Pretty Sick
Computerwife
Sun, November 1, 2026
Doors: 6:30 pm
the atlantis
Washington, DC
Tickets are non-transferable until 72 hours prior to the show time. Any tickets suspected of being purchased for the sole purpose of reselling can be cancelled at the discretion of The Atlantis / Ticketmaster, and buyers may be denied future ticket purchases for I.M.P. shows. Opening acts, door times, and set times are always subject to change.
Pretty Sick
Founded by musician Sabrina Fuentes, Pretty Sick burst out of New York City’s underground with a clearly defined sound, drawn from 1990s grunge but forged in the crucible of the city’s DIY scene. She released her self-titled debut EP in 2017, and in 2020 signed to Dirty Hit (The 1975, beabadoobee), building a fanbase with a series of heavy-yet-catchy alt-rock anthems like “Superstar” off her 2020 EP Deep Divine and “Dumb” off her 2021 follow-up Come Down. In 2022 she released her Paul Kolderie (Pixies, Radiohead)-produced debut album, Makes Me Sick Make Me Smile, before embarking on tour with both beabadoobee and Yves Tumor, performing at venues around the world. Along the way, she’s modeled for elite fashion brands like Calvin Klein, Anonymous Club, and Marc Jacobs while garnering praise from the likes of The New York Times, Pitchfork, The FACE — and even Iggy Pop. Never one to sit still creatively, Fuentes pivoted with the Streetwise EP in 2024, six songs of propulsive, electronic club-pop made with Swedish producer Woesum (Yung Lean, Bladee). Now, Fuentes is gearing up for the release of Anarchy, her sophomore album, combining influences from rap, rave, and shoegaze into blistering new forms.
Fuentes, bass player and vocalist, launched Pretty Sick all the way back in 2013, joined by her friends Ella Moore on guitar and Eva Kaufman on drums. Cutting their teeth in the New York City DIY scene, the band quickly built a following across the city, playing countless shows at now-legendary spaces like Shea Stadium and Silent Barn and releasing their self-titled debut, the Pretty Sick EP, in 2016. Their sharp hooks and dense, distorted textures echoed ‘90s icons like Hole and The Smashing Pumpkins, while staying grounded in the present-day immediacy of the city’s interwoven skate, rock, and jazz scenes. After Moore and Kaufman left for college, Fuentes moved to London in 2018 to study music at Goldsmiths University. She assembled a new lineup, which included drummer Austin Williamson of Onyx Collective and guitarist Wade Oates, formerly of The Virgins. The group honed their sound through intense songwriting sessions and constant live shows, with the city’s experimental rock scene sharpening Fuentes’ appetite for creative risk and new ideas. “You can literally gig every night if you feel like it and try a different set every night,” she says. “Something I carry with me is trying to not necessarily do what’s expected.”
In 2020, Pretty Sick signed to Dirty Hit—home to The 1975 and beabadoobee— and released the Deep Divine EP, which included anthems like “Superstar”, while 2021 follow-up Come Down featured “Dumb”. Both singles earned tens of millions of streams and praise from Pitchfork, DAZED, and New York Magazine. The pandemic halted gigs, so Fuentes holed up in the studio for her raucous, raw 2022 debut, Makes Me Sick Make Me Smile. She toured internationally afterward, opening for beabadoobee later that year and Yves Tumor in 2023, playing shows across Europe, Japan, and the United States.
She was riding high, but creatively, she was restless. Feeling her grunge phase had peaked, she reinvented her sound from the ground up. “I’ve been making rock music since I was 13,” she says. “I’m not going to bang my head into a wall trying to make the same kind of music forever. I just don’t think it’s going to be as creatively fulfilling as trying everything I want to try.” She tapped in with Swedish producer Woesum (Yung Lean, Bladee), a rap-rave mastermind best known as an architect of the Drain Gang sound. “The traditional way of making music was always with a band in the room,” Fuentes said. But working with a producer — “Just showing up, making stuff up on the spot — it was exhilarating.” Their sessions yielded over 30 tracks, eventually refined to six songs for the 2024 Streetwise EP, which swapped distortion pedals for synths, channeling propulsive dance music with lighter textures and a sense of humor. It gave Fuentes a “completely fresh start,” she says. “So much of the rock stuff we do is heavy emotionally. I wanted to step back from that and experiment with new sonic worlds.” Now, her years of experimentation have coalesced into her most sophisticated, dynamic work yet: Anarchy, her forthcoming sophomore record. It’s a culmination of her career so far, fusing the emotional candor of grunge with her appetite for electronic experimentation.
Working primarily with producer Oscar Scheller (Lily Allen, PinkPantheress), Fuentes recorded Anarchy in Los Angeles, crafting what she describes as “a maximal rock-electronic hybrid” that draws from “indie pop, shoegaze, and rap.” The album’s creative process began loosely. “When me and Oscar started, we tried some poppier, brighter stuff, but it didn’t feel right,” she recalls. “Only when we wrote ‘Anarchy’—that was the first one that felt like a strong step in the right direction.” The title track—a brash “mission statement” for the project—exemplifies the album’s synthesis of influences ranging from My Bloody Valentine and Slowdive to Sleigh Bells and Chief Keef. “It feels like rock music, but also doesn’t,” Fuentes says. “It’s something other people aren’t doing right now.” The title reflects her refusal to be boxed in: “People put so much into a personal brand or an identity as a public-facing artist. I’m not here to give people exactly what they want all the time.” That same defiance fuels her production choices, leaning on crystalline synths, heavy beats, and no shortage of distortion, which Fuentes uses as both a musical and emotional tool: “It’s such a big part of rock music and also a big part of electronic music, but in really separate ways. I wanted to find a way to synthesize those traditions—keeping all of the beats fat and wide, and just maxing out the sonic capacity of every song.”
While Streetwise emphasized brightness and levity, Anarchy explores deeper emotional territory. “Songwriting is therapeutic for me,” she says. “This record goes back and dives more into darker parts of my life, or stuff my friends have experienced.” The result is a collection she describes as “big, fat, angry, maximal”—bridging electronic experimentation with raw feeling. Even as she ascends, her loyalty remains to the underground scenes that shaped her. “Not caring to follow rules,” she says, “or meet expectations for any reason other than doing things for yourself—that’s the through line.”
Computerwife
New York City-based Addie Warncke began Computerwife in 2018 at the beginning of her college career, using SoundCloud as a diary to chronicle her emotions. When the pandemic hit, Warncke released the five songs she was proudest of as her self-titled debut EP , and the strength of those tracks led to a signing with Danger Collective Records. Now, she’s poised to release her debut self-titled full-length: a raw and intimate portrait of her experiences processing the small but poignant moments that shape a life.
Computerwife’s sound is captivating and nuanced, pushing the boundaries between analog and digital. “The main theme that ties this album together is an interest in the deep web and an attempt to combine existing media to make something new,” she explains. With her seamless blend of shoegaze, emo, and lo-fi noise pop, Computerwife speaks directly to the disquiet experienced by every 21st century digital girl with a tenuous grip on life and identity.
Without any prior production knowledge or a band to work with, expanding her songs beyond the writing stage was a challenge Warncke sought to overcome. A Song Exploder episode about Grimes inspired her to download a free trial of Ableton so she could flesh out tracks and learn more about electronic production. On her dorm room bed, she began to record with her dad’s guitar and bass, a Fender deluxe amp, and a focusrite to Ableton. Her first EP and forthcoming debut LP are pulled from these 3 years of exploring music production on her computer, made with limited, portable equipment. Computerwife ultimately reflects Warncke’s very core; it was inspired by internet rabbit holes, books, films, albums, and bands that have shaped her: from Coney Island to My Bloody Valentine, Alex G, The Flaming Lips and Texas Chainsaw Massacre. Lyrically, Computerwife grapples with the psychological state Warncke was in when she, in her own words, “went crazy, deleted all my music, and ran back home.” Created out of rediscovered mp3 files, scraps of almost-forgotten melodies and re-recorded instrumentals, the album is a hard-hitting digital collage that mirrors her disparate influences and a tangle of raw emotions.
Lead single “Lexapro” teeters between pop and shoegaze and finds Warncke drawing inspiration from Sonic Youth as she grapples with feelings of failure and stasis. Driving standout “I Get Better Everyday,” influenced by Alex G’s production, sees her turn a corner: “When I made it, I thought I was gaining control of my life and building self-confidence. I wanted to write about a friend I had grown up with who kept telling me she hated how I changed, because to me I felt like I was finally doing what I wanted to do instead of living for other people,” Warncke explains. “This song is one of the first songs that taught me how to write lyrics. I was reading Annihilation (by Jeff VanderMeer) and wrote down interesting words and then found ways to use those words to express my own thoughts.” The breezy and heavenly highlight “Vacation” came about after Warncke read How to Do Nothing (by Jenny Odell) and visited Coney Island for the first time: “I thought the ecosystem was really beautiful and people seemed really relaxed together. I really needed that kind of environment to clear my head for a while and it was very inspiring.” On the tense and explosive “You Make It Look So Easy,” Warncke explores the relatable experience of admiring someone so much that your fondness turns to jealousy. “T exas Chainsaw Dilemma” uses Sally’s screams from the movie Texas Chainsaw Massacre in place of spoken vocal samples over a pulsing and shimmering electronic beat.
While the first few sets Warncke played as Computerwife consisted of her alone on stage with her laptop, sampler, and bass, she’s since expanded her live show into a full band for a bigger and heavier sound, including drummer John Supnik and guitarist Dalton Salisbury. After polishing their performance and playing several hometown shows around New York City, the band opened for the Southeastern tour leg of British lo-fi legends Panchiko and have also played shows supporting Been Stellar, Hello Mary, and They Are Gutting a Body of Water, among others.
Computerwife is dialectical music at its finest, managing to be simultaneously painful and celebratory, noisy and dancey, detached and heartfelt. “This album is alot about finding my values, figuring out what I want my life to be like, and committing to it” says Warncke
Venue Information:
The Atlantis
2047 9th St NW
Washington, DC, 20001
https://theatlantis.com/