Brandi Carlile Returning to Myself
Just about anytime I write about Brandi Carlile, I make sure to note that no one in America loves their job more than she loves hers. And it’s true – especially when you see her perform live, Carlile’s joy is both palpable and infectious. But over the past few years, she’s also been busier than just about anyone in the music world – recording, releasing and touring her own albums (plus one earlier this year with Elton John), producing records for Tanya Tucker, Lucius and Brandy Clark, working with her Looking Out Foundation, and the daily issues that come from being a wife and mom – all of which made it easy to stop being, well, just plain Brandi. About a year ago, after yet another project of hers (the Joni Jams honoring Joni Mitchell) wrapped, she wrote a poem, with thoughts of putting aside the big projects and reconnecting with her own life. That poem begat a song, which begat an album, Returning to Myself. Her first record in four years finds Carlile trying to reestablish her own singularity while also accounting for the profound effects of the important people in her life.
Now, just because Carlile was attempting to downscale doesn’t mean she ended up making a stereotypical singer on a stool, acoustic guitar record. Her first connection – which took place the very day after that poem was written – was producer (and member of The National) Aaron Dessner. Also enlisted were Andrew Watt (who produced the Elton John collaboration, Who Believes in Angels?) and Justin Vernon (Bon Iver) to get a number of voices, both new and familiar, involved in the project. Sonically, this team effort has veered Carlile more away from Americana (and the occasional BIg Rock Anthem) to a backdrop of more keys and synths, abetted by some of the prettiest acoustic guitar work I’ve heard Carlile put to record. The title track opens the album with that guitar, backed subtly by organ from Dessner, as Carlile begins to realize the path that she’s laid out – “And returning to myself is such a lonely thing to do.” Not all those explorations go smoothly. The soulful, understated “A Woman Oversees” finds a lack of trust in someone who refuses to share a part of themselves – “She reaches deep inside you like an open cookie jar/And not because you’re interesting/But to mine your broken heart.” Some lessons are especially painful.
Along with a less earthy tone to the music, Returning to Myself shows off a vocally different Carlile. Rather than frequently swinging for the fences, the singer often chooses an understated approach. “Anniversary” features soft, double-tracked vocals as Carlile bemoans the sameness endemic to a long-term relationship – “Give me space from the distance/A break in the silence.” The technique stands out even more on “You Without Me,” a meditative piece (co-written by Elton John and Bernie Taupin and featuring John on Rhodes piano) on the fresh reality of a rapidly growing child – “I never heard that voice before today/I remind myself to breathe/There you are/It’s just you without me” – as Carlile tries to convince herself to let go. Meanwhile, album wrapper “A Long Goodbye” doesn’t shy away from the potential cost of letting other people in – “We’re all just a broken heart away/From making a promise that we’re forced to keep” – but the risk can pay off – “And I only had to lose my way to be found by you.” It seems like something the intuitive songwriter seems to have known when she began this life deviation. Circling back to that title track, Carlile realizes that “There’s no honor in the pilgrimage/Until a soul returns/To hold another’s hand.” Take the time you need, but remember that we’re not worth a whole hell of a lot without those we’re connected to.
Song I Can’t Wait to Hear Live: “Church & State” – I actually had the chance to see Carlile play this one at Red Rocks in September, but it’s worth a special mention as the showstopper it is. Musically different from the rest of Returning to Myself, featuring a nice, fat bassline from Phil Hanseroth, the album’s biggest rocker is also a thematic standalone. Written on Election Night of last year, the song expresses a sort of grim optimism in the fact that those trying to drag this nation backward will not, fortunately, be around much longer – “They’re here today, then they’re gone forever.”
Returning to Myself was produced by Andrew Watt, Brandi Carlile, Justin Vernon and Aaron Dessner. Songs written by Carlile, with co-writes going to Dessner, Watt, Phil Hanseroth, Tim Hanseroth, Elton John and Bernie Taupin. Musicians on the album include Carlile (vocals, acoustic guitar, piano, Wurlitzer, electric guitar, Rhodes piano), Watt (electric guitar, percussion, bass, synthesizers, piano, acoustic guitar), Vernon (electric guitar, synthesizers, acoustic guitar, piano, vocals), Dessner (organ, synthesizers, electric guitar, drum programming, percussion, piano, acoustic guitar, Mellotron, electric and synth bass, shakers), Phil Hanseroth (bass, electric guitar), Tim Hanseroth (electric guitar, acoustic guitar), Josh Klinghoffer (pedal steel, synthesizers, electric guitar, piano, keyboards, organ), Matt Chamberlain (drums, percussion), Chad Smith (drums, percussion), Dave Mackay (synthesizers, organ) Stewart Cole (French horn, trumpet), SistaStrings (strings) Rob Moose (strings), Blake Mills (fretless baritone guitar, acoustic guitar, electric guitar), Mark Isham (tenor saxophone) and Elton John (Rhodes piano)
Go here to order Returning to Myself (out October 24): https://shop.brandicarlile.com/
Check out tour dates here: https://www.brandicarlile.com/tour/
Enjoy some of our previous coverage here: Show Review: Brandi Carlile at Red Rocks 2025