"The title of Brandi Carlile's latest record, , makes an encouraging first impression. What could possibly be bad about reclaiming selfhood? Isn't that a pop psychology milestone people make guest appearances on daytime talk shows to humble brag about? But Returning to Myself considers the implicit woe of its own declaration: in order to return to oneself, one must first be lost. It's a common existential crisis that worsens when pop culture primes audiences for inspiration instead of reality checks."
"Granted, in 2025, everyone who isn't ultra-rich, white, or plays a Christian on TV has at least one or fifteen things to feel miserable over. And granted, the last four years of Carlile's life have, at least going by the broad strokes, been good to her as an organizer, a producer, an advocate, a celebrant of the 2024 "Joni Jams," a parent, and a partner; if Earth is looking worse for the wear, Carlile is holding strong."
Returning to Myself frames reclaiming selfhood as contingent on first being lost, confronting the existential cost behind inspirational narratives. The record balances triumphs alongside personal travails and avoids indulgent miserabilism. Public labor as organizer, producer, advocate, celebrant, parent, and partner has been rewarding but risks diluting personal artistic identity. Being lost can stem from addiction or scattered creative work, and the album acts as a course correction, refocusing on the artist's own music. The title track emphasizes fulfilling personal pursuits between community service, urging replenishment of creative energy to sustain broader contributions.
Read at Jezebel
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