Effective immediately, proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage. Click here for more information.
Effective immediately, proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage. Click here for more information.
Sold Out SOLD OUT
Sep 27

Deep Sea Diver + Diane Coffee

Deep Sea Diver,

Diane Coffee,

Why Bonnie?,
Union Stage All Ages
Doors 6:30PM | Show 7:30PM
Ticket Type Price Qty

About the event

FOR THE FORESEEABLE FUTURE THE FOLLOWING IS REQUIRED FOR ENTRANCE TO ANY UNION STAGE OR UNION STAGE PRESENTS SHOWS: PROOF OF VACCINATION AT LEAST 14 DAYS FROM YOUR SECOND SHOT OR  A NEGATIVE TEST WITHIN 72 HOURS OF SHOW DATE A MASK MUST BE WORN AT ALL TIMES ON PREMISES UNLESS YOU ARE ACTIVELY DRINKING OR EATING.

Deep Sea Diver

The third full-length from Deep Sea Diver, Impossible Weight is a work of sublime highs and mesmerizing lows, its restless intensity both unsettling and transcendent. For bandleader Jessica Dobson, the album’s sonic and emotional expanse stems from a period of sometimes-brutal self-examination—a process that began not long after the Seattle-based four-piece finished touring for their acclaimed sophomore effort Secrets.

“We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” says the vocalist/multi-instrumentalist, whose bandmates include her husband Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth). “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”

As she stepped back from the studio, Dobson focused on dealing with the depression she’d been struggling with, and soon started volunteering for Aurora Commons (a drop-in center for unhoused people, most of whom are drug-dependent and engage in street-survival-based sex work). “I spent a lot of time with the women who frequent the Commons, and it taught me a new depth of empathy,” she says. “They’re people who don’t have the luxury of going back to a home at the end of the day and hiding behind those four walls, so they’re sort of forced to be vulnerable with what their needs are. Talking with them and listening to them really freed me up to start writing about things I’d never written about before in my songs.”

Co-produced by Dobson and Andy D. Park (Pedro the Lion, Ruler) and mainly recorded at Seattle’s Studio X and The Hall of Justice, Impossible Weight brings that emotional excavation to a more grandiose sound than Deep Sea Diver has ever attempted. Along with revealing the limitless imagination of Dobson’s guitar work—a prodigious talent she’s previously shown in playing lead guitar for artists like Beck and The Shins—the album’s lush textures and mercurial arrangements more fully illuminate the power of her vocals. “’I’d never produced a record before and I started out with low expectations for myself, but at some point I realized, ‘I can do this,’” Dobson recalls. “I decided to completely trust my voice and make really bold decisions in all my production calls—just push everything to the absolute outer edges.”

On the title track to Impossible Weight, Deep Sea Diver prove the incredible precision of those instincts. Featuring guest vocals from Sharon Van Etten, “Impossible Weight” unfolds in radiant grooves and frenetic fits of guitar, its lyrics presenting a bit of wisdom extracted from Dobson’s time at Aurora Commons. “In the past I’d often tell myself, ‘This other person is going through something worse than I am, so their pain weighs more,’” she says. “‘Impossible Weight’ is about finding more compassion for yourself, instead of discrediting your pain in that way.”

The luminous opening track to Impossible Weight, “Shattering the Hourglass” makes for a perfect introduction to the album’s sonic complexity, beginning in intimate reflection before shifting into a wildly sprawling anthem. But despite its kinetic orchestration, the song’s dynamics never overshadow its central lyric: “You don’t have to be strong enough.” “I wrote that one the same week my friend and former bandmate Richard Swift was spending his last days in hospice because of complications from alcoholism,” notes Dobson, referring to the beloved singer/songwriter/producer, also known for his work with The Shins. “I was thinking about how everyone’s facing some kind of battle, and how I wish we could all talk more openly about these things. I wish we could give ourselves that license to fall apart, so that others can help carry us to a better place.”

In her commitment to radical vulnerability, Dobson lays her own needs bare on songs like “Lights Out”: a defiant yet strangely delicate track that takes on a thrilling momentum as she cycles through an entire world of moods, her voice careening from growling to tender. “‘Lights Out’ was written around the time I hit that wall when we first started working on the record; it’s about fumbling through the darkness and knowing I damn well need help getting out,” she says. Meanwhile, on “Wishing,” Deep Sea Diver deliver a stormy and psych-leaning number sparked from Dobson’s viewing of a documentary on Nina Simone. “She had a husband who was physically and emotionally abusive to her, and it made me think about the idea of being under the thumb of someone else, and not knowing how to get in control of your life again,” Dobson says. “I have a tendency to try to resolve the narrative by the time I get to the end of the song, but for that one I didn’t—which felt right, because that’s what life is like.”

On “Eyes Are Red (Don’t Be Afraid),” Impossible Weight reaches its glorious climax, a seven-minute epic that builds to an instrumental breakdown centered on Dobson’s beautifully unhinged guitar work. Not only a triumphant turning point in her musicianship and production approach, “Eyes Are Red (Don’t Be Afraid)” marks a major leap in Dobson’s songwriting. “Lyrically that’s the most uncomfortable song for me on the album,” she says, noting that the track was partly inspired by Christine Blasey Ford’s testimony against Brett Kavanaugh and the collective trauma endured by women everywhere. “There’s so much anger and frustration in it, and it made sense to express that in plainspoken lyrics. I ended up with these phrases that are almost like mantras: ‘Don’t be afraid. Don’t be ashamed.’ A lot of my musical heroes tend to be very poetic, but sometimes there’s so much more meaning in saying things simply.”

For Dobson, redefining the limits of her artistry goes hand-in-hand with certain identity issues she faced during the making of Impossible Weight. “I was adopted and just recently met my birth mother, and found out that I’m half-Mexican and half-Jewish,” she explains. “Discovering my heritage and learning things about myself that I never knew before really fed into that question of ‘Where do I belong?’” At the same time, Dobson restored the sense of possibility she felt in first embarking on her music career, which included landing a deal at Atlantic Records at the age of 19. “I think being signed at such a young age messed me up in terms of the expectations I put on myself,” she says. “Somewhere along the way I lost confidence in my own vision, but after making this record I feel a much larger freedom to go in whatever direction I want with my music.”

With the release of Impossible Weight, Dobson hopes that others might reclaim a similar sense of freedom in their emotional lives. “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel,” she says. “I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own. Because the point is that the impossible weight isn’t yours to carry alone—that’s why it’s impossible.”

 

Diane Coffee

The ever-evolving spectacle that is Diane Coffee — the gender and genre-bending alter ego of Shaun Fleming — returns with Internet Arms, a swan dive into a lush, digital glam wonderland.

Fleming’s path to stardom can be traced all the way back to his childhood days as a Disney voice actor, but for the past six years he’s explored the depths of his identity and channeled it outward in the form of the enigmatic and exuberant Diane Coffee.

In 2018, after performing as King Herod in the Lyric Opera’s critically-acclaimed run of Jesus Christ Superstar, Fleming emerged from the recording studio with Internet Arms. Born from the fear and uncertainty of a future in which humankind is both dependent on and poisoned by technology, the album finds Diane Coffee trapped in a digital world, enslaved by AI.

“Did you know the technology exists to take a photo of anyone you know and use it to create… well, let’s call it, ‘adult entertainment’?” Fleming asks. “And did you know that an estimated 70% of all online activity isn’t human? Where does that leave us? We don’t interact with each other anymore because we’re always online. Not to mention we can manifest any version of ourselves at the push of a button when we’re logged in, so when we encounter humans they’re not even real.”

Facing this existential crisis, Fleming’s anxieties became his muse as his writing explored the scenarios of this dystopian future: “It’s a personal study on how I feel about living with constant blurred lines of the self and the projected self.” This notion shaped the sound of Internet Arms as well, compelling Fleming to gravitate toward synths, electronic drums, and other futuristic sounds from the past and present to create his version of a digital landscape, as well as a digital version of himself.

“The songs are what have always dictated the sound. Working in the realm of clean, modern pop production has been an exhilarating change of pace. Diane Coffee now sounds like a digitization of its former self because I also feel trapped in this digital world,” Fleming explains.

This newly cybernated Diane Coffee is masterfully unveiled on album standouts “Not Ready to Go” and “Like a Child Does,” with both songs serving as vulnerable reflections on power and abuse. But whereas the former positions its chorus to soar high above a cityscape constructed of conduits and transistors,  the driving pulse of the latter propels forward like a high-speed race through the surface streets of said city. Elsewhere, Diane Coffee’s sonic boundaries are pushed the furthest on “Lights Off,” a massive contemporary pop song that impressively showcases Fleming’s extraordinary vocal range.

As a whole, Internet Arms marks a significant new phase for Fleming, a testimony to the idea that Diane Coffee will endure as a fluid form of expression that continues to defy expectations of sound and genre.

This show is at Union Stage

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