On a Sunday night when most crowds ease into chatter and the Sunday Scaries, King Princess brought something different: intensity, pride, and a packed room that felt like a collective celebration. The venue was full, the air electric, and the set design announced the tone before a single chord rang out: a two-story graffiti-covered billboard anchored behind the stage, each previous tour city spray-painted across it, waiting for Boston to leave its mark.

Opening the evening, SASAMI, aka Sasami Ashworth, delivered one of the stronger supporting sets of the night. Solo with guitar and the occasional French horn flourish, she navigated shoegaze, dream-pop, nu-metal, and synth-pop with eerie grace. The strobe-heavy visuals matched her sonic shifts – dreamy one moment, violent the next – and the room quieted down. For a large venue and a quiet opener slot, that’s no small feat. Her classical training and genre-hopping instincts stood out throughout.

When King Princess took the stage at 9 p.m., the show kicked into high gear and never looked back. The set ran 24 songs, no major gaps, no filler. They started strong with “Cherry” and “Jaime,” then darted through “I Feel Pretty,” and “Covers,” before diving into fan-favorites like “Pussy Is God,” and “Girl Violence.” Toward the end of the set, they kicked things up and stayed there through “Talia,” “Serena,” “I Hate Myself, I Want to Party,” “1950,” and finally “Ohio.” The visual rhythm matched the musical one: each city on that billboard behind them was a nod to where the road had already taken them, and Boston got its turn when King Princess invited one fan onstage to spray their mark at show’s end.

But the moment that stuck: when she talked about Boston being “a safe space” for queer people, herself and her band included, and watching the room fully agree, not just with cheers, but with presence. I haven’t seen the House of Blues this full on a Sunday in a long time. The set design, the open invitation for fan participation, the tone of inclusion, it all added up.

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