Live Review: Chloe Slater

The Fleece, Bristol - 06/10/2025

Even if you try, Chloe Slater is a name you cannot escape within the indie rock scene right now, the rising artist causing a stir within the industry, quickly establishing herself as one to be keeping a close eye on.

The last time she was in Bristol, Slater was playing to a very sold-out The Louisiana. Fast forward a mere seven months, and following a busy festival season, she’s back, this time up the road at The Fleece.

As Slater graces the stage, the room erupts, the front few rows particularly eager, weaving between the infamous pillars holding up the venue’s historic walls which hum with the echoes of iconic gigs of decades gone by. 

Opening her hour-long tour-de-force with the stomping Tiny Screens, exploring the toxicity of social media and the increasingly digital landscape. “Love me please” she sings, arms outstretched, between segments of spoken-word performance. There hasn’t been a more vital time for an artist like Chloe Slater to be on the rise. 

For young adults navigating the world, there’s a lot to be pissed off about right now. Through her lyrics, Slater encapsulates the frustration her generation faces; from dodgy landlords to influencer culture, her music and subsequent live shows offering a space to release rightful anger towards the modern world. 

The infectious energy is upheld going into Sucker, the front few rows made up of mostly young women, singing back every word. Between songs, Slater stops to interact with them, accepting gifts which she holds up proudly, and posing in front of their cameras in sunglasses they have thrown onstage.

Fan favourite, Harriet follows the pause for interaction, and begins the chain reaction of fans holding up signs as part of a project. Slater looks around the venue bemused, later expressing how tonight is one of the best crowds she’s performed to. 

Whilst the fan behaviours down the front would usually be expected at a much bigger venue for more established bubblegum pop artists, it’s refreshing to see so many young people looking up to, and resonating with a voice like Slater’s. The engagement with her songwriting is also refreshing, Slater’s songs offering the perfect balance between social commentary and personal experience, layered over bouncing indie rock sonics. It’s shit you should be caring about, and in a world where Taylor Swift has released another album with lyrics that try to do something, yet don’t quite land, it’s refreshing to hear someone using their platform properly. 

On Death Trap, Slater protests “No rooms just expensive flats / Our house is damp and we’ve got rats / Our landlord is a piece of crap / We’re 21 living in a death trap”, leaning into the front row, as the whole room chants along with her, relating to her experiences. Similarly, on We’re Not The Same, she paints an image of being in a boy’s bedroom, whilst he attempts to mansplain the plot of Tarantino’s seminal work, Pulp Fiction, again a seemingly universal experience amongst those filling The Fleece tonight. 

Since we find ourselves on St. Thomas Street tonight, the aptly titled Thomas Street goes down perfectly, pacing the set to offer a more delicate moment, and Slater performing the number without her band. 

It’s also a night for new music, Slater debuting two new tracks, Southern Youth, and War Crimes, both numbers encapsulating her socially relevant and both introspective and extrospective lyricism. 

Closing the night out is ironically social media approved, 24 Hours, and acclaimed indie-leaning, crowd sing-along, Fig Tree. Once again flitting between spoken word and immaculate vocals, the track reaches its climax with a Trainspotting-esque rant, before the crowd joins in singing the repeated poignant final lines, “I’ll choose a life that is mine”.

If tonight is anything to go by, believe the hype both online and within the industry - Chloe Slater is certain to only continue to rise, her music rightfully resonating with audiences and bigger venues. 

KATIE HILLIER