The Rabbit Box presents Armour / Connor Cash Colbert / Sister Swimmer

Oct. 4th / Doors 7pm / Music begins at 8pm

$12 adv. / $15 door: https://tickets.venuepilot.com/e/armour-connor-cash-colbert-sister-swimmer-2025-10-04-the-rabbit-box-theatre-seattle-e795bd

What Rob Moura hopes you hear when you press play on his music is a familiar language rendered alien. True to his Seattle-based surroundings, the songs he performs as Armour are verdant and waterlogged, and they move with dark clouds permanently affixed above them. With his featherweight vocals and labyrinthine guitar structures, Moura’s music may at first recall the classic folk of Nick Drake. His songs dip just as deep into melancholy waters, and they look around as much as they do inward. But Moura’s characters are victims of the present era, and so they strive to disengage from the uncomfortable, inconvenient facets of their humanity: the thrum of heartache, the sting of heartbreak, the dull pang of regret, the weight of familial trauma, and the chains of faith.

Connor Cash Colbert is a songwriter and poet living on the unceded, traditional lands of the Duwamish people past and present in Seattle. He's a member of the alt-folk band False Hemlock, an editorial assistant at Poetry Northwest, and Hannah's dad.

In emerging artist, Sister Swimmer’s new EP, “The Horizon Line Swallowed Us Whole”, the boundary between dream and memory fizzles and sputters, dissolves into a hum of static. In the inevitable natural disaster of experience—did you forget your body, again? Do we trust the vessel that carries us forward? Is it really love or did you just want to feel safe? Project creator Britt Amborn’s voice wavers and waxes poetic within these questions, using music as a salve to turn emotional injury into relational fortitude, as a tool to move forward from her own obsessions with worry and place and longing and what stories the body claims for keeps. Sister Swimmer’s sonic landscape blends elements of indie rock and dream pop, venturing into darkly-lit territories of folktronica and shoegaze. At the heart of the project lies a fierce commitment to collaboration, where fellow Seattle-based artists each contribute a force of their own. Seattle producer and artist, Nicholas Ward of french tears & Hey Marseilles, brings his esteemed creative direction to the narrative with fuzzy guitars, captivating builds, and moody compositions that stir electricity in with inherent melancholy. In “Knuckles” and “Monster Song”, artist Jeremiah Moon’s cello propels the story forward, swinging the pendulum of emotionality between a anxious tightening of anticipation in the listeners’ chest, to a sentimental carrying that feels like a long exhale, a necessary release. Drummer Colin Richey lends a dynamic urgency to “No : Body”, along with the warmth and fiery grit of Austen Case on background vocals. Mike Vernon Davis’ engineering and mixing expertise adds a gravitational pull with textured, analog-inspired force. A testament to the EP’s accomplishment—Britt was selected by Sonic Guild to collaborate with local industry leaders on crafting an impactful community debut. “The Horizon Line Swallowed Us Whole” is a distorted investigation into what detaches self from story, in the dark mythologies we construct around memory and our lived-in experiences. In between the pull of sister swimmer's present-minded romanticism and nostalgia-drenched escapism—a glowing, beckoning horizon (a longing to be present to the body and tender with its history) is an ever-shifting daydream, a worthy pursuit.