If I have one takeaway from King Princess’ concert, it’s that “Pussy Is God.”
The Brooklyn alternative singer-songwriter serenaded Chicago’s The Salt Shed on Friday as a part of her “Girl Violence” tour, in promotion of her third studio album of the same name that was released in September. The night was a triumphant celebration of queerness and love.
Alternative artist Sasami opened the show, accompanied only by her drummer and her electric guitar. She was a natural performer with a certain flair that reminded me much of Rina Sawayama. Sasami’s set was a rollercoaster ride: She sang both ballads and heavy metal tunes, played the French horn during one song and even tripped over a cord, falling dramatically.
“I almost ate s—t for you, Chicago,” she exclaimed.
King Princess took the stage slightly later, running out onto a platform in front of a stylized backdrop showcasing graffiti of prior tour stops and the “Girl Violence” logo (a Lola Bunny-esque cherry icon). Fitting with this logo, King Princess and four bandmates began the night with a passionate rendition of her latest single, “Cherry.”
Released on Oct. 17, “Cherry” is not included on “Girl Violence,” but serves as somewhat of an encore to the album. It was the perfect opening to the show as King Princess’ belts certainly energized the crowd.
The set’s sixth song, “Pussy Is God,” encapsulated the vibe of both King Princess’ music and the crowd. “Pussy Is God” is a sultry, smooth piece with a groovy baseline. Before singing it, King Princess spoke to the crowd about “what we all need” — the speakers then blared “p-p-p-pussy!” It was an amusing bit that was met with resounding cheers.
Nearly halfway through the show, King Princess brought out an oversized orange dice that had the names of songs on four separate sides, “audience choice” on another and “band shots” on the final. “Band shots” was rolled, and clear cups were passed around the stage, which heated the set further.
I was thoroughly impressed with King Princess’ live vocals and couldn’t help but be in awe of how stable and clear their voice sounded. At no point did their voice waver, and they were perfectly on key the entire concert. Backed by more robust instrumentals, King Princess is an artist who is best listened to in person.
As I was standing near the side of the stage, I must also say that I was entranced by the ASL interpreters at the show. With a single spotlight on them, the interpreters signed with as much passion as Rihanna’s Super Bowl Halftime Show interpreter. King Princess’ lyrics are quite explicit and how they conveyed these words did not disappoint. They might have stolen the show for me.
But the highlights of the night were King Princess’ first two songs ever, “1950” and “Talia.” Released in 2018, these continue to be the singer’s two most-streamed songs. I may be biased, as these were the songs I was most familiar with before attending the concert. Yet, the connection that the audience had with King Princess during these songs was palpable.
“Talia” is a lighthearted, lovey dance pop song with an infectious beat drop at each chorus. It made the entire audience dance and sway, singing amid flashing lights.
“1950,” which was one of three encore songs, is a soft ballad that reckons with queer identity and idolizing one’s partner. For the final chorus, King Princess invited the audience to sing along with just her and her guitar. The Salt Shed was filled with a symphony of voices, all singing in unison.
I listened to “1950” often during my freshman year of high school and quarantine. The song is the perfect example of isolating bedroom pop, and I feel like even though the lyrics may not have resonated with me at the time, “1950” was still a source of comfort.
Hearing the song live was a cathartic experience, made even more so by the acoustic choir bit at the end. Attending King Princess’ concert made me feel a wave of nostalgia, as well as intrigue to explore more of the artist’s discography. Also, I now know what God actually is.
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