King Princess Setlist

Cherry
Jami
I Feel Pretty
The Bend
Girls
Covers
Pussy Is God
Intro / Cheap Queen
Alone Again
Trust Nobody (DICE section)
PAIN
Girl Violence
Get Your Heart Broken
Fantastic
Origin
Cry Cry Cry
Homegirl
Hit the Back
Alone Again / Slow Down and Shut Up
Talia
RIP KP
— Encore —
1950
Let Us Die

Tour Dates

November 8 – Uptown Theater – Minneapolis, MN
November 10 – The Pageant – St. Louis, MO
November 11 – The Truman – Kansas City, MO
November 13 – Ogden Theatre – Denver, CO
November 14 – The Depot – Salt Lake City, UT
November 16 – Showbox SoDo – Seattle, WA
November 17 – Roseland Theater – Portland, OR
November 19 – The Regency Ballroom – San Francisco, CA
November 21 – House of Blues – Anaheim, CA
November 22 – The Wiltern – Los Angeles, CA
December 3 – Vicar Street – Dublin, Ireland
December 5 – Queen Margaret Union – Glasgow, Scotland
December 6 – Beckett – Leeds, UK
December 7 – New Century Hall – Manchester, UK
December 9 – Brixton Electric – London, UK
December 13 – La Madeleine – Brussels, BE
December 14 – Le Trianon – Paris, FR
December 16 – Melkweg Max – Amsterdam, Netherlands
December 17 – Astra Kulturhaus – Berlin, Germany

Continuing an extremely busy weekend here in Minneapolis, I made my way over to the Uptown Theater to see an evening of woman-led indie pop rock with King Princess headlining.

The opener was SASAMI (full name Sasami Ashworth), who we caught on her headliner tour at Turf Club in May 2025. With the album Blood on the Silver Screen still fresh, I was intrigued to see how they would distill the sound down to an opener’s set length. Going right into Honeycrush, SASAMI was all business, using the stage as a sort of punk catwalk. We had SASAMI in a mix of glamour and anger, which fit a lot of the musical tone quite well. Ditching the guitar for a moment on the second song, we were told “it’s a slippery stage, I might eat s**t tonight”. Drummer Diego got to work up the audience with some interlude drumming. Encouraging a “lesbian mosh pit”, Need It to Work was a dark, industrial sound and had the crowd getting frenetic during the long and raucous guitar solo.

SASAMI is a great performer; there was rarely a moment without stalking the stage, arm upraised, or guitar shredding. Mentioning this was the last tour stop for the foreseeable future (after nearly two years of pretty solid touring), we got a great rendition of Call Me Home, with some vocal fry on the chorus and a key change late in the song allowing the desperation of the lyrics to come through. Having headed off the stage, SASAMI had quite the monologue before coming back on and pirouetting to the french horn for a long and powerful solo build up to Smoke (Banished from Eden). That backing music alongside the drumming gave enough depth to support the vocals. Unsurprisingly, the set ended on Slugger, as SASAMI finished big with that more indie pop song and left to a large round of applause.

Up next was King Princess (stage name for Mikaela Straus). She has three albums, including Girl Violence, just released in September 2025. The band came out as a quintet (vocals/guitar, guitar, bass, keyboards/electronic music, and drums). Straus entered on a raised platform at the back for the dramatic opener, and King Princess got going with the cool Cherry. Some fun interplay between guitarist and bassist at center stage on an early number was a premonition to the vibe throughout. But no matter what the backing band did, this was King Princess’ show and the crowd reacted to every move, including a great flex early on. A slower song, Girls, had King Princess in forlorn lover mode and it was a hit with the crowd, especially when ending on her knees, as per the song lyrics.

Giving a shout out to her crew, King Princess moved into the drum heavy and upbeat Covers. Like SASAMI, King Princess traded songs with having guitar or having a lot more freedom to move without one. A silly bit to introduce P***y is God worked the audience up to a full roar and had King Princess in a more sultry soul sound. In a somewhat amusing bit, they brought out a large dice with a set of songs and the roll gave us the number Trust Nobody. The performative aspect of the concert was not to be ignored and King Princess clearly ran a tight ship on nearly aspect of the concert. The resulting song had a keys heavy first verse before the full funky/jazzy rock music came along. The new album’s title track came up, with heavier electronic music, including back up vocals and sweeping electronica sounds.

Having seen the set list on stage, I realized at the 45 minute mark that we might only be nearing the halfway point, and King Princess looked locked in on working through that whole list. Cry Cry Cry was a serious rocker, with all of the instruments flying in the climactic close. After getting into the pit and nearly into the crowd, King Princess took a small breather, sitting down with her guitarist for Talia. A fan got to come on stage and spray paint the city name on that billboard at the back and it was another moment of silly fun as well as the end of the main set. After a far, far too long of a break, including a sweeping job (I can’t even) of that back platform, and a hype up from the bassist, King Princess finally returned for the encore, starting with 1950 and ending with her favorite Let Us Die. King Princess had her music blowing out onto the streets outside and the crowd swept out to the season’s first few tiny snowflakes as the evening ended.