"92’ PRINCESS" is a calculated strike against the pigeonholing of trans women in the Levant. Living in Jaffa, Lillyuses this "stabby" hyperpop anthem to dismantle the narrative that a trans woman’s identity must revolve around the Tel Aviv Vogue scene. Sampling JT’s "90s Baby" as a nod to unapologetic female hustle, the track is a political middle finger to those who expect submission or "guidance." Lyrically, the song is a masterclass in "serving the critics what they want to hear" while maintaining total control. From the financial dominance of "his funds are mine" to the raw, physical confidence of being "the truth," Lilly subverts the "typical" trans narrative. It is a celebration of polyamory, sexual agency, and expensive tastes—released in June 2025 as a defiant victory lap after a year of struggle for trans individuals globally.
Artifacts
92’ PRINCESS: A Manifesto of Trans Autonomy by Lilly
In a cultural landscape that often demands trans women fit into a pre-approved box of submissiveness, Lilly arrives with a "stabby" hyperpop weapon of a single: "92’ PRINCESS." Rooted in the grit of her life in Jaffa, the track is a deliberate, political pushback against the narrative that a woman like Lilly must belong to the Tel Aviv Vogue scene to be "seen." Instead of seeking validation from a specific subculture, Lilly reclaims her space on her own terms, serving her critics exactly what they want to hear—but with a level of confidence and financial autonomy that flips the script entirely.
The Visual Identity: The Grindr Canvas
The single’s cover art is an ingenious piece of digital realism: a screenshot of Lilly’s old Grindr profile. By using this as the face of the track, Lilly turns the platform’s often-reductive gaze into a position of power. The cover introduces us to the "intl princess from yafa," the "hypersensitive & androgynous natural diva" who demands respect before even a single word is spoken. It sets the stage for the song’s themes of t4t connection, polyamory, and the refusal to be an object for others' consumption.
The Sound: A Year of Evolution
The technical journey of "92’ PRINCESS" is as rigorous as its message. Developed over nearly a year—starting in August 2024 and evolving through ten different versions before its June 2025 release—the track reflects Lilly’s shifting musical taste and refined production workflow. At its core, the song is a tribute to the allyship of JT, sampling the iconic "90s Baby" and reworking the beat into a high-energy, aggressive hyperpop anthem that mirrors the sharpness of the lyrics.
The Lyrics: Subverting the Trope
Lilly’s songwriting is a masterclass in "cunty" self-assurance. She rejects the world’s expectation of the "fragile" trans woman, instead presenting a character who is unapologetic about her sexuality and her power dynamics.
She isn't just present; she is undeniable:
"Cannot hide me I am the truth, no insinuating if you gonna face that [ass]." Her presence is a physical and political reality that demands to be dealt with. Throughout the track, Lilly leans into the tropes of the vixen and the "gold-digger," not as a stereotype, but as a form of dominance. She describes pulling men out of the closet while maintaining total control over the situation: "All these extra fluids don't lie... I see you mesmerized, got him out the closet and his funds are mine + I ain't trying." Even in her desires, Lilly remains the architect of her own image. Whether she is seeing a "pack" and getting zealous or demanding the high-end lifestyle she deserves, she makes it clear that she is her own ultimate authority: "Pick me up at 8 and don't be late, send the dress and hills to slide in, dolling up on his expense, just for myself, I don't need no guidance."
A Celebration of Survival
Released in June 2025, a year marked by significant struggle and upheaval for trans women globally, "92’ PRINCESS" stands as a defiant celebration of existence. It is a song that refuses to be quiet, refuses to be "guided," and refuses to play by the rules of the local scene. For Lilly, being a princess isn't about being saved—it's about owning the crown, the funds, and the narrative.