Tinder’s a weird place for lesbians. When King Princess, aka 19-year-old Mikaela Straus, released ‘Pussy Is God’, the feed lit up with girls who like girls posting it as their anthem, just to confirm that they too like “pussy”. Torres, St. Vincent, Anna Calvi walked so that King Princess could run. She is, and will continue to be the icon and image for women desiring women, because God knows, we need it.
Girls who like girls are notoriously timid, and having a song as brazen as ‘Pussy Is God’ conjures up the daydream of a world in which our desire can be less passive. Is the music good? Yes, but at this point, that seems secondary. Until we get her debut album — probably sometime in 2019 — then we’ll really get to appreciate the bops.
Her singles so far have followed a similar methodology. She borrows modish chart tropes — vocal drops and staccatos, chill electro-house beats, ’70s influenced funk basslines — and queers them. And what makes KP so irresistible is her very blatant ambition to be desired. She sings in a voice that sounds as though she’s just woken up, in swoon-inducing lullabies, while backed by beats to make the stiffest of hips gyrate.
And sure, she looks good on the Gram, but Straus deserves far more credit than that. Her self-produced debut single, ‘1950’ which blew up earlier this year, showcased KP’s talents as a primed pop creator. It’s a cleverly contrived single inspired by Patricia Highsmith’s memeably sapphic novel, The Price of Salt — and it sounds a bit like Billie Eilish giving a Women’s Studies class. That’s a good thing, by the way.
It seems as though, at least to the new generation of women loving women, that there’s no one more appealing than King Princess to teach them about the history of their desire. From her run of singles, it’s clear that KP has an intuition for the catchy, hooky, and the popular. So, it’s only a matter of time before the world treats her like the Patron Saint of Gay.