Pretty Sick Finds Their Sweet Spot

September 04, 2024

The thumping bassline of Pretty Sick buzzes through any room like the inside of a pissed-off beehive. Is it punk? Grunge? Indie? Does it even matter? Initially finding her footing in the downtown music scene of 2017, Sabrina Fuentes, the band’s frontwoman and bassist, is now transitioning away from her New York roots, defined by projects like 2020’s Deep Divine and 2022's Makes Me Sick Makes Me Smile. In Streetwise, her latest EP, she rises above her usual grungy blur, floating into a more minimalist, ethereal space with the help of Swedish producer Woesum.

While her storied life in New York informed earlier projects, Streetwise presents a Sab who, after spending time in London, has learned how cities reflect the people who live in them. Between sessions with bandmates Ava Kaufman (drums) and Ben Arauz (guitar), she called up fellow New Yorker Porches to talk Streetwise, genre-surfing, and hitting the post-release creative sweet spot.

Introduction Josh Kohno
Interview Porches
Talent Sabrina Fuentes
Photography by Sam Nixon
Styling Sunzhique
Hair Blake Eric
Makeup Laramie
Set Designer Bailey Rose Brown
Styling Assistants Coco Paul-Henriot, Erik Brambila Zavalza, Sophia Faye Yanez
Photo Assistants Tugcan Temizkan, Eston Baumer

denim bra PRADA, bracelet SANTANGELO, earrings SANTANGELO, skirt FEY FEY WORLDWIDE, shoes INVASIVE MODIFICATION

Porches— What’s up Sab?

Sabrina Fuentes— Hi, how you doing?

I'm good. You're in London right now?

Yeah, I'm in London right now. I'm at a recording studio with my friend Jacob Budge doing a session and hanging out, and I'm going to go out to carnival parties tonight. What are you doing?

That sounds banging. I'm just home doing this call with you and then I'm going to go to the studio and work on some stuff today. How long have you been in London?

Been in London for about a week now, but I was in Berlin right before. I was staying with my friend, I'd never been there.

left: dress GAUNTLETT CHENG, right: jacket, belts, skirt, loafers PRADA, socks STYLIST’S OWN

That's cool. I was thinking about the last time I saw you, you came by the studio and you had just been in Mikey’s studio and wrote 50 songs or something like that, right?

Yeah, I was at Mikey’s and wrote like 35 songs.

And then we made some songs. How many songs do you have now?

Yeah, I have no idea how many songs I have at this point. Not all that I've ever done. There's a lot of sketches that aren't quite finished, but definitely more than 35 at this point. I think probably closer to 40-50.

Are you working on anything specific, like the next record or just making a bunch of stuff right now?

Yeah, I'm working on the next record and also just collaborating with friends, seeing where everything takes us. I'm letting it figure itself out. We're just trying every creative avenue that we want to explore more, did some heavier rock stuff, some emo stuff, some indie stuff, some electronic stuff. We're trying to figure out what works for the next full length album, exploring all the ideas that we’ve been sitting on for a while.

top GAUNTLETT CHENG, underwear PRADA, bracelet SANTANGELO

I've been listening to the last EP a bunch, even more just before our chat and it's super sick. I like it more each time. It's kind of hard for artists to shift genres sometimes because it can sometimes feel like putting on a tacky outfit. There's this really strong throughline in your lyrics and in your voice that sort of stands up to a drastically different production style from the other Pretty Sick sick stuff. It got me excited to hear what you've been working on.

I feel like when you complete something, it's the most exciting time to work on new stuff because you're not stuck in one world and you can just throw a bunch of shit at the wall and just wait until something starts to feel right.

Yeah, that's exactly where we're at right now. It's nice that after releasing something, you feel like you can let that idea go and move on to exploring new things. I feel like I can put down the world that the last EP was inhabiting and see what else we can do, like you said, throwing stuff on the wall and seeing what sticks.

Did you work on music with Woesum in person or was it all virtual?

It was all in person.

In New York or somewhere else?

Here in London in a small studio with a bunch of synths and a booth where we could play any instruments we wanted to track in. We figured that we would start with the strongest ones and put that foot forward and then see what else we wanted to explore. We made those songs as soon as I finished Make Me Sick Makes Me Smile.

We were going in and out of the studio every couple of months, and it was a lot of fun since we got along really well. We did some sessions where we were bouncing off the walls full of ideas, writing four or five songs a day. It's a way of writing that I never really got to explore that much before. I would write with a band, coming up with ideas with other musicians in the room or, more often than not, write the whole thing on bass with lyrics, melody, some vague guitar and drum parts then bring it to the band to record.

It was cool working with a producer who mostly worked with rappers who show up with nothing prepared and just play off of the beats that he makes. I feel like his production style inspires so much verbally and melodically and it's such a cool way to explore songwriting. It was more fun to write songs and also a faster way for me to write songs than anything I’ve tried before. Arthur's a really sweet and nurturing producer as well, which is always great.

left: jacket ALEJANDRA ALONSO ROJAS, leather pants VINTAGE GAP, necklace SANTANGELO, watch ring SANTANGELO, sunglasses AKONI GROUP, right: Shirt PRADA, denim corset PRADA, leather belt SANTANGELO, shoes PRADA, leather skirt PRADA, sunglasses MIU MIU, leather bag IL BISONTE

Do you feel like that’s why you're doing more sessions with producers now and what not? Did it unlock some kind of collaboration thing in you?

Yeah, definitely. I mean, we've been doing sessions a couple different ways, meeting with a bunch of different producers. I think some producers really bring a lot to the table and others just bring more of you out of you. Then there's shady producers that wait for you to come up with ideas and then try to take credit for them. Up until meeting Arthur, when I would write in the room with people, that's what would end up happening more often than not and I would leave frustrated because I just did all this work not feeling like it brought out anything that I couldn't have just done on my own computer.

Working with different producers has been about seeing if there’s anybody we really click with. We’ve been doing a few sessions of the band as the band — me, Ben and Ava with no production. Now I think we’re going back to some old friends we've worked with before.

We had the guys from Nation come by and we invited Cat Power to sing on something too, bringing in people who might add a different vibe in the studio. I’ve also been in sessions with producers like Jacob, who I’m with today, that are just one-on-one. I’m also figuring out which songs from all these different sessions fit in one semi-unified world.

left: top GAUNTLETT CHENG, underwear PRADA, bracelet SANTANGELO, right: dress MEG BECK STUDIO, tights STYLIST’S OWN

Yeah, I feel like the one thing about making music with a bunch of different people and in different scenarios is that it does take a long time for the general vibe to make itself known. At first, it doesn't sound like you're setting out to achieve this thing you're imagining and then you get there. I saw you at Nublu when you played solo. What do you like about playing solo versus playing with a band?

Well it wasn’t properly solo because Ben was playing bass, but it’s definitely a new experience. I've never really played without a band before. I never even do solo acoustic shit because I don't play guitar, I play bass. I do like not having to play bass on stage, I think it’s fucking annoying and I'd rather just sing so that was really exciting and fun for me. It’s like karaoke and I can put a lot more towards performing and singing. But yeah, that was the second time we'd ever done something like that and afterwards, we missed Ava immediately. After we played we told her she needed to figure out how to play some electronic drum pages so that we could have her on stage. It’s a lot more fun when it’s all of us.

Although, it’s nice to have the option to play a full set with just backing tracks and a bass. It gives us more opportunity to play in venues that are not compatible with full bands all the time. You know what I mean? Small spaces definitely. The first time we played the set was at a show at the restaurant underneath Search and Destroy, Kenka, and it was awesome; really, really chill. It makes it so much easier to do fun, intimate gigs like that when you don't have to bring in a whole drum kit and a whole bunch of amps and a crazy system. There's a lot of freedom as to where and when we can play, on the drop of a dime.

I know the live drums not being there is sort of tragic sometimes. It sounded sick and it definitely is kind of miraculous to not have to have a guitar on your shoulder and worry about playing the right parts. I remember how I felt the first time I did it, super awkward like I was at a high school dance or something. I didn't know what to do with my body or my arms or whatever. And then I feel like slowly I started to really enjoy it more than being strapped to a guitar these days.

Every once in a while there's a song that always feels good to play on your instrument while singing it, but for the most part I would rather have more space with my body and voice to give the best performance. I think that I can definitely sing better when I don't have a big heavy instrument pushing on my diaphragm. I can project and strain a lot less. I do a lot of karaoke in my free time, so I'm very comfortable with just the microphone.

dress MEG BECK STUDIO, tights STYLIST’S OWN

You looked like a natural there for sure. Do you have any shows coming up on the books right now or are you just grinding in the studio?

Not so many shows right now, just trying to write as much as possible, taking a breather as well, just because it's been a long year. I just moved back to New York after living in London for five years, so relocating was a lot. Dealing with personal, emotional stuff and then just having released the EP, I think it's just a well-deserved break for me. Sessions like these are relaxing and I love going on tour, but it's physically draining for obvious reasons and I think for now I'm just slowing my pace a little bit. I'm from New York, where you're always trying to get things done as fast as possible, and I don't feel like doing that anymore. I want the next release to be fully thought out and complete. Not that everything else we’ve put out hasn't been. I’m not usually a perfectionist — I normally leave space for human error in projects in that way — but now I want to take my time and revisit the work until it’s exactly what I want.

What’s the song you’re writing right now?

I’m working on two. The first one is just kind of a snarky and fun song. “I know what boys like” type of thing. It’s about balling out and how it must suck to watch me ball out all the time if you're not in my life anymore. Then this next one is probably going to be a bit rockier and grunge because that seems like the direction we're headed in. So some more melancholic lyrics on that one probably, but it's going pretty good.

That's sick. It seems like you. I’m excited to hear it all. It was fun hearing, seeing you write lyrics and work. Whenever you're back, we should hit it again.

Yeah, absolutely.

Cool, cool. Does that feel like a conversation to you?

That felt conversational to me.

Music

How Not Being Invited to Cool Parties Inspires Emerging Artist, Groupthink

DANIEL wears LONGSLEEVE by MIU MIU, JEANS and SHOES by TALENTS OWN

Where did the name Groupthink come from?

I thought it sounded sick. I could see it on a poster immediately. I texted my friend about it, and he said, “That’s kinda lame,” which made me like it more. I knew I didn’t want to be just a person—like a Frank Ocean, first-name switch thing. I wanted it to be more of an idea.

What are your thoughts on the actual ongoing groupthink culture on the internet?

Everyone’s a creator now, so no one knows how to be a fan anymore. Instead of appreciating something, people copy it. But they’re not even stealing the right way—they’re just repeating. I even stole this ideology from someone.

As we’re on a kick of revitalizing old sound, past imagery, and archive clothing on the runway, what would you hope the 2020s would be known for?

It feels like we’re at a breaking point. Technology is speeding up the cultural wheel of things becoming revitalized to where we reach this continuum of time being a flat circle.

People right now are craving two things at once. They’re craving complete inauthenticity in terms of caricature and they’re also craving authenticity. Either what you’re doing is authentic and personal, or it’s fake and a joke that everyone is in on. The value judgment depends on what’s clear. In my music, I don’t aim to present myself as a person—it’s freeing that my music is really stupid, and everyone gets that. My next song, on my upcoming project, is all about being sexy, featuring these robot voices. On one level, I thought, this is so fucking dumb; I shouldn’t do this. But on another, I realized, this is awesome precisely because it’s so dumb.

Is sex and relationships a low or high priority for you right now?

Everything is a priority, I’m trying to break space-time.

DANIEL wears SUNGLASSES by CELINE, T-SHIRT JEANS, SCARF and SHOES by TALENTS OWN.

Electronic music has long dominated the underground scene but has recently reemerged in mainstream culture. Where do you see music going next?

I had this experience in a studio in New York where we used a computer to send signals to an interface, then to a drum machine, and finally to two synths. Electronic music resonates because it mirrors the way we communicate. We interact through commodified social exchanges on social networks, and that’s essentially how electronic music is created—it’s networked communication through machines. I see parallels to this on Instagram, like when someone dumps their boyfriend and starts posting sluttier pictures—it’s all part of this interconnected system of expression.

What do you like right now, and what do you not like?

Clothing-wise, I’ve been wearing a pair of Visvim moccasins, a red Yankees flat-brim hat, and a YMCMB hoodie that a friend gave me. When I’m working on a project, I usually find a few clothing items during the recording sessions that help me channel the vibe I’m going for.

Lately, I’ve been into Adderall, noise-canceling headphones, audiobooks about quitting smoking, and TSA Pre-Check. On the flip side, I’m not into drinking alcohol or influencers—they should just get a real job.

I’ve been measuring how successful I am based on how much fun I’m having, and on that note, how much fun are you having right now?

I’m having the most fun I’ve ever had. I feel super confident and successful. Over the past two weeks, I’ve been going to these amazing studios with friends to make music. We’ll create insane songs, then leave at 5 a.m., pick up a chromed-out G-Wagon rental car from a drug dealer, and drive to Boston. We cruise around, blasting the music we just made, and then the dealer hands me, like, 200 Adderalls.

You recently tweeted, 'Denim expresses something words cannot.' What is it about denim that makes it so meaningful to you?

I really love how denim reflects life—it shows how your body wears and tears on it over time. It’s like looking at an oil painting that has gradually chipped and aged, telling a story through its imperfections.

A social media post of you playing live decks while walking down the street went viral across all platforms recently. Does that reception change how you’ll approach your image going forward?

I had no idea the meme would go viral. My approach is still the same as it was before—it’s all about being myself. This hasn’t affected my strategy; if anything, it reinforces that I should keep creating content that’s authentic to what I’m thinking about. I’m always chasing the creation of things that make me happy.

I heard you’ve been working on your album while in New York. What’s different about making music here versus in L.A.?

There’s this studio in Williamsburg called S1 that has such a cool vibe. I like making music in L.A. too, but it feels more corporate because of the strict time frames for recording. In New York, there’s a live room filled with tons of equipment, and you can stay up for hours making an insane amount of sounds with no specific goal—it’s way more freeing.

DANIEL wears LONGSLEEVE by Uniqlo, SUNGLASSES by GENTLE MONSTER and BAG by PETERSELIE

What unconventional things or experiences inspire you?

I get really inspired by not being invited to cool parties and not knowing many cool artists. I like to piece them together from the little information I do know and use that as a reference. It’s this fragmented form of inspiration that comes from gaps in knowledge.

Is there something specific that helps you unwind?

Lately, I’ve been into breathwork. I’ll do a bunch of poppers, which cuts off oxygen to my brain for a moment, and then I feel like I have excess air afterward.

Outside of music, what comes naturally to you—something you’ve enjoyed for a while but haven’t fully explored?

I like coming up with campaign ideas and directing commercials. I also wouldn’t mind helping other artists with their visuals.

Are you a cinephile? Would you ever consider scoring a film, and if so, what kind of movie would you see your music in?

I wouldn’t consider myself a cinephile, but I’d love to do a score for a TV series. Labyrinth for Euphoria was amazing. This might sound corny, but I’d like to work on a coming-of-age film or a romantic comedy—mainly because I wouldn’t know where to start, and that challenge excites me.

Lastly, do you happen to have any guilty pleasures?

Honestly, I feel guilty about everything, so all my pleasures are guilty.

Music

Uncomfortable Listening

December 05, 2024

Everything is moving in circles. History repeats itself; humans are creatures of habit. Richie Culver knows these circles well, and that they don’t have to be perfect ones. On Religious Equipment, he explores the ways we deform them or place them on different planes.

Each track on the record—released under the moniker Quiet Husband via Drowned by Locals—takes its name from opiate blockers and substitute drugs: Methadone, Kratom, Klonopin, Antabuse, Subutex, Temazepam, Suboxone, Naltrexone, Buprenorphine. Those track names are weighted with meaning, pointing to the pain and pleasure and numbness that come from repetition and filling space. But Culver wants you to completely disregard those meanings, listen to the record without any context at all, and experience it in a way that is totally and completely your own.

By Megan Hullander
Photography by Brett Walker

BBC Radio 6’s Mary Anne Hobbs called Religious Equipment “void core.” It’s abrasive and all-consuming, disarming you and forcing your gaze inward. That’s the beauty of noise music, Culver insists. “I just wanted to make a record that has no meaning,” he says. And in meaning nothing, it can mean everything. It’s not supposed to be familiar. You don’t even have to like it. It’s meant to provoke, to make you think in a way you haven’t yet.

Maybe listen to the record before you read this or do your research on Culver. You can enjoy it or despise it before you understand his history and his context. Then do your reading and try again. See if it changes form. It’s okay to love art for reasons the artist never intended. And it’s okay to hate art before you know the artist. Anyone who says otherwise is being pretentious and probably regurgitating a review from an equally pretentious critic. Culver values your honest reaction above all else. DM him that the record made you take a pair of scissors to your headphones because you couldn’t bear another second of it, or that it inspired you to paint a tree. He’ll probably post a screenshot of your message for an Instagram discussion forum about the meaning of art today.

Megan Hullander — Last we spoke, you said you’d maybe adopt an alias once your music got abstract enough. What brought it to that point?

Richie Culver — I think it was more for admin in my head, for keeping everything—the little details that no one really gives a shit about—separate. But of course, as the creative, those [details] are life or death.

And I can’t make noise and techno under my government name. It was time to unleash the Quiet Husband. I’ve been sat on the name for ages and it fit perfectly for this. But I’m not going to do any more aliases. I think this is it.

So what does the name mean?

Quiet Husband is based on my best friend’s stepdad when I was maybe eight or nine. It was the way he would look at you—I’d catch glances and it’d freak me out. And, of course, it bleeds into all kinds of people. It’s that figure you don’t fully trust.

That feels connected to the text that accompanies the record—which references a lost man and loneliness and melancholy. It all points to the fraught nature of masculinity now, what it’s “supposed to” be. I imagine, especially as a father, that’s something you are grappling with a lot.

I swim in those worlds constantly in recovery, and being a dad to two boys and a girl. I’ll just speak about the boys in this particular sense. There’s a lot of pressure to raise them into the world. It’s a really fine line to walk. There are things that I relate to in them and that I’m trying to harness and push and not push too much and rein back in. There’s a whole PhD topic within the name Quiet Husband, probably.

Do art and academia go hand in hand for you?

I’m in my 40s now. As an artist, I’m continuously trying to educate myself and push my work in different directions. I’m making a trap record next, for instance, pushing the spoken word into a lyrical flow kind of thing. But I’m at a stage now where I need to be teaching as well—not necessarily in a school or anything like that, but I’m aware of people looking at me. I’ve been using social media as a way of that recently, dropping little insecurities and struggles—struggles that every artist has, but not everybody wants to talk about publicly.

It feels like every exhibition is going to be my last, every record is going to be my last. So I’m not thinking, How am I going to continue to do this? There’s so much insecurity in this lifestyle that we choose as artists and creatives and writers and anything under the umbrella of art.

How do you let something go with that feeling that it might be the last thing that you put into the world? I’d imagine that feeling would have the opposite effect on most.

I realize that I am prolific and that a lot of the things that I do could just stand as one thing in a year. But it’s just my process. I don’t know what I’m working towards. I don’t know if this is all going to culminate into something—if the best is gone, if I’m declining.

I’m [working in] the music world and the visual world, and one overtakes the other sometimes. Music seems to be leading the way at the moment. But I’ve always seen the art world as five steps behind the music and sound world, so it feels normal that that would be the case. The Quiet Husband alias has managed to make the gap further apart, as in, I’ve got space now to do more and not look like I’m a workaholic.

The concept of substitution is super prevalent on the record. Listening to the album almost had that same effect: When it finishes, there’s this sort of void that you are left wanting to fill.

I was aiming to bridge noise in techno and make it one genre. The techno on the record is pretty industrial and almost undanceable, and the other parts are like segues, but quite intense ones. The text for the record, by Charles [Teyssou] and Pierre [-Alexandre Mateos]—two French curators—is an important part of it. It also kind of sits completely random within it all. I think, having just finished at the Royal College of Art and [being] in the art world, everything needs to have a concept and a “what it means,” and the “why did you do that?” I fall into that trap. It needs to be there, I guess. Even when my kids are drawing a picture, I ask, “Why did you choose the color red?”

But for this, I just wanted to make a record that has no meaning. It’s a record about nothing, that challenges how you listen to it, why you are listening to it. The titles are all extremely important, of course, the blocking and substitute element, and a concept comes—quite a heavy one—but as I was making it, I felt relatively free and almost like I was on the brink of a new genre, which, incidentally, Mary Anne Hobbs called void core. We wanted it to be an unfriendly record. Not in a pretentious sense, but I don’t want it to go around the parameters of what is acceptable for a dance floor. I can’t imagine anyone putting it in their set.

Maybe it’s more approachable because there’s no “right way” to go about it.

I think that’s always my goal, even with the spoken word stuff. What I love about the noise world is there’s kind of nowhere to go from there. As much as I love music and all its genres, as soon as you start hitting the noise territory, you’re kind of at the summit. I’ve been obsessed with how can I educate myself into listening to noise and accepting it as a texture and not necessarily a melody or anything that has any rhythmic value. I don’t think there’s a musical expression that is more academic than noise. It’s like an abstract painting. It’s people thinking not even outside the box, they’re thinking outside the planet.

Your mom was featured on it—what does she think of it?

It just goes as far as, “Are you still doing the music stuff?” or “Are you still doing the art stuff?” I say yes, and that’s good enough. She’s approaching her 80s now so we don’t go into much about it. She’s the sort of woman who would give you a birthday card and cry herself because of the writing on the front of it—because of why she chose it on your 35th birthday, because of the man you’ve become. So I think, I just said to her, “What’s the most important thing to you?” and then pressed record. And she was like, “Family, being healthy is the main thing in your life.” And then I just took it on loop, and pitched it down. I’ve kind of stuck with it in the same way that noise is just kind of like one tone or just absolute hecticness.

Where did you look for inspiration in making it?

Because I’m a painter, I see the parallels hugely between conceptual, minimalist painting and noise. Even just in the band names—Climax Denial, Cheapest Coffin, Straight Panic—it’s always really intrigued me. You know when something just touches your own creative pulse or makes something inside you smile? I’ve always seen it very much like painting when I’m in the studio, in a flow with the music. There’s nothing better than being lost in gestures. When you’re making noise, you’re questioning your own sanity while you’re doing it—doing something that no one’s gonna want to listen to or be able to sit through. And that links to horror films and as a kid watching Freddy Krueger or Jason Voorhees or Michael Myers. Like, Why do I want to keep watching this? I’m not going to want to go to bed. But still, I was just obsessed with seeing it through. It’s the same with the noise thing. I’m questioning why I’m doing this, and there isn’t an answer. I love that.

Music is maybe the only thing where I would feel any hesitancy telling an artist that their work made me uncomfortable. Your’s did and it’s intentionally unsettling, but it still feels awkward to say it—even though it wouldn’t with a painter or a filmmaker.

If I sit and listen to a Climax Denial record, it brings up emotions and parts of my inner dialogues that I wouldn’t have ever imagined being able to go—really positive places and really challenging places. I’m listening to the roar of white noise or screeching or metal clanking, and it’s visual. I owe so much to the noise world in my overall output. It’s almost like a secret that I don’t want to give people. It’s like, Trust me, go and listen to this record. Just sit down in a dark room with your headphones on and listen to it. You transcend.

And don’t get me wrong—I love as much as the next person to put Radio 1 on and listen to Central Cee and Adele. I definitely have space for that. I’m not a purist in any way. Actually, I’ve come to terms with the fact that I’ve never been a purist in anything. One of the main things I’ve learned through my creative journey is to watch other people, especially young artists, and embrace that. If you don’t understand it, try to understand it. I love not understanding things. Like going into a museum and instantly dismissing stuff because it’s figurative, or because it’s too colorful and, all of a sudden, you realize what seems a basic painting of a sunset was done by some outsider artist.

That’s interesting because, at the beginning of our conversation, you said you wanted people to experience the record without context.

That was a big conversation at the well, for me at the Royal College: Can a painting just be a painting? Without it, it just becomes about the artist’s skill or lack of skill. I guess you do need more information.

Music

W PRESENTS: W Hotels' Global Music Experience

December 01, 2024

W Hotels continues to redefine lifestyle hospitality with W PRESENTS, a live music series that celebrates the brand’s legacy in music and culture. Led by Global Music Director LP Giobbi, W PRESENTS delivers intimate, curated performances by emerging and established artists, highlighting the unique character of each hotel while connecting guests to the local vibe.

This year, they hosted more than 20 W PRESENTS shows across the globe, spotlighting emerging and established musical talents. Three standout events showcased the magic of W PRESENTS in North America: Emmitt Fenn at W Hollywood, Arc De Soleil at W Austin, and Franc Moody at W New York – Union Square. Each performance brought a fresh energy to the series while embodying the spirit of its destination.

By Enzo Holdt
Photography by courtesy of W HOTELS

Set in the heart of Los Angeles, W Hollywood hosted Emmitt Fenn, whose soulful and cinematic sound captivated the audience. The performance embraced the rich creative culture of Hollywood, drawing in a stylish crowd eager to experience music in W’s signature Living Room.

The atmosphere was electric and intimate, with guests mingling in the vibrant space while sipping on crafted cocktails from the hotel’s bar. The setting, with its blend of glamour and edge, complemented Fenn’s evocative melodies. This event not only highlighted W Hollywood’s deep connection to the entertainment world but also the brand’s ability to create cultural moments.

At W Austin, Arc De Soleil delivered a high-energy performance that almost felt psychedelic, capturing the essence of the city’s reputation as the Live Music Capital of the U.S. The artist’s dynamic energy resonated with Austin’s eclectic spirit, making the event a natural fit for the city’s vibrant music scene.

The Living Room at W Austin buzzed with excitement as the crowd soaked in the music, which reflected the city’s reputation for fostering connection through music. The warm, inviting atmosphere made it easy for guests to relax and immerse themselves in the performance, while the setting—a modern, stylish space—added to the overall experience.

The final stop of this W PRESENTS series was at the transformed W New York – Union Square, where Franc Moody brought their funky, energetic sound to the stage. Their music lit up the Living Room, turning it into a dance floor that captured the essence of New York City’s vibrancy.

The audience was a mix of young music fans and professionals, some dressed in sharp suits, all united by their love for great music. The stylish and lively atmosphere of the hotel made it the perfect setting for a night filled with energy and connection. Franc Moody’s performance celebrated both the spirit of New York and W Hotels’ deep roots in the city.