TL;DR
- Jane Remover took a two-bar shot at streamer/rapper Young Dabo on her new SoundCloud loosie "yes, yes, no, yes, no" (released May 4, 2026).
- Dabo responded on stream with a misogynistic rant, then dropped a full diss track called "BLEED (Jane Remover Diss)."
- UK rapper Skaiwater jumped in to defend Dabo, accusing Jane of not supporting Black artists.
- Streamer PlaqueBoyMax also piled on Jane.
- Lucy Bedroque — Jane's labelmate on deadAir Records — got pulled into it after fans speculated Jane's bar was actually aimed at them, not Dabo.
- The underground music community is overwhelmingly siding with Jane. Dabo's diss track is sitting at a sub-10 user score on Album of the Year.
Who's Who
Before unpacking the timeline, here's a cast list for anyone who hasn't been chronically online for the last 72 hours.
Jane Remover — One of the most acclaimed artists to come out of the digicore and hyperpop scenes. New Jersey-born, now Chicago-based, they pioneered the "dariacore" microgenre under the alias Leroy and broke through with the 2021 album Frailty on deadAir Records. Their 2025 album Revengeseekerz was a critical hit that fused digicore with rage. Jane is non-binary, goes by any pronouns, and has a fiercely loyal but notoriously messy fanbase.
Young Dabo — Real name Ibrahim Dabo, 18, Guinean-American streamer based in Columbus, Ohio. He's a Twitch partner who built his audience on emotional music reaction videos (the Frank Ocean Blonde breakdown is the one that broke him). He's affiliated with Kai Cenat's Streamer University circle and is a vocal Playboi Carti superfan. He also makes rage rap in the Carti/Yeat lane.
Skaiwater — British rapper-producer from Nottingham, now LA-based. Non-binary, of Jamaican descent. Broke through on TikTok with "#miles" (the Lil Uzi Vert remix), produced for Lil Nas X, and just released wonderful in 2026. A core figure in the modern post-genre underground.
Lucy Bedroque — 19-year-old Bronx-born, LA-based rapper-producer (formerly Lostrushi). Signed to deadAir Records — the same label as Jane Remover. They opened on Jane's "Turn Up Or Die" tour in 2025, and the two have a documented history of collaboration and friendship.
PlaqueBoyMax — One of the biggest streamers in the rap-adjacent space in 2025–2026, frequently hosting underground artists on his Twitch streams. Allied with the Dabo camp.
How It Started
On May 4, 2026, Jane Remover posted a new track titled "yes, yes, no, yes, no" to SoundCloud as part of the rollout for her Indie Rock 2 (#ir2) project. Buried in the verses was a brief, dismissive jab at Young Dabo — Jane essentially asks rhetorically why she'd ever appear on his stream, and follows it with a line implying his music is just memes and gives her "troll face" energy.
For context: Dabo, despite his huge streamer following, is widely viewed in underground circles as a meme rather than a serious artist. Jane's line read as a mild swipe at someone using viral streaming clout to elbow into a scene she's spent years building credibility in. Her fans loved it. Top comments on Album of the Year praised the bar and joked about Jane refusing to "hop on the Dabo stream."
She probably expected the bar to land and disappear.
“Two bars. That's the whole spark. It did not disappear.”
Dabo's Response (and Why It Made Things So Much Worse)
Dabo responded the same week — first on his Twitch stream, then with a full diss track.
On stream, he reportedly went on a tirade calling Jane a "stupid bitch" and a "stupid whore," telling her she should have "kept her mouth shut." Critics on AOTY immediately flagged this as straight-up misogyny that had nothing to do with any actual musical criticism Jane made of him.
Then came the diss track itself: "BLEED (Jane Remover Diss)" produced by Twovrt, with an official music video. Two things drove the backlash to "BLEED":
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Misogynistic framing. The track leans on the same "shut up, woman" register Dabo used on stream. Listeners argued the response was wildly disproportionate to a two-bar dismissal.
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What many listeners interpreted as transphobic content — including a "cutting off" line and the deliberate use of "he" pronouns to refer to Jane (who, again, goes by any pronouns, but the intent read as pointed). Reviewers also flagged what they described as a music video segment involving a dummy meant to represent a trans person.
The track is currently sitting under a 10 user score on Album of the Year — one of the lowest scores any release has gotten on the platform this year. Reviewer hitmontophat called it weak even setting the bigotry aside, and noted that Dabo's first instinct being misogyny told fans exactly what they needed to know about his character.
Skaiwater Enters the Chat
Just when fans thought it might calm down, Skaiwater posted a series of messages on X going hard at Jane Remover.
Skaiwater's accusations centered on a claim that Jane "doesn't like Black people," telling her to "mind her business" and to "never speak on young Black talent." Skai also threw in a jab calling her one of those "hyperpop Discord friends from COVID" — a clear shot at Jane's roots in the early-2020s online digicore scene.
Here's where it gets messy. Fans have started speculating that Jane's original "Dabo stream" line wasn't really about Dabo at all — that it was a coded shot at Lucy Bedroque, who has actually appeared on Dabo's stream in the past. Skaiwater seems to share that read, which is why they jumped in: Lucy and Skai are close collaborators in the underground, and Skai apparently saw Jane's bar as Jane punching down at a younger Black artist in their circle.
Jane's defenders pushed back hard. One widely-shared X post from @FRANCIUM420 noted that Jane has historically criticized her own fanbase for not listening to enough Black artists — and that twisting that into "she's racist" was in bad faith. Jane has been vocal about wanting her predominantly white listener base to engage more with the Black artists shaping the same scene she came up in.
The Lucy Bedroque Layer
This is the part nobody wants to talk about cleanly, because it complicates the heroes-and-villains narrative.
Lucy Bedroque and Jane Remover are labelmates at deadAir Records. They've toured together. There are rare-photo TikToks of them captioned "sisterhood." On paper, they are friends and collaborators in the same scene.
If Jane's bar really was aimed at Lucy via the Dabo stream reference (rather than at Dabo himself), it would suggest a behind-the-scenes falling out within the deadAir / digicore inner circle that the public hasn't fully seen yet. As of this writing, Lucy hasn't directly addressed the situation publicly. Jane hasn't clarified the target of the line either.
So we're in a weird middle space: a public beef with Dabo on the surface, and a possible private beef with someone in Jane's own scene underneath.
Who's On Whose Side
Team Jane Remover:
- Most of the digicore, hyperpop, and underground music critic community
- The Album of the Year reviewer base (where "BLEED" is being eviscerated)
- Most music Twitter outside of streamer culture
- Fans who view Dabo's response as a textbook overreach by a streamer trying to muscle into a scene
Team Dabo:
- Skaiwater (publicly)
- PlaqueBoyMax (who reportedly piled on Jane during a stream)
- A user named bleood, also flagged in AOTY discussions as part of the Dabo camp
- Streamer-aligned audiences, particularly Carti/Opium-leaning rap fans
- Anyone framing this as "underground white artist punches down at Black streamer/rapper"
Caught in the middle:
- Lucy Bedroque (silent so far)
- The deadAir Records roster and the broader digicore Discord-era community
Why This Beef Actually Matters
It's tempting to write this off as one more music-Twitter slap fight. It's more interesting than that, and here's why:
1. It's a generational fault line in the underground. Jane Remover represents the Discord-era, COVID-lockdown, SoundCloud-bedroom wave of digicore. Dabo represents the Twitch-streamer, Carti-stan, clout-pipeline wave that came directly after. Both lanes are sometimes lumped under "underground rap" but they have completely different value systems — one is about craft and weird-sound experimentation, the other is about virality and reaction culture.
2. It's exposing how thin the alliances are. Skaiwater publicly turning on Jane Remover would have been unthinkable a year ago — they're both non-binary artists in the same post-genre lane, both championed by The FADER. The fact that loyalty cracked this fast tells you something about how much fame, race, and scene politics are pulling at the seams.
3. It's a real conversation about misogyny and transphobia in the underground. Jane has been open about how bizarre and "scary" her fanbase can get. Dabo's response — and the way some of his fans have run with it — is forcing the underground to reckon with whether it's actually as progressive as it claims to be, or whether the same prejudices show up the second a woman or non-binary artist makes a perceived disrespect.
4. The receipts are public. Unlike most beefs in legacy hip-hop, every single piece of this — the songs, the streams, the X posts, the AOTY reviews — is timestamped and screenshotted. The community is litigating it in real time.
“The receipts are public. The community is litigating it in real time.”
Where Things Stand
As of this week:
- "BLEED" is out and being demolished critically.
- Jane Remover has not formally responded with a song. Her fans expect that, if she does, it will be devastating. Her Census Designated and Revengeseekerz writing chops suggest she's not the person you want a write-off with.
- Skaiwater has not walked anything back.
- Lucy Bedroque has stayed silent.
- PlaqueBoyMax and Dabo are doubling down on streams.
- The underground music press is split between thinkpiece-mode and "let's just sit back and watch this."
What This Means for Underground Music Fans
If you've followed digicore, hyperpop, or rage rap for any length of time, you already know the same pattern: artists like Jane Remover, Skaiwater, Lucy Bedroque, Dazegxd, Quannnic, and Kuru build entire scenes from their bedrooms with no help from major labels. They sign, they get squeezed, they go independent again (Skaiwater literally walked away from Capitol in 2025). The infrastructure underneath them is thin.
Beefs like this one are entertaining, but they also expose a deeper truth: the artists shaping underground music in 2026 are doing it without financial systems that match their cultural impact. When Jane Remover dropped Indie Rock with no label rollout in 2025 and yanked it two hours later, that wasn't a marketing stunt. That was an artist navigating an industry that still hasn't figured out how to support people like her without taking too big a cut.
The royalty system is broken. The label model is opaque. Streamers cash in on reactions to music they didn't make, while the artists who made it wait months — sometimes years — to see a payout. Even the diss tracks themselves become content for everyone except the artist.
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