815 V St. NW
Washington, DC, 20001
Doors 7:00 PM
Born and raised in Brooklyn, NY, King Princess is a vocalist, multi-instrumentalist and songwriter. The product of a musical family, she spent much of her childhood tinkering on the vintage Neve board in her father's Brooklyn studio, learning guitar and piano along the way. Her 2018 debut single, an ode to untold queer histories titled "1950," became an overnight smash hit with over 200 million streams to date. The song has achieved Gold status in the United States, Canada and Norway and is Platinum in Australia. Her debut EP, Make My Bed, marked the first release for Mark Ronson’s Zelig Records and was released to critical acclaim from Rolling Stone, Complex, Refinery29, Billboard, Highsnobiety, Interview and Vogue among others. Since, King Princess has graced the covers of V Magazine, The Ingenue, Jalouse and The Travel Almanac. She's played sold out shows across North America and Europe with festival debuts at Coachella, Glastonbury, Governors Ball, Bonnaroo, Boston Calling and many more. King Princess' debut album, Cheap Queen, is set for release this year.
The music Avery Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpool’s music is so captivating.
Never before has a group’s maturation been so transparently attached to the maturation of its members. This is due in large part to the fact that Girlpool came into existence exactly when Girlpool was supposed to come into existence: at the most prolific stage of the digital revolution. Both online and in the flesh, Tividad and Tucker practice radical openness to the point where it may even engender discomfort; this is exactly the point where it becomes clear why theirs’ is such a special project: they accept the possibility of discomfort—Chaos—and show you how to figure out why you might feel it. This is achieved through their ability to empathize as best friends and partners in creation, with the intention of making music that provokes.
They met in November of 2013, and released their self-titled EP just 3 months later. Both were playing in multiple bands at the time. Harmony was 18. Avery was 17.
The growth they have fostered in one another over the years explains the project’s disparate discography; each record is a photograph of Girlpool, growing over time. Their roots are a certain shade of punk—organized chaos dressed as ear worms. “Where You Sink,” one of the first singles off their latest record, What Chaos Is Imaginary, gives you an idea of how much things have changed since 2014.
It’s not all good.
“I was experiencing a lot of mental health issues,” says Tividad of the title. “That song comes from a place of being disconnected from reality. The world is so complicated. It’s hard to believe in magic, or that anything exists.” Notice the order: magic, then the principle existence of things. A peak into Harmony.
Though it is the 3rd track on Girlpool’s newest record, “Where You Sink” was written at a time when the two were living in different states on the East Coast. It proved to be a period of immense change for the both of them; each focused—more than they ever had before—on their solo music.
“Before, we would build our songs together with four hands, from the ground up,” says Tucker, referring to the songwriting process that produced the debut EP and 2015’s critically acclaimed follow-up, Before The World Was Big. “Our songs used to be intertwined in a different way. We brought our separate experiences to the songs that we crafted together, we valued understanding that they were multidimensional.”
Their solo work consistently breathes new life into Girlpool. The two have since become comfortable with the process being more independent, more fluid. They both take part in the production and arrangement of the music, but they’ve strayed from beginning hand in hand in every instance. They connect somewhere along the way, working together when it feels right.
Discussing the new process, Harmony says, “It’s helped me find validity in parts of my writing I found to be unapproachable. I thought my stream-of-consciousness was unsophisticated.” There’s probably a great pun available re: shedding self-consciousness to release a more sophisticated stream-of-consciousness. In any case, What Chaos Is Imaginary—the record and the song—is what the stream looks like when self-consciousness is shed.
Where Harmony embraces chaos, Avery organizes it. “It’s hard for me to feel completion without achieving a vision that I have. I’ll imagine the kind of climate I want to create inside a song,” says Avery of his process. “Once I fall in love with the direction, it’s getting there that can take time.” Finishing a song may take time and even prove to be difficult for him at times, but the product is invariably polished. Considering the near-perfect balance in the songs on What Chaos Is Imaginary, their dynamic makes sense. “It took a really long time to record this record. It feels like a photograph of a very transitional time.”
What Chaos Is Imaginary is a collection of songs unlike any Girlpool songs you’ve ever heard, exactly what Powerplant was to Before The World Was Big. For the first time, it is clear who wrote what song. 2019 will see drum machines and synthesizers and beautiful/new harmonies and huge guitars and at east one orchestral breakdown by a string octet.
“It was invigorating playing stripped down and raw when Girlpool began. As we change, what gets us there is going to change too. ”It’s hard to imagine what might follow What Chaos Is Imaginary. Girlpool’s growth has a steady momentum forward, towards something greater with every stride that they take.