Daisy finds Ashnikko flexing a baddie persona, turning sweet floral imagery into threat as she claims the crown and bites back.
“Fuck a princess, I’m a king.” The line lands like a steel-toed boot on marble, a manifesto disguised as a hook.
Daisy isn’t coy about what it wants to do to your speakers or your sense of self.
It stalks, it winks, it bares its teeth. Released on July 9, 2020, with production by Slinger and writing credits shared between Ashnikko and Slinger, the single arrived already dressed for a fight, lacquered in latex and blue diamonds under Parlophone and Warner Music Group, mastered by Chris Gehringer.
Ashnikko doesn’t simply sing this track, she summons a character. In her own breakdown she describes Daisy as a vigilante in “massive, clear, icy platforms,” a “bad bitch” who administers justice with a calling card left on your nightstand.
Those heels might as well be sirens. “Daisy is this bad bitch who wears exclusively latex,” she says, detailing a persona built to intimidate, seduce and punish, sometimes all in the same bar.
That visual logic powers the song’s meaning. It’s not an empowerment cliche, it’s theatre with knives out. The chorus paints the aftermath: “Spitting up blood in the sink.”
Then the flick of a flower: “Daisies on your nightstand, never forget.”
Both lines double as plot devices, the evidence our antihero leaves behind.
The image “I blossom in the moonlight” reframes growth as something that happens after-hours, when you’re done performing softness for daylight.
Listen to the way her writing sharpened into slogans that fans were always going to carry like stickers on a laptop.
“I’m crazy, but you like that, I bite back.” “Long blue hair, blue as a bruise.” “Fuck a princess, I’m a king.”
The elasticity of the language mirrors the beat’s snap; each phrase fits inside a fifteen-second clip without losing its sting.
Daisy is also a case study in how a song can be built with and for the feed without losing bite.
The campaign launched with the #BeatsDaisyChallenge on TikTok, directed by Charlotte Rutherford in collaboration with Beats by Dre, pulling user-made clips into the official video’s colour-coded world.
Think runway show meets participatory internet, calibrated to Glacier Blue, Spring Yellow, Cloud Pink and Lava Red, a palette that turns product into palette knife.
The result didn’t just circulate, it charted a course. In the UK, Daisy climbed to Number 24 on the Official Singles Chart Top 100, the moment Ashnikko broke the Top 40 proper.
By January 2022 the track held a Platinum certification from the RIAA, the sort of milestone that converts a cult favourite into a pop fixture.
On YouTube, the official video has stacked up around 157 million views, still pulling new listeners into its lurid greenhouse of a world.
Slinger’s beat jump-cuts between rubbery bass and villain-laugh synths, leaving air around key phrases so Ashnikko’s one-liners can punch through.
That space is what makes a line like “Bow down and kiss on my ring” feel like a close-up; you can practically hear the grin.
If Daisy is a character study, it’s also a power exercise. Ashnikko has talked about inventing these alter-egos to bulldoze insecurity and replace it with excess, specifically naming Daisy as someone who “smashes the patriarchy” and throat-punches abusers.
It’s theatre in the tradition of comic-book vengeance, except here the monologue rhymes and the cape is latex.
Those “glass platforms” become both costume and weapon, Cinderella rewritten to choose the shoe and keep the throne.
The internet didn’t agree on everything, and that’s part of why Daisy still sparks discussion.
On r/popheads the split was more textured: a chunk of listeners praised the snide, taunting tone as exactly the kind of thing you scream in the car, and they enjoyed the odd-couple mix of bravado with a slightly nerdy edge.
Others said the chorus is the fireworks while the talk-y verse flow loses them, or they love the production but not the voice.
There was even a side-thread poking at the sub-three-minute sprint and asking why “mainstream appeal” should be the measure in the first place.
And one barbed quip compared her to a caricature of Billie Eilish as imagined by detractors, louder, brasher, more cartoon, which captures how cleanly “Daisy” polarises on first contact.
Others clocked that, like her or not, she’s carved out a lane that many post-TikTok artists don’t dare to merge into.
Some watchers on YouTube were transfixed by the candy-colour chaos, comparing the CGI maximalism to hyperactive kids’ TV filtered through late-night energy, while others loved how the lyric “Daisies on your nightstand, I blossom in the moonlight” flips a floral cliché into a survival code.
Even sceptics who didn’t know what they were watching admitted they couldn’t look away, which, frankly, is the point.
So what is Daisy about when you strip away the spectacle. It’s a refusal to shrink.
The pre-chorus is practically a crest: “Bow down and kiss on my ring.”
The persona says: I can be elastic, I can be choosy, I can be pursued and still not prey.
That last piece matters. Too often, brash pop writing gets punished for being brash. Here, brashness is policy, a survival tactic wrapped in melody.
And still, it’s catchy as sin. The chorus is a house of mirrors but you exit humming.
Even critics on Reddit who didn’t warm to the verses conceded the hook is undeniable, the kind of earworm that makes a song unavoidable in club mixes and gym playlists.
That duality explains the long tail: UK Top 40 receipts, American platinum, an ongoing afterlife in edits, mashups and lip-syncs that keep the line “I’m crazy, but you like that” in permanent circulation.
If you’re arriving for the first time, the best way in is to let the character do the introductions.
Hear the first verse swagger, watch the video’s colour blocks bloom, catch the daisy left like a signature on the nightstand.
Then listen again, this time for the subtext hiding in plain sight. “I’m no Cinderella, but I like the shoes.”
That one line tells you everything about agency here. The fantasy was never about the prince. It was always about the fit.
Feel the daisy on the nightstand and keep the story going with our take on her latest cut; read our review of Trinkets.
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Ashikko’s Daisy Lyrics
Verse 1
You don’t wanna see me bratty
Pet the kitty, call me catty
Make your man call me daddy
He talk too much, he’s too chatty (Yeah, cool)
CEO, I’m savvy
Respect a bitch, I’m a maverick
Flexible, so elastic
But don’t you dare bend a bitch backwards
Pre-Chorus
Fuck a princess, I’m a king
Bow down and kiss on my ring
Being a bitch is my kink
What the fuck else did you think?
Fuck a princess, I’m a king
Bow down and kiss on my ring
It’s gonna hurt, it’ll sting
Spitting up blood in the sink
Chorus
I’m crazy, but you like that, I bite back
Daisies on your nightstand, never forget
I blossom in the moonlight, screw eyes
Glacial with the blue ice, I’m terrifying
(I’m terrifying)
