grit to a pop that might otherwise float away in its prettiness.
In its live rendition, the performance opened to a set of windows veiled in flowing curtains, which slowly parted to reveal a single spotlight slicing through the darkness, bathing the venue in a transcendent wash of white light. Strobe lights punctuated Slayyyter’s entrance in characteristically chaotic fashion as she emerged through the doorway of an old-fashioned American house set, dressed in a matching beige skirt and jacket with a white corset to tie it all together. She opened with hits “DANCE…”, “OLD FLING$”, and “OLD TECHNOLOGY”, where her electrically charged discography reverberated through a crowd that seemed to know every deliciously unhinged turn, the strobes continuing to flicker around her and rendering her almost ethereal as her airy vocals floated above the production.
Slayyyter told the Montreal crowd that they had changed her life, a nod to the fervent love surrounding her new album and the momentum that had propelled her into a new stratosphere of pop. She was finally stepping into the big leagues she had been inching toward, proving she belonged there as she launched into “YES GODDD” with a ferociousness that was impossible to resist. She screamed into the microphone, whipped her long blonde hair through the air, and let her body cut through the lights and noise with a liquid energy that was as magnetic as it was chaotic. Slayyyter was only just getting the party started.
With no intention of slowing down, Slayyyter seemed to draw more and more energy with every song she performed, absorbing the crowd’s frenzy only to hurl it back at them twice as brightly. She disappeared once more through the doors of the house set, only to reemerge in a new look: a pink skirt shimmering around her like the delicate petals of a rose. Against the Americana country-fair glow of the stage, she toyed with the props scattered around her, drifting playfully on and off the carousel horse during “CANNIBALISM!” before teasing the audience with some of her unreleased music, each new fragment met with a room-wide plea for more.
Slayyyter moved into “GAS STATION,” letting the sharper edges of the set soften. The song’s final notes gave way to an abundance of bubbles, enveloping her before spilling from the stage and cascading through the venue. She slipped into “UNKNOWN LOVERZ” beneath a wash of pink light, wrapped in a rosy haze as she allowed the more romantic sounds of the record to surface. The perfect dichotomy arrived in the final stretch, when she played “Brand New Chanel$” and “BEAT UP CHANEL$” back to back, a suitable way to send the room hurtling toward the finish line at full speed.
WOR$T GIRL IN AMERICA possesses an unpredictability that is precisely what makes it so irresistible. Songs collide, dissolve, and reassemble in unexpected forms, each track offering something entirely different from the last. Slayyyter can move from full-throttle, techno-fuelled chaos and primal screams to tenderness, softness, and romance without ever losing the thread, making the entire night feel like one wonderfully unhinged ride. Slayyyter has only just begun to fling herself headfirst into the possibilities of experimentation, and if this is what happens when she lets herself run wild, there is no telling where she will take us next.
