King Princess @ House of Blues 11/2

Photography and review by Gabriella Knapp

Last Sunday, King Princess returned to Boston for an electric and dynamic show. Mikaela Straus, who is better recognized by her stage name King Princess, is one of the original pioneers of the “sapphic pop” genre—a sonically pop subgenre that centers and celebrates queer relationships—but Straus has developed a stage presence that is more reminiscent of a rock star. From the moment she stepped on stage, the message was clear: this is not a family show. 

King Princess is sexy, messy, and gloriously unfiltered. Sunday night’s show was a part of the Girl Violence Tour and reflected that same energy. The album is King Princess’ third studio album, and it certainly lives up to its name—filled with chaos and emotion—an album that literally encourages the listener to get their hearts broken.

The night started with opener SASAMI, a genre-bending indie artist who fit King Princess’ fluid vibe and alternative energy. As a classically trained French horn player, SASAMI shocked the crowd with her ability to combine heavy pop ballads and her mastery of musicianship. That night, SASAMI taught the crowd to expect the unexpected, a perfect precursor for the rest of the night. 

The set for “Girl Violence” opened with “Cherry,” a song that explores messy breakups and satisfying rebounds. The next few songs in the venue, all off of “Girl Violence,” were equally gritty and fierce, making the packed venue jump and shout vivaciously. 

After the opening song, Strauss addressed the crowd, suggestively asking if everyone was feeling good. Straus’ flirtation with the audience is a common theme throughout the entire performance.  The next few songs, more favorites from “Girl Violence,” continued to push the energy. The tracks signaled a new sonic era for King Princess, one full of grit and distortion.

If nothing else, Starus is a performer who knows how to connect with her audience. When it came time to play one of her synth-pop deep cuts, King Princess asked the crowd to say along with her: “Please, Antoine, may I have the pussy?

After the crowd screamed the racy chant, Antoine Fadavi, King Princess’ drummer began playing one of her standout singles, “Pussy Is God.” A fan favorite, this song was received with enthusiasm. The atmosphere in the venue was uninhibited and electric—a safe expression of queer community formed inside Boston’s House of Blues.

In theme with the grungy vibe, King Princess then called a fan up on stage to spray-paint the word “Boston” on the tour set. The black paint dried alongside the preexisting cities already sprayed on the set: Philly, D.C., and Straus’ home city of Brooklyn, New York. 

While most of King Princess’ music explores the tenderness of queer relationships, the “Girl Violence” era is one that delves into angry breakup anthems and punk-rock energy. King Princess delivered a raw, unrestrained performance with songs like “Cry Cry Cry” and the title track “Girl Violence,” accompanied by strobe lights and explosive instrumentals.

Straus brought the house down with her iconic debut track, “1950,” an indie pop song that explores the challenges and reservations of a queer relationship. This song, for many listeners, including myself, was where they began listening to King Princess. It also helped many with their own journeys of self-discovery and set King Princess apart as a queer pop icon. 

As a longtime listener and fan of King Princess, it has been an amazing experience to watch her transform from an indie soft pop artist to the captivating star I saw on stage this weekend. As Straus has grown and matured as an artist, her music has grown with her, developing into something messy, toxic, romantic, and elevated. As the “Girl Violence” tour continues its run, I am excited to see how her progression evolves and continues to flourish in this new era of music.