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The profile · researched 30 September 2026
The New Orleans cousins who built an arena tour without signing to anyone
$uicideboy$ spent a decade turning SoundCloud horrorcore into a self-owned rap business, and in autumn 2026 they are mid-way through a 33-date Grey Day run built on two albums about faith and recovery.
A pact, a SoundCloud account and ten EPs called KILL YOUR$ELF
Aristos Petrou and Scott Arceneaux Jr. are first cousins from New Orleans. Petrou records as Ruby da Cherry, Arceneaux as Scrim, and the two started working together as $uicideboy$ in 2014 after agreeing that if the music had not worked by the time they turned thirty there would be no fallback. The first release, a three-track EP titled Kill Yourself Part I: The $uicide $aga, went up on SoundCloud and Bandcamp in June 2014.
What followed was volume rather than strategy. Parts of the KILL YOUR$ELF series ran from 2014 into 2015, alongside $outh $ide $uicide in 2015 and Radical $uicide in 2016, all of it self-produced and distributed straight to the platform that was carrying it. The sound drew on Memphis tape rap, Southern trap, horrorcore and punk, with lyrics about addiction, depression and suicidal ideation that were explicit enough to keep radio and most of the press away for years.
That absence of gatekeepers turned out to be the mechanism. The audience arrived through reposts and playlists rather than through a label marketing plan, and by the time the industry noticed, the duo already owned the relationship with it.
G*59, and the decision not to sign
Rather than take an offer, Arceneaux and Petrou run their own label, G*59 Records, which pushes releases out through The Orchard for distribution and keeps the masters and the merchandise in-house. The chart record since then reads as a slow, uninterrupted climb: I Want to Die in New Orleans reached number nine on the Billboard 200 in September 2018, Long Term Effects of Suffering number seven in August 2021, Sing Me a Lullaby, My Sweet Temptation number seven in July 2022, and New World Depression number five in June 2024.
Certifications followed the same curve, with gold plaques on several of those albums, platinum for Sing Me a Lullaby, My Sweet Temptation, and triple platinum for the single...And to Those I Love, Thanks for Sticking Around. There have been detours too, including the Live Fast, Die Whenever EP with Travis Barker in May 2019 and the YIN YANG TAPES series in 2023.
None of it involved a major. That fact is now the headline statistic attached to the act: Spotify's RapCaviar round-up of the ten most streamed rappers of 2025 contained only two independent artists, and $uicideboy$ were one of them.
Thy Kingdom Come, and a Christmas follow-up
The fifth studio album, Thy Kingdom Come, arrived on 1 August 2025 through G*59. It runs ten tracks and roughly twenty-nine minutes, recorded across sessions dating back to 2020 with production from Budd Dwyer, Ben10k and Lily Kaplan, and guest turns from Bones and Night Lovell. Three singles led it out: Self-Inflicted on 9 May, Now and at the Hour of Our Death with Bones on 20 June, and Napoleon on 16 August.
It debuted at number four on the Billboard 200 with 57,000 album-equivalent units, the highest entry of their career, and went to number one on the Top Rap Albums, Top R&B/Hip-Hop Albums and Independent Albums charts. Arceneaux has described the record as being about the wear of touring, loneliness and getting older rather than about the drug-heavy material that made the early tapes notorious.
Five months later, on Christmas Day 2025, they surprise-released a sixth album, Thy Will Be Done, another ten tracks and an explicit continuation of the title. Scripture references, prayer-shaped intros and confession sit on top of abrasive production and the rapid, stacked flows the pair have used since the beginning. Ratings Game Music, reviewing it on 27 December, scored it 83 per cent and described the result as a warped form of gospel, singling out BLOODSWEAT and 2009 Reggie Bush.
Recovery as part of the job
Both members are sober, and the shift is not incidental to the current records. In a Billboard cover story published in July 2025, Arceneaux talked about sobriety and about feeling a responsibility not to glorify addiction in front of the audience, and said he delivers a short address about recovery at every show they play. Petrou has framed the mission in his own terms, naming saving souls as the ambition.
The tour carries the same logic. Grey Day continues its partnership with the non-profit PLUS1, with one dollar from every ticket sold directed towards mental health initiatives — a commitment made explicit in the 2026 tour announcement rather than tucked away in small print.
The tension in all this is what makes the current live show interesting. The catalogue still contains songs written by two people who expected to be dead, and they are now performed nightly by two people who are not, in front of a crowd that mostly found the music during its bleakest phase.
Where they stand in autumn 2026
Grey Day began in 2019 as a package tour and has grown into an annual institution with a rotating roster of underground acts. Billboard Boxscore has placed it inside the top five rap tours for three consecutive years, and in 2025 it finished as the fourth highest-grossing hip-hop tour of the year.
The 2026 edition was announced on 31 March, with a Live Nation presale on 2 April and general on-sale on 3 April. It runs 33 dates across arenas and amphitheatres, opening on 29 August at Mystic Lake Amphitheater in Shakopee, Minnesota and closing on 20 October in Birmingham, Alabama, with a festival appearance at Aftershock in Sacramento on 2 October in between. Support rotates by leg: Destroy Lonely, Shoreline Mafia, Shakewell, DRAIN, Black Kray and $lim Gucci.
By the end of September the run was past its halfway mark, with around twenty shows documented, including Dos Equis Pavilion in Dallas on 1 September, Riverbend Music Center in Cincinnati on 11 September, Toronto on 14 September, Pine Knob Music Theatre outside Detroit on 15 September and Climate Pledge Arena in Seattle on 28 September. Doors and stage times on the amphitheatre dates are early — Pine Knob listed a 6.30pm start — because there are five acts to get through before the headline set.
The show, now
The headline set runs about ninety-five minutes — at Morton Amphitheater in Riverside, Missouri on 30 August the pair were on stage from 9.25pm to 11.00pm — and averages 29 songs, which means most of them are short and the transitions are fast. It opens with Leviticus and 2009 Reggie Bush from Thy Will Be Done, then BLOODSWEAT, before working through Napoleon, Monochromatic and Now and at the Hour of Our Death. Shakewell comes back out to trade verses on VENOM. Around the mid-point there is a taped medley of early KILL YOUR$ELF-era material — Can of Worms, Ocean Side $uicide, Bleach, Black $uicide, Vietnam and others — which functions as the deep-cut segment for the long-term audience. The last third is the run most people bought tickets for: Paris, Antarctica, Leave Your Things Behind II, Audubon, O PANA! and, as the closer,...And to Those I Love, Thanks for Sticking Around. Production is scaled for sheds and arenas rather than clubs, with lighting and screen work matched to the tempo, but it is not a theatrical show; the volume comes from the pit and from mass call-and-response on the older songs. Five acts play before the headliners on most dates, so the amphitheatre bills start around 6.30pm.
Researched from news.livenationentertainment.com · en.wikipedia.org · en.wikipedia.org · setlist.fm · setlist.fm · setlist.fm · 313presents.com · consequence.net
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