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Showbox PresentsINDIGO DE SOUZA
TUE, 10 MAR 2026 at 08:00PM PDT
Ages: All Ages to Enter, 21 & Over to Drink
Doors Open: 07:00PM
OnSale: Fri, 19 Sep 2025 at 10:00AM PDT
Announcement: Tue, 16 Sep 2025 at 09:00AM PDT
There are moments standing on a high ledge where wild space beckons. In that moment,instinct stirs: “What if I just jumped?” It’s been described as “the call of the void,” an experiencesomehow more primal than even feeling or urge. On her new album, Precipice (due July 25thvia Loma Vista), Indigo De Souza looks over the creative and spiritual cliff and just leaps. TheNorth Carolina native is a prolific, poetic singer-songwriter who already has three albums andfour EPs in just seven years, with her most recent full-length (2023's All of This Wild End)earning rave reviews for her daring vocals and thrilling songwriting. But on her latest, De Souzahears the void calling and calls back, taking control of difficult memories and charged emotionsvia pop bombast and diaristic clarity, and finding a stronger self. “Life feels like always being onthe edge of something without knowing what that something is,” the singer-songwriter says."Music gives me ways to harness that feeling. Ways to push forward in new directions."On the album’s title track, De Souza faces down the potential darkness of change, and findshope in surrendering: "Coming to a precipice/ Holding on for dear life/ Looking out into theworld/ Everything has gone dark." That sort of emotional daredevilry is definitively not new forDe Souza. Her catalog brims with unwavering honesty and unflinchingly personal songwriting,including most recently the familial excavation on the pained and mighty All of This Will End. “Ifeel constantly on the precipice, of something horrible, or something beautiful–something thatwill change my life for better or for worse,” De Souza muses. To that end, Precipice cracks DeSouza’s world open. As a new challenge, the songwriter took on blind studio sessions in LosAngeles, reveling in the expanded pool of collaborators and ability to focus on music. “I’d beenwanting to work on more pop-leaning music for a while, so when I came out to LA I made sureto meet with people that could help bring that to life,” she says. “I wanted to make music thatcould fill your heart with euphoria while you dance along.”In those sessions, she made a quick and deep connection with producer Elliott Kozel—amusician who has produced and collaborated with the likes of SZA and Yves Tumor, not tomention scoring TV with FINNEAS. The two quickly got to work on album highlight “Not Afraid”,the track setting the tone for the album's bold defiance of the unknown. “What, what does it looklike, when you are free?/ When you are being true?/ When you let go, the people you love arefree when they’re with you too,” she sings. The track also signaled the start of a long andimportant collaboration. “Elliott is really good at allowing space for songs to reveal themselves,and I felt very seen and respected both musically and personally,” De Souza adds. “That songbecame a compass for what I wanted the album to be: pop songs with meaning and feeling, popsongs with lyrics that tap into raw humanity.”Lead single “Heartthrob” exemplifies the ecstatic duality the pair found, a way to both bringimmediate energy and thoughtful depth. The track is a fanged rebuke of those who exploit andprey on young people, delivered in panoramic indie rock glow. Multi-instrumentalist JesseSchuster’s chugging guitar riff pushes De Souza’s delivery into a headrush, her voice waveringsomewhere between pain and fury. "God, when I’m a grown up/I wanna have a full cup/A trueheartthrob," she shakes, a satirical jab at the false safety that some adults can exude and anhonest cry to inspire light and freedom in the people she loves. "I’ve lived through harmfulexperiences in my past that are helpful to process through music.” De Souza says. “A way toremind myself that I am still a full human being"As with so much great pop, Precipice transcends the giddy highs of new attraction and thehaunted lows of a broken heart. But true to her idiosyncratic approach, De Souza somehowmanages to invert and subvert both, finding their points of connection rather than theirdifferences. The thrumming synthpop of “Crying Over Nothing” exemplifies those new, glisteningheights musically, even as the lyrics digest unimaginable heartbreak. De Souza skips over thecoyly shuffling rhythm, her voice cracking into the upper register with a warm glow akin to the‘80s synths. “There’s some pain that follows no matter where you go or how much you try tolose it, pain that comes from memories you can’t erase and love you can’t unfeel,” she says."This song is about the one that got away. That feeling of being haunted by loss."The Robyn-esque “Crush” follows, a sugar burst that subtly weaves its way across the dancefloor. “Come up to get some air/ It’s like you're playing solitaire/ So good to see your face/ I wasmissing you when you were down there,” she sways, the knowing grin practically beamingthrough the track. The embodiment of catching feelings, “Crush” rides a gritty snap-pop drumloop from percussionist Jonathan Smith and tingly synth prickles. “I remember thinking abouthow, in the same way that I sometimes have to talk new lovers through eating me out, I alsohave to help them understand how to care for me in ways that make me feel good and seen,”De Souza blushes.But of course even the most hypercharged crushes can crumble—and the sighing“Heartbreaker” was written when the person she was falling for on “Crush” eventually broke herheart. While De Souza’s voice acrobatically flickers across the rest of the album, here shedelivers this pained memory more simply, with her full throat: “When I wake up, still thinking thatyou’re there/ And it all comes flooding back to me, I’m living in a nightmare,” she cries, churningpiano and ghostly guitar floating in the edges. “I was broken up with, and I flew out to LA asquickly as possible so I could get to the studio to make a song instead of being at home, sadand lashing out,” De Souza recalls. “My heart was fully soaked in poisonous pain, and I amdeeply grateful for the creative space to process what I was feeling.”On album highlight “Be Like the Water”, there are times where you can practically feel the tearsdripping on the microphone. But rather than mourning, these are tears of awe, a song ofamazement at the possibility of living truly and on your own path. “It’s about being brave andprotecting your energy, following your gut,” De Souza says. “It’s a reminder that you can alwaysfollow your heart and your spirit, but you can also make boundaries and choose your owndirection.” To achieve that spiritual depth, Kozel’s production bends between mantric etherealityand golden Americana. Spectral synth tones and finger chimes play like a yogic drone, whilegleaming organ puts a direct frame on De Souza’s verses. “I won't be sorry/ And I won't besilent/ I'm temporary/ I am an island," she sings, her ownership of herself overcoming the painsthat pervade the album.
Indigo De Souza has partnered with PLUS1 so that $1 per ticket goes to support The Trevor Project, and their work providing crisis intervention and suicide prevention services for LGBTQ+ youth. TheTrevorProject.org
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Event Venue & Nearby Stays
The Showbox, 1426 1st Ave,Seattle, Washington, United States
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