Scene Queen has released ‘Tracksuit’, a new standalone single that pushes the American artist’s hyper-feminine metal hybrid further into aggressive territory while continuing her commentary on relationships, gender politics and alternative culture.
by Paul Cashmere
American artist Scene Queen has returned with ‘Tracksuit’, a new track the singer describes as her “heaviest song to date”, blending Y2K aesthetics, metalcore breakdowns and dark comedic storytelling into a violent revenge fantasy aimed at an unfaithful partner. The song arrives as the Hopeless Records artist continues touring the United States with German electronic metal act Electric Callboy and prepares for UK dates later this year.
Scene Queen, born Hannah Rose Collins, has spent the past four years building one of the more divisive and commercially visible identities in alternative music. Operating under the self-described “bimbocore” banner, Collins combines pop culture references associated with early 2000s fashion and celebrity culture with metal instrumentation, screamed vocals and overt feminist themes.
On ‘Tracksuit’, she leans heavily into both extremes. The song moves between exaggerated pop hooks and dense metal arrangements while following a narrative centred on discovering another woman’s tracksuit inside her home.
“Tracksuit is what would happen if you combined my two favorite things: y2k fashion and terror,” Collins said in a statement accompanying the release.
“The song is meant to feel like a continuous train of thought from when you bust in the door of your home and see a tracksuit that isn’t yours, imagine thinking Scene Queen wouldn’t notice a tracksuit that isn’t pink, to when I get arrested for murder. The message is simple: don’t cheat on Scene Queen because she is crazy.”
The release continues a thematic direction Collins has explored throughout her catalogue, where exaggerated humour and provocative imagery are used to address misogyny, sexuality, power dynamics and toxic behaviour within alternative music scenes. Sonically, ‘Tracksuit’ also reinforces the increasingly blurred line between metalcore, hyperpop, trap production and internet-era pop aesthetics that has emerged among younger heavy artists over the past decade.
Collins first gained attention online during the pandemic era after self-releasing material that merged scene culture nostalgia with contemporary internet language and social commentary. Before adopting the Scene Queen persona, she recorded under the name RØSÉ and initially pursued songwriting outside the heavy music space.
Raised in Upstate New York and later living in Alabama, Ohio and Los Angeles, Collins has cited bands including My Chemical Romance, Sleeping With Sirens and Pierce The Veil as formative influences, alongside mainstream pop culture figures associated with Y2K fashion. She has also spoken publicly about leaving the original “scene” subculture in 2015 after becoming frustrated by misogyny within parts of the community.
Her breakthrough came with the 2022 EP Bimbocore, followed later that year by Bimbocore Vol. 2. Songs including ‘Pink Rover’, ‘Pink G-String’ and ‘Barbie & Ken’, recorded with Set It Off, established the aesthetic and lyrical framework that now defines the project.
Scene Queen’s first full-length album, Hot Singles In Your Area, arrived in June 2024 and expanded her audience internationally through festival appearances and touring. The album cycle also produced songs including ‘Finger’, ‘Whips & Chains’ and ‘Stuck’, the latter featuring internet artist 6arelyhuman and drawing heavily from MySpace-era electronic scene culture.
Beyond the music itself, Collins has become a visible and often polarising figure within contemporary alternative culture. Her 2023 single ‘18+’ directly confronted allegations of predatory behaviour and misconduct in heavy music scenes, prompting debate online about accountability and fan culture within metal and emo communities.
At the same time, supporters have credited Scene Queen with opening conversations around feminism, sexuality and inclusivity inside genres historically dominated by male artists. Critics, particularly within traditional heavy music circles, have occasionally dismissed the project’s reliance on internet humour, pop aesthetics and exaggerated branding. Collins has generally embraced that division, positioning the project as intentionally confrontational.
Her visibility has also extended beyond music. Collins has openly discussed living with ADHD, bipolar disorder and postural orthostatic tachycardia syndrome, while also speaking publicly about bisexuality and representation in alternative culture.
Commercially, Scene Queen represents part of a broader generational shift in heavy music where TikTok, visual branding and cross-genre experimentation increasingly drive artist discovery. The artist amassed a substantial social media following before her debut album release, with her audience growing alongside the resurgence of early 2000s fashion and emo nostalgia among younger listeners.
‘Tracksuit’ arrives as Scene Queen continues to expand her international touring footprint. After completing arena dates with Electric Callboy across the United States through May, she is expected to continue European and UK performances later in 2026.
Whether viewed as a calculated internet-era provocateur or a genuine disruptive force within heavy music, Scene Queen continues to occupy a space few artists currently resemble. With ‘Tracksuit’, she pushes further into the collision between hyperpop absurdity and metal aggression that has defined her rise.
Stay updated with your free Noise11.com daily music news email alert. Subscribe to Noise11 Music News here
Be the first to see NOISE11.com’s newest interviews and special features on YouTube. See things first-Subscribe to Noise11 on YouTube
Follow Noise11.com on social media:
Bluesky
Instagram
Facebook – Comment on the news of the day
X (Twitter)
