Meet Slayyyter at her most raw, as the ‘Worst Girl in America’

by

Slayyyter climbs in through her childhood home’s window, her blonde hair wet from being out all night, the fringe on her jacket swaying. She goes for a beer, but her dad starts yelling at her, so she runs to her room. He pounds on the door, and she grabs a shotgun.

The music video for Slayyyter’s new song “Dance…,” which kicks off her album “Worst Girl in America,” opens with a shocking scene: Slayyyter shooting her father. The setting is deliberately jarring – a room filled with fluffy bunny toys, pink lace curtains, and a crucifix on the wall.

Slayyyter not only performed the track but also directed its visuals, seeing it as the perfect introduction to her upcoming album. While the album sounds like a collection of high-energy club anthems filled with guitars and boasts desires for wealth and indulgence, Slayyyter explains that ‘Worst Girl in America’ has a more personal meaning. It’s about a young woman from the Midwest who felt isolated and longed for a better relationship with her father, as well as a chance to escape her circumstances.

Slayyyter described herself as the opposite of a glamorous Hollywood type, saying she’s more like someone you’d find in a dive bar in Missouri. She explained that’s the persona behind her title, ‘Worst Girl in America.’

Slayyyter, whose real name is Catherine Garner, was raised in a St. Louis suburb and heavily influenced by early 2000s pop culture – especially photos of Lindsay Lohan and the music of Lady Gaga and Kesha, which she listened to on her iPod. She started performing as a dancer when she was young, and after leaving the University of Missouri, she began sharing her music on SoundCloud, recording it all herself at home.

At 23, the artist released her debut mixtape, “Slayyyter,” in 2019. It’s a catchy, pop collection inspired by Gwen Stefani, and surprisingly, half of it was recorded in a cluttered closet at her mom’s house. The mixtape launched the popular online hit “Mine” and the edgy track “Daddy AF,” which later appeared in the soundtracks for the films “Bodies, Bodies, Bodies” and the Academy Award-winning “Anora.”

After gaining momentum with opening performances for Charli XCX and releasing two albums, Slayyyter is returning to her roots. At 29, and following years of hard work building her career in Los Angeles and a recent tour with Kesha, she’s bringing her music back to where it all started.

The album pieces together a narrative from hazy childhood memories. Tracks like the energetic dance single “Crank” – which practically begs you to turn it up – contrast with the dreamy and melancholic “Unknown Loverz,” a song about unreturned affection. “I’m Actually Kinda Famous” sarcastically examines the idea of celebrity with a synth-driven sound, while “Cannibalism!” captures the raw energy of youthful longing through a fuzzy, garage rock style.

She explained that she wanted to capture the feeling of the Midwest in her paintings, but not in a straightforward way. She described it as a memory of her teenage summers – those nights spent walking around golf courses and drinking whatever warm beer they could find in their parents’ basements, trying to recreate that specific feeling.

Slayyyter’s new album comes out this Friday, following a period of teasing fans with released songs and self-made music videos. She’s gearing up for a big year with a tour planned for the summer and her first performance at Coachella next month.

On a bright, clear afternoon, Slayyyter arrived for our interview at The Times, the sounds of cars and planes filling the air. She was wearing her trademark fringed jacket and Moschino kitten heels. Energetic and cheerful, she playfully damaged the paper backdrop while posing for photos, excitedly talking about the movie “Uptown Girls” starring Brittany Murphy. During the photoshoot, I noticed an American flag and suggested using it as a backdrop to hint at the themes of her new album.

She shook her head, explaining that the title “Worst Girl in America” wasn’t about patriotism or a simple image. It was a much more complex idea. The songs delve into Slayyyter’s upbringing, her family, and her own intense feelings – everything from vulnerability and sadness to boldness and desire. As “the Worst Girl in America,” she presents a truly honest and unfiltered side of herself.

The title is really attention-grabbing and has a bit of a rebellious, carefree vibe – it suggests a character who embraces being seen as flawed and doesn’t worry about others’ opinions. Could you tell us about how you came up with that title?

It might seem strange, but ‘the worst’ was actually a friendly nickname. I spent a lot of time with skaters when I was younger, and they often used it as a term of affection with each other.

It also stemmed from feeling insecure, like I didn’t belong, or that people disliked me. I often felt like I was constantly defending myself, and sometimes just felt like a failure. So, ‘The Worst Girl in America’ feels like that inner voice telling you you’re inadequate, even if it isn’t true – it’s just how you perceive yourself.

1/3
(Christina House/Los Angeles Times)
2/3
(Christina House/Los Angeles Times)
3/3
(Christina House/Los Angeles Times)

You’ve been working in music for nearly ten years. Looking back at your early songs as Slayyyter compared to your current work, what are your thoughts on that evolution?

It’s good to feel more experienced and confident in my own style, but I sometimes feel nostalgic for my first project. I was completely new to the industry – I’d just been a receptionist at a hair salon in St. Louis, with no connections whatsoever to music or entertainment.

I never felt like I quite fit in. I was self-conscious about my hair extensions being visible, and at parties, I’d get so anxious that I’d drink too much to cope. Looking back at how my music career started, I wish I’d understood things a little earlier, but now I wouldn’t trade those experiences for anything.

This album includes elements from my earlier work. “Daddy AF” was my first attempt at rapping, and I enjoyed it so much that I kept going. In fact, “Crank” wouldn’t exist without that first song. Everything I create builds on what came before.

Your lyrics and videos have a lot of references to celebrities known for public struggles, like Lindsay Lohan’s infamous ankle monitor. What drew you to these ‘bad girl’ figures as inspiration?

I think a lot of celebrities are unfairly judged, and Lindsay Lohan especially. I have strong feelings about that – I could easily give a whole presentation on it! I really connected with her because, like me, she had a difficult relationship with her father, and that’s something I deeply understand.

Growing up with a difficult childhood often has lasting effects. It can lead to patterns like overindulging at social events and struggling to focus on long-term goals. I recognize this in myself – I’ve always been someone who acts impulsively and gets into trouble with drinking. I think people often misjudge those of us with this background, failing to understand the experiences that have shaped our behavior.

I’ve always felt this way. If people see me acting wildly at a party, they might quickly judge me, but there’s often a deeper reason behind it. There’s a sadness and a misunderstanding about why someone might turn to self-medication, whether it’s me or anyone else, really.

I was incredibly frustrated with making music and honestly thought this might be my last project.

Given your strong connection with LGBTQ+ fans and roots in the alternative queer music scene, how do you express and represent queerness through your art, and what message do you hope to send to that community?

It feels very natural to me to create what I do. I really dislike it when artists try too hard to appeal to a specific group, especially when it feels motivated by profit. It seems strange and disingenuous to me when artists deliberately target the gay audience, because I consider myself part of that audience. Growing up, my closest friends were gay, and we shared a love for artists like Lady Gaga and Marina and the Diamonds. I discovered Lana Del Rey through Tumblr and connected with her music deeply.

I make music purely as a form of self-expression, and I think that kind of honesty is especially powerful within LGBTQ+ communities. It feels authentic, and it really connects with people.

×

You’ve mentioned being inspired by artists like Marina and Lana Del Rey. Having just finished touring with Kesha, that must have been an incredible experience. What’s one of the biggest things you took away from that tour?

I’m just blown away by her confidence, professionalism, and overall presence – she really has a captivating energy. I honestly wouldn’t be the artist I am today without her. Her music was truly life-changing; I remember the first time I heard ‘Sleazy’ and how refreshing it felt when she first came out. She was so free-spirited, embracing glitter and feathers, and her music was bold, playful, and incredibly honest. She wasn’t afraid to say things others wouldn’t, and that’s been a huge inspiration for me to take risks and not be afraid to have fun with my own music.

Watching her perform felt incredibly emotional. It was like she was reclaiming something important to her, and it was truly moving to witness night after night.

Congratulations on signing with Columbia Records! You mentioned you still create your own costumes and direct your music videos, which is amazing. How do you manage to maintain that independent, do-it-yourself spirit now that you’re working with a major label?

Columbia has been incredibly supportive, letting me work in my own way, which I really appreciate. Taking on projects independently always carries some risk – things can easily feel disjointed, and I know that. I’m realistic about the fact that it doesn’t always work out perfectly, but I’ve been fortunate that things usually come together at the last minute.

It’s not about money; I just feel driven to do this myself and be involved in every detail. This album is very personal – it’s exactly what I envision, and I can’t leave it open to other people’s interpretations. It feels deeply connected to my life and my upbringing.

I created many of the videos with my friend Kate, and looking back at the footage is hilarious. I remember thinking some of it was really creative at the time, but now we just laugh at how bad it is. I even tried to do a baton-twirling dance, thinking it would be a fun, retro throwback to a 1950s pageant. I quickly realized I can’t spin a baton – it’s much harder than it appears! It definitely didn’t turn out as cool as I imagined.

I really connected with “Gas Station.” It made me think about loneliness, especially how it feels under bright lights, and the way people struggle to connect and seek validation in relationships today. That’s my take, anyway. Can you talk about how you explored relationships or modern love on the album?

The song “Gas Station” started as a reflection on a past relationship, but it evolved into something more personal. As I wrote it, I began to explore a difficult experience with my dad – he and I had an argument, and he left me at a gas station. I realize now that there are surprising similarities between romantic relationships and the ones we have with our parents, and that’s what the song ended up being about. It might be a bit heavy to share that personal story, but I found the connection between the two types of relationships really striking.

It can feel like repeating old patterns when you choose partners who don’t truly value you and find yourself constantly seeking their attention – almost like the dynamic you had with a parent.

Now that the album is out, what are you most looking forward to? Do you have any plans for touring, and what’s your vision for the future of your music?

Yes, I’m really looking forward to touring! Performing live is definitely the best part of being an artist for me. I’m excited to create a show and stage design that feels like you’re stepping right into one of my music videos.

I’m continuing to create music and exploring some options for expanding on my recent project. I’m considering adding collaborations and alternate versions of songs, though I’m not sure what form it will ultimately take. It might not result in a full release, but I’m experimenting with different ideas. I also have a few songs I previously wrote that I still want to share with everyone.

I hope this album provides the perfect background music for whatever people are going through. It’s up to them – whether they’re feeling sad alone, having fun with friends, or doing anything else they enjoy.

Read More

2026-03-28 02:02