King Princess is an important new face in the world of pop-rock. New-York raised Mikaela Straus (AKA King Princess) has, at just 19 years old, achieved more than most artists her age could dream of. She is signed to Mark Ronson’s label Zelig Records, has released an incredible debut EP, and already has an ARIA certified platinum record for her smash hit ‘1950’. On top of that, she is an incredibly powerful role model for the LGBTQ community and doesn’t shy away from covering topics that cover her personal life and queer love in the modern age.
These open, honest lyrics, and swirling, dreamlike indie-pop compositions have obviously struck a chord with many people – a fact made entirely evident at her sold-out Sydney show at The Metro Theatre last night. The mostly female audience screamed whenever something on stage indicated that King Princess herself may be gracing our presence soon.
But before we got to the main act, we were blessed with a quick opening from stunning drag queen Paris dressed in an all silver sparkling get-up. After Paris got the crowd going, tour support Clea came out on stage and treated the audience to an ethereal performance that was undeniably cool.
The excitement reverberated off the walls as King Princess walked out to a cacophony of screaming fans and launched straight in to ‘Make My Bed’, the title track from her EP. After this, she went on to play her banger ‘Upper West Side’. She continued to smash through some of her unreleased songs from her upcoming album and her biggest tracks, such as the emotional and moving ‘Talia’ – which was possibly the best moment of the night, with the crowd all singing along to the emotionally charged line “If I drink enough I swear that I will wake up next to you“. She strutted around the stage, confidently tackling her songs, a testament to her strong musical upbringing at the hand of her Father Oliver Straus, an engineer and the owner of Brooklyn’s Mission Sound.
King Princess’ self-assured energy was contagious and electric, and left the room vibrating with sexual energy. After some more funny and personal banter about her Australian trip, her fear of our sea life (quipping ‘It’s too intense… I don’t want to die!’), and being a gay woman, she burst in to her worldwide hit and all-around banger ‘1950’, with the extended live version sending the audience wild.
Two notable omissions from her live set were here falsetto-filled, ethereal, and delicate song ‘Holy’, and her latest single and important LGBTQ anthem ‘Pussy Is God’, which the audience desperately wanted to hear. But maybe King Princess just wanted to leave us wanting more, which this set definitely achieved.