All language subtitles for Brandi.Carlile.In.The.Canyon.Haze.Live.2022

- Okay, this is it.

We are live...

[chuckles]
Beautifully, terrifyingly live.

I know, I'm reminded.

I don't need to remind you guys
of what's at stake here.

But this is a really
amazing thing,

and there's so many
of us that are just

so excited about doing this
but on the edge of our seats,

because, I mean, truly,
anything could happen.

But that's what
rock and roll is, right?

That's what it is.
It's a risk.

And we're here
in the beautiful Laurel Canyon.

The scenery is breathtaking.

And we wanted to do this while
it was still light out,

as we sort of follow the arc

through this trajectory
of getting dark

so that you guys
could see and feel

the sunset in this place

and put yourself there
in the 1960s and 1970s,

when some of the most lush
and beautiful and strange

and trippy Americana music
was made

by people that lived here
and spent their time here,

from CSN to Jimi Hendrix, even,

Glenn Frey, Linda Ronstadt,
The Byrds,

Mama Cass
and The Mamas & the Papas,

and, of course,
our beloved Joni Mitchell.

It's interesting--everybody
thinks about Americana music

as originating in the South

or even our beloved
one-of-a-kind Nashville,

but an important cornerstone
of modern Americana music

happened and started to happen
right here in California,

right here in Laurel Canyon.

One time, Joni said to me--

and I haven't told
you guys this yet--

"Anyone in America--

"if you ask anyone in America
where the craziest people live,

"they'll tell you California.

"If you ask anyone
in California

"where
the craziest people live,

"they're going to tell you
Los Angeles.

"If you ask anyone
in Los Angeles

where the craziest people
in California live,

"and they'll tell you
Hollywood.

"Ask anybody in Hollywood
where the craziest people live,

"they'll tell you
Laurel Canyon.

"Ask anyone in Laurel Canyon
where the craziest people live,

"and they'll say
Lookout Mountain.

So I bought a house
up on Lookout Mountain."

Joni Mitchell.
[laughter]

[playing notes]

We're here to conjure
the spirits

of the living legends

and the ones that have gone
before us from Laurel Canyon,

as we reimagine our album
"In These Silent Days,"

live in the canyon haze.

We ready?
- I think so.

- Are we really ready?
- I mean...

Ah, yeah.

Two, three, and--

# Come back now,
even if you call me out #

# You might be angry now #

# Of course you are #

# #

# I'm scared, too, didn't
mean to take it out on you #

# I know I always do #

# You're the strongest person
in the room #

# Turn back time,
help me to rewind #

# And we can find ourselves #

# Again #

# It's not too late #

# Either way #

# I lose you
in these silent days #

# It wasn't right #

# But it was right on time #

# #

# Don't look down #

# I can feel it when your heart
starts pounding #

# It's beyond your control #

# You know it is #

# #

# It's getting to the point
where I can't carry on #

# I never held my breath
for quite this long #

# And I don't take it back,
I did what I had to do #

# #

# It's not too late #

# Either way #

# I lose you
in these silent days #

# It wasn't right #

# But it was right on time #

# #

# It's not too late #

# Either way #

# I lose you
in these silent days #

# It wasn't right #

# But it was right on time #

Yeah!
[laughter]

- Got that one out
of the way, huh?

- So good!
[singing high notes]

That was up there, Phil.
- Yeah, it was.

- I want to get my wife
up here with me.

Catherine Carlile, you nervous
and beautiful beast.

[cheering]

[laughter]

[playing notes]

This one's big for you, babe.

Look at you taking
your own microphone.

She's a pro.

Catherine--
- She's lying.

- [laughs]

Sweetheart,
do you know what today is?

- The live stream
of "In the Canyon Haze," right?

- Yeah.
Are your hands shaking a tad?

- No.
- Mine are.

- Steady.
- It's cool.

Steady, steady as we go.

Today, Catherine...

Are you nervous?
- No.

Slightly.

- Is our ten-year anniversary.

- It is, yeah. We forgot
about that this morning.

- Yeah, we forgot
about that this morning.

- We were a bit distracted.
- We got married three times.

We had three weddings.

And this is
the ten-year anniversary

of the wedding that happened
on the West Coast, in Seattle.

- It is indeed.

- Yeah, and it's
an important day.

But I think it's even more
monumental and more important

that this is the first time
that you and I are going to do

something like this together.
- I know.

- Yes.
And you've been practicing--

- I'm more nervous today
than I was on our wedding day,

by the way.
- And you were very nervous.

- I promise not to do
that with a deep voice.

- Right.

- [deep voice]
I, Catherine Carlile,

do take Brandi Carlile...

- That may have happened.
- To be--

- [normal voice]
That may have happened.

[laughter]
That may have happened.

Do you promise not to get drunk
and sing Lady Gaga later?

- I promise.
- Okay.

- Yeah.

- Well, I wrote this--
- I can't promise anything.

- No, you can't.
You can't.

I wrote this song about you.

And it's been my dream to
get you to sing it with me.

And now you're doing it
in front of thousands of people

in IMAX theaters
across the country.

- Thank you for
reminding me of that, yeah.

- And I'm sure that they
can see just every detail

of our faces, very close up.

- [laughs] Happy anniversary.
- Just joking.

- It's called
"You and Me on the Rock."

# #

Yeah.

# #

# They build wooden houses
on frozen ponds #

# In the summertime
when the water's gone #

# Diagonal lines
in their rolled-out lawns #

# And the sage always
smells so pretty #

# But nobody cares where
the birds have gone #

# Or when the rain
comes down on Babylon #

# The stonemason's phone
rings all day long #

# And you got to get
back to the city #

both: # I build my house
up on this rock, baby #

# Every day with you #

# There's nothing
in that town I need #

# After everything
we've been through #

# Me out in my garden
and you out on your walk #

# Is all the distance
this poor girl can take #

# Without listening
to you talk #

# I don't need
their money, baby #

# Just you and me on the rock #

- Yeah!

- # On the rock #

# #

# I built paper planes
when I learned to fly #

# Like a 747 falling
out of the sky #

# I folded 'em crooked,
and now I'm wondering why #

# I could always end up
in the water #

# But nobody's asking
why she looking so thin #

# Why she's laughing too hard,
why she's drinking again #

# A falling star,
she's a paper plane #

# And she was going down
when you caught her #

both: # I built my house
up on this rock, baby #

# Every day with you #

# There's nothing
in that town I need

# After everything
we've been through #

# Me out in my garden
and you out on your walk #

# Is all the distance
this poor girl can take #

# Without listening
to you talk #

# I don't need
their money, baby #

# Just you and me on the rock #

- Yeah.

# #

- # It's an earthquake,
it's a hard wind #

# It's a record-breaking tide,
and it is rolling in #

# It's a big sea, but it
can't touch you and me #

# It's just a water view #

# And what a view #

# I don't need
their money, baby #

- # I don't need
their money, baby #

- # It's you and me
on the rock #

- # It's you and me #
- # Oh, it's you and me #

both: # It's you and me
on the rock, yeah #

# #

# I build my house
up on this rock, baby #

# Every day with you #

# There's nothing
in that town I need #

# After everything
we've been through #

# Me out in my garden
and you out on your walk #

# Is all the distance
this old girl can take #

# Without listening
to you talk #

# I don't need
their money, baby #

- # Just you and me
on the rock #

# #

# It's you and me on the rock #

- # It's you and me #

- # I don't need
their money, baby #

- # I don't need
their money, baby #

- # It's you and me
on the rock #

- # It's you and me #
- # Yeah, it's you and me #

both:
# It's you and me on the rock #

# #

# You and me on the rock #

[cheers and applause]
- Sweating.

[laughter]

- Happy anniversary, darling.
[laughter continues]

- All right, back
to the professionals.

- Yeah, go do a shot now.
We all know you're going to.

[instruments tuning]

- Oh, excuse me.

- I hope everybody's
having a wonderful time.

I already am.

This song's interesting,
because...

of all the songs
on "In These Silent Days,"

this is the one that actually
was influenced so much

by Laurel Canyon.

And I didn't fight the urge
to go down that road,

did we, Tim and Phil?
- Oh, no.

- No, we did this CSN-style
on the album.

And we were fighting the urge
to be Laurel Canyon

on a lot of that album--

just the lushness and some
of the sounds we wanted to do,

but we also really
wanted to kind of dive

a little bit further
into glam rock and roll

as it intersects
with Americana.

And so we did
a different thing.

But the guilty pleasure
of it was nagging

at the back of our minds,

and we really went
there on this song

and embraced it
and did this one

like "Helplessly Hoping"
or something.

So, when it came time
to Laurel Canyon the album,

we didn't really know
what to do with this one.

So I was like, all right,
let's do it the opposite.

Let's do this one

like "Love of My Life"
by Queen.

# Love of my life,
you heard me #

It's called
"This Time Tomorrow."

# #

# When the fire inside
that burns so bright #

# Begins to grow faded #

# It can be hard to see
the ground on which you stand #

# Though you may not be afraid
of walking in the darkness #

# You will feel like
a stranger in this land #

# You can try to carve
a faith out of your own #

# But a broken spirit
may dry out the bone #

# And the edges of the night
may cause you sorrow #

# You know I may not be
around this time tomorrow #

# But I'll always be with you #

# #

# When the hope
that you hold tightly to #

# Has all but vanished #

# And there are no words
of comfort to be found #

# You will know what it means
to be lost and without love #

# May you fight to kill
that deafening sound #

# But our holy dreams
of yesterday aren't gone #

# They still haunt us like
the ghosts of Babylon #

# And the breaking of the day
might bring you sorrow #

# You know I may not be
around this time tomorrow #

# But I'll always be with you #

# #

# You can try to carve a faith
out of your own #

# But a broken spirit
may dry out the bone #

# And the edges of the night
may cause you sorrow #

# You know I may not be
around this time tomorrow #

# But I'll always be with you #

# #

# I'll always be #

# With you #

# #

[whispers indistinctly]

[indistinct chatter]

Okay.

[playing notes]

[humming]

[telephone rings]
Now, what could that be?

Hello?

- Sorry to interrupt
this transmission.

- Catherine, is that you?
- It's me.

- Well, where are you now?

- Well,
I ran to the telephone

because we've got
all these questions

coming in from these people

watching live
from IMAX theaters.

- Okay, all right.
- Are you up for a question?

- I mean, always.
- Okay, so Macy Franklin,

who is watching
from the Chinese Theatre IMAX

here in Hollywood...
- Okay. Local.

- She's got a great question.
- Okay.

- She wants to know,
it's the year 1970,

and you're strolling through
Laurel Canyon

with your guitar.

Whose door would you knock on?

- Whose door would I knock on?
Hmm.

I'm going to get
right back to you.

- Okay.

- I'm going to talk
to the folks at the theaters.

I think the door
that I would knock on--

and I'm interested

in what you guys think
about this, too, so--

It would be Mama Cass...

because that's somebody
that I feel like--

She's a hero, but
she's too unsung for how much

she had to do with bringing
everybody together

and causing people
spiritually to congregate.

And I just have a feeling
that if I knocked on her door,

that all of the legends
of the canyon

would probably
already be there.

- I'd be inside already.
- Yeah.

- Yeah.
- Tripping balls.

[laughter]
- One can hope.

[laughs]

- Yeah, that's what--
It would be Mama Cass.

That's whose door I'd knock on.

I have a feeling that phone's
going to ring again--

Yeah, yes it is.
[telephone ringing]

- Hello.

- What could
you possibly want now?

- Well, there's a lot
of people watching,

so we have a lot
of questions.

- All right, darling.

- Okay, I've got one more
question for you

before you sing
your next song, okay?

- Okay, yeah.

- This is from Kate McCartney
at the AMC

in Georgetown,
Washington, D.C.

- Okay, yeah.
- This is a good question.

It's quite a long one.
- Okay.

- You mentioned
"You, Me, and the Rock"

was inspired
by a lesson you learned

at Vacation Bible School.
- Yes.

- Were you openly gay
during that time?

And how did you reconcile your
faith with your sexuality?

- Well, okay, I'm going
to address the people.

- Okay, goodbye.

- All right, I'll talk
to you soon, darling.

Happy anniversary.

So I wasn't openly gay
at Vacation Bible School

that I know of, because
I think I was about seven.

But, you know, I certainly
didn't like to wear dresses,

and I had
a strangeness about me.

But I did love being there,
and I loved the lessons.

Reconciling faith
with spirituality is...

It's my lot in life.

It'll probably be
my long-term dance.

I don't want to call it
a battle or anything negative,

because...

queerness can be so juxtaposed

with conventional monotheism

that it can make people feel
really scarred

and traumatized for long
periods of their life,

but there's also something
really beautiful about coming

back to the redeeming concept
of a higher power

and universal forgiveness
of all people and things

time and time again.

And sometimes the more you have
to overcome

in those situations,

the more beautiful
your faith is to you.

And so, as I grew up
from Vacation Bible School,

I took those lessons with me.

And because they were
harder to hold on to,

I think they meant
and still mean more.

And the song
that you're referring to

would be
"You and Me on the Rock,"

and I was learning
a lesson there

at Vacation Bible School called
"Build Your House on a Rock."

And one day
I just looked up at home,

and I saw my family,

and I realized
that I had done that,

and I had built
my house on a rock.

And even if it wasn't exactly
what Vacation Bible School

intended for me to learn,

I do think it was
what my higher power

intended for me to learn.

So good question.
Good question.

Thank you.

[strumming guitar]

How about some
acoustic rock and roll?

[continues strumming]

We had a hard time
adapting this song

because it's
about six minutes long.

So we decided to go ahead

and make it about two minutes
longer for this.

[laughs]

Yeah, baby.

["Broken Horses" playing]

# #

[shouts]

# #

# I wear my father's leather
on the inside of my skin #

# I'm a tried
and weathered woman #

# But I won't be tried again #

# I don't think
that you can come for me #

# Without your Sunday best #

# You had better call
your priest #

# And hope, oh, the Devil
gets the rest before I do #

# Oh, and I will do #

# #

# I've worn
the jester's bells #

# And I have vanished
with the fools #

# I have worshiped at the altar
of the puppet master's rules #

# I have held my tongue
too many scenes #

# Before the final act #

# With my children in the cheap
seats and a zipper on my back #

# Thanks to you #

# Oh, no thanks to you #

# #

# And they're tethered
in wide-open spaces #

# In fields
that lead for miles #

# Right into the barrel
of a gun #

# #

# Mending up your fences #

# With my horses running wild #

# Only broken horses
know to run #

- Whoo!

# #

- # I have ever
so politely treaded softly #

# For your praise #

# I have whispered
through the tears #

# And pleaded sweetly
to your face #

# It is time to spit you out #

# Like lukewarm water
from my mouth #

# I will always taste
the apathy #

# But I won't pass it down #

# Enough with you #

# Oh, with you #

# #

# And they're tethered
in wide-open spaces #

# In fields
that lead for miles #

# Right into the barrel
of a gun #

# #

# Mending up your fences #

# With my horses running wild #

# Only broken horses
know to run #

Yeah.

# #

# I wear my father's leather
on the inside of my skin #

# I'm a tried
and weathered woman #

# But I won't be tried again #

# Don't think
that you can come for me #

# Without your Sunday best #

# Well, you had better call
your priest #

# And hope, oh, the Devil gets
the rest before I do #

# Oh, no, no, and I will do #

# #

# And they're tethered
in wide-open spaces #

# In fields
that lead for miles #

# Right into the barrel
of a gun #

# #

# Mending up your fences #

# With my horses running wild #

# Only broken horses know #

# Mending up your fences #

# With my horses running wild #

# Only broken horses know #

# Only broken horses know #

# Only broken horses
know to run #

# #

- [chuckles] Yeah.
- [laughs]

- That was a jam.

- Whoo!
We're rocking now!

[laughter]

- All right.

- Come on in.
- [strumming guitar]

Come on in tight, boys.

This is Phil Hanseroth.
- Hello.

- And this is Tim Hanseroth.
- Hi.

- For those of you that
just accidentally walked

into an IMAX movie theater
not knowing

that you were going to see
the Brandi Carlile band.

We've been in a band together
for about 22 years.

I know we don't look
old enough, but--

We do look old enough.

- On an IMAX screen, we do.
- I know, man.

That thing is, like--

Just how big is my head
on that thing?

The thing that
brought us together

in the late '90s
in Seattle, Washington,

was our love
of three-part harmony.

And I don't know if you know

what was going on in the late
'90s in Seattle, Washington,

but it was not
three-part harmony.

It wasn't cool there
at the time, was it?

- No, farthest thing from cool.

- Yeah, grunge rock and roll,

practicing your band
underneath a freeway overpass,

that was cool in the '90s.
- Literally.

- But you know where it was
still cool even in the '90s?

Right here.

So we love to do
a three-part harmony song

at each of our shows
because I want everybody

to see how beautiful
their voices are

and how the three of us
have been singing together

for so long and what makes
our band who we really are.

And this one we've never
done before, though.

We adapted a song

into a Laurel Canyon
three-part harmony, CSN-style,

from our record that
nobody's ever heard this way.

And it's called
"Letter to the Past."

Pray to the gods
of vocal tightness, boys.

# #

all: [vocalizing]

# #

# It's a game, baby,
it's just a game #

# And nobody loses
when you learn to love #

# The one who finally wins
sometimes #

# You'll be wrong, 'cause
sometimes we get it wrong #

# But nobody
leaves here alive #

# And nothing holy
comes from being right #

# So don't hold your breath
like that, baby, let it go #

# You're gonna feel
it in your back #

# Believe me, I ought to know #

# You're a stone wall in
a world full of rubber bands #

# You're a pillar of belief #

# Still hiding
your shaking hands #

# Folks are gonna lean on you #

# And leave
when the cracks appear #

# But, darling, I'll be here #
- # I'll be the last #

# You're my letter
to the past #

all: [vocalizing]

# #

# You can cry #

# You know,
it's always okay to cry #

# You don't even need
to know why #

# But don't you ever feel
alone inside #

# If you need to know
the truth #

# I still haven't got a clue #

# If the blind
can lead the blind, baby #

# I'm just like you #

# You're a stone wall in
a world full of rubber bands #

# You're a pillar of belief #

# Still fighting
your empty hands #

# Folks are gonna lean on you #

# And leave
when the cracks appear #

# But, darling, I'll be here #
- # I'll be the last #

# You're my letter
to the past #

# #

all: # You're a stone wall in
a world full of rubber bands #

# You're a pillar of belief #

# Still hiding
your empty hands #

# Folks are gonna lean on you #

# And leave
when the cracks appear #

# Darling, I will be here #
- # I'll be the last #

# You're my letter
to the past #

all: [vocalizing]

# #

# It's a game #

# You know,
it's okay to lose a game #

# But always remember your name
and have no shame #

# Because you're built
to last #

[cheers]
- Yes!

That was tight!
[playing notes]

- I need a drink
after that one.

- Oh! Was that the one you
were nervous about?

- Yeah.
- Oh, man.

Man, I'm nervous
about all of 'em.

But it's starting to fade.
It's starting to go away.

[instruments playing]

# #

I want to introduce the band,
though, right now.

I think everybody's got to know

who all
these beautiful people are

while it's
still light out, right?

On the piano, my favorite
piano player, Mr. Philip Towns.

[cheering]
Welcome, Philip.

Beautiful job.

You met Tim Hanseroth,
so we'll skip him,

and we'll go
to the band Lucius.

We've got Jess and Holly
from Lucius with us tonight,

rocking their
beautiful harmonies

and just being the absolute
essence of Laurel Canyon.

They radiate it.
They radiate California.

# California, I'm coming home #

# I want to see
the folks I dig #

all:
# I'll even kiss a sunset pig #

# California, I'm coming home #

- You didn't even know I was
throwing that one at you,

and you got it.

Back here on the drums
is somebody

who we first met in California,

but we've idolized this guy
growing up in Seattle.

And making music together,
he's been our favorite drummer

since as long
as I can remember.

And it's taken him a long time
to decide to join our band.

[laughter]

But we got him here.

And he left us
eventually up north

and moved down here to be
with everybody in California.

I can't say that I blame you,
brother.

The greatest drummer
on the planet,

indisputable,
Mr. Matt Chamberlain.

- Yeah, Matt.
[cheering]

- That's right.

- And now back here,
we have this string quartet,

which is so much
more than a string quartet.

These guys sound like
an entire symphony orchestra.

And we haven't really
got into it yet,

but what you all
are about to hear

towards the second half
of this concert

is nothing short of miraculous.

No pressure.

But these four people, they
wrote these parts themselves,

these arrangements--
Kyleen King, SistaStrings,

and Josh Neumann, right here
in the front on the cello,

OG cellist for 20 years,

from California,
Mr. Josh Neumann.

[cheers and applause]

Behind them, our string MD

and the person who's written
so many of our arrangements,

one of my favorite
string arrangers,

next to Paul Buckmaster...
- Ooh!

- Mm-hmm,
the queen, Kyleen King.

[cheers and applause]

And these two
out here on the end,

they are called SistaStrings
when they are together.

But apart, we got
Monique Ross on the cello...

[cheers and applause]

And Chauntee Ross
on the violin.

And they, too, wrote
some of the arrangements

that you're going
to hear tonight.

They've changed our life.
They've changed our band.

And what you're seeing up here

is my family
in music and in life,

my spiritual family,

and it's really beautiful to be
with everybody in this way.

How we doing, y'all?
- Okay.

- We're settling in, right?
- Yeah.

- We're feeling good.
All right.

[strumming guitar]

Oh, the way it feels out here
right now with this breeze...

Mm-hmm.

# Mm-hmm #

All right, let's get dark.

# #

Yeah, this feels good!
[laughter]

- Two, three, four.

["Mama Werewolf" playing]

- # Your mama is a werewolf
with long, sharp teeth #

# I'm up all night
when the world should sleep #

# I curse the darkness
when it's killing time #

# I got a river of fear
running through my mind #

# When the moon shines
through those parting clouds #

# I hear the call,
and I howl out loud #

# I stalk the streets
where the shadows lie #

# And I pray to God
that that sun will rise #

# But that sun
don't always rise #

# If my good intentions
go running wild #

# If I cause you pain,
my own sweet child #

# Won't you promise me
you'll be the one #

# My silver bullet
in the gun? #

# Would you strike me down
right where I stand? #

# Would you change me back,
make me kind again? #

# Won't you promise me
you'll be the one #

# My silver bullet
in the gun? #

# #

Yeah.

# When I awaken
and I'm reborn #

# My body aches,
and my soul is torn #

# I search the void
for any clue #

# And I feel ashamed
for what I put you through #

# And this curse a gift
from my father's kin #

# They fought the beast
I feel within #

# But we don't talk about it,
and we don't call its name #

# We just carry on,
hoping it'll change #

# We know
it don't ever change #

# If my good intentions
go running wild #

# If I cause you pain,
my own sweet child #

# Won't you promise me
you'll be the one #

# My silver bullet
in the gun? #

# #

- Yeah, let's get twisty!

all: [vocalizing]

# #

- # If my good intentions
go running wild #

# If I cause you pain,
my own sweet child #

# Won't you promise me
you'll be the one #

# My silver bullet
in the gun? #

# And would you strike me down
right where I stand? #

# Would you change me back,
make me kind again? #

# Won't you promise me
you'll be the one #

# My silver bullet
in the gun? #

# #

[indistinct chatter, laughter]

[instruments tuning]

["When You're Wrong" playing]

# #

# "Don't go
borrowing trouble" #

# That's what you used to say #

# But we don't keep in touch
the way we used to nowadays #

# Your eyes are not as bright
as I remember them to be #

# The light inside's
grown dim #

# And that's hard
for me to see #

# The creases on your forehead
run like treads on a tire #

# The white stripe running
through your bangs #

# A long twisted spire #

# You're sweeping up
the floods #

# And you've been
vacuuming the fires #

# And you lay down every night
next to a goddamn liar #

# We may be here today,
but tomorrow you're a ghost #

# I guess the most someone
could hope for #

# Is to find a place to lay #

# Someone
to tell your secrets to #

# When the nights get long
and blue #

# Someone strong enough
to lean on #

# When the roses fall away #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# When you're wrong #

# #

# When you're wrong #

# #

# When the day is winding down,
my heart abandons me for you #

# You forgot yourself
so long ago #

# And I wish I could, too #

# But you live inside
a quiet hell #

# No one can pray away #

# Leaving would be easy #

# I understand why you stay #

# Well, you may be here today,
but tomorrow you're a ghost #

# I guess the most someone
could hope for #

# Is to find a place to lay #

# Someone
to tell you secrets to #

# When the nights get long
and blue #

# Someone strong enough
to lean on #

# When the roses fall away #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# When you're wrong #

# #

# When you're wrong #

# #

# Oh, oh, oh #

# #

all: [vocalizing]

# #

# You'll be wrong
if you were thinking #

# We all don't fade away #

# Like dewdrops in the dawn #

# Like sunbeams
through the haze #

# It's a long way
to be sinking #

# Holding tightly
to the weights #

# Of the one
who holds you down #

# While you slowly waste
your days #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# Someone strong enough
to love you when you're wrong #

# When you're wrong #

# When you're wrong #

# #

[vocalizing]

# #

Whew!

[laughter, applause]

[indistinct chatter]

Everybody's clapping for you,
but I'm going to be the--

I'll be the one
doing it here live.

Oh.
[telephone rings]

That might be my wife.
Hang on, I've got to take this.

Hello? Yeah?
- Wow, that was powerful.

- That was heavy, wasn't it?
- Heavy, yeah, amazing.

Well done, everyone.
- Thank you very much.

- Okay, I'm going
to ask a lighter question.

- Okay. All right.

- So this is
Steve Mason from...

- Steve Mason.

- The IMAX theater
in our hometown of Seattle.

- [British accent]
Seattle?

- Seattle. Seattle.
- Seattle?

- So he wants to know, what's
more important to you--

your six Grammy Awards
or your fishing boat.

Answer carefully.

- [normal voice]
He wants to know,

what's more important to me,

my six Grammy Awards
or my fishing boat?

- Yeah.

[laughter]

Well, that doesn't even deserve
a goodbye,

because for one thing,

she knows the answer
to that question,

which is that,
without my six Grammy Awards,

I wouldn't have a fishing boat.

[laughter]

- You might have a boat.

- I might have a boat,
but I'd be up shit's creek

without a paddle.

Tanya Tucker just took over
my soul for a second there.

Okay, well, I think there
should be another question.

But it was a good one.
Good job, Steve.

Yeah.
[telephone rings]

Mm, hello?
[laughter]

I answered
as my grandma Dolores.

- Hello.
- Hello, baby.

What's going on, honey?
- I have another question.

- Okay.

- So Joy Thornton,

who is watching from
the Texas State History Museum

in Austin, Texas,
would like to know...

- Austin, Texas?
All right, Joy.

- This is an amazing question.
- Okay.

- Brandi, I've always
really admired your activism,

and I love the message
of "Stay Gentle."

It's almost
like a mantra to me now.

But how do you stay gentle

when your fundamental
human rights are under attack?

- Joy--Okay.

Baby, I'm going to hang up,
and I'm going to answer Joy.

All right.

Joy likes the message
of "Stay Gentle,"

but she wonders how I could
stay gentle,

or how any of us
could stay gentle,

when our basic human
and civil rights

are constantly being challenged

and you know, drug
before the Supreme Court

in the country
that we're living in.

And I guess
that I would approach the--

First of all...

I'm looking at the set list,
and I feel, Catherine,

that this is
a little bit manipulative,

like you might
have chosen this question

out of the other questions

because you knew we
were about to play this song.

But I'm here for it.

I wouldn't confuse

the word "gentle" with apathy

or being inactive in some way.

Gentle activism isn't polite.

Being gentle, I think,
is something that you do

to yourself, first of all,

and something that you do
for yourself,

because allowing yourself
to become hardened

while you fight injustice

is like losing just a little
bit to the powers that be.

So staying gentle
is not something

that we do for others' sakes.

It's something that we do
for ourselves, I think,

and for God--

in my case, anyway.

That was a perfectly timed
question, wasn't that?

- Mm.
- Beautifully answered, too.

- Oh, thank you.

I've thought about it a lot,
because I've always worried,

you know, especially
when we played,

like, Austin, Texas, or
Dallas, Texas, this summer,

singing "Stay Gentle"
and wanting to dedicate that

to the audience, you know,
with my...

[sighs]

Hope, reverence, and belief
that people that are living

in places in this country right
now that are hard to live in

would be able to stay gentle,

but I was always worried
that that message

would come across as, like,
don't fight, you know?

Don't be tough,
don't resist.

And it's the opposite of that.

I think staying gentle
for yourself and to yourself

are principal
to what I mean in that song.

I think we should sing it.

I hear a helicopter
in the background,

but it might make
a great accompanist.

Are you taking my jacket?
What a gentleman.

Chivalry's not dead

in Laurel Canyon,
ladies and gentlemen.

[chuckles]

All right, Kyleen,
how you feeling?

- I feel great.

- Kyleen wrote this arrangement
from the ground up.

["Stay Gentle" playing]

# #

# Stay gentle,
keep the eyes of a child #

# Don't harden your heart
or your hands #

# Know to find joy
in the darkness is wise #

# Although they will think
you don't understand #

# #

# Don't let the world
make you callous #

# Be ready to laugh #

# No one's forgotten about us #

# There is light on your path #

# Stay gentle,
keep the eyes of a child #

# And wear your heart
on your sleeve #

# Know to find joy
in the darkness is wise #

# Although they will think
you are naive #

# #

# Don't let 'em lower
your shoulders #

# Love 'em more
while they try #

# Grow younger
while you're growing older #

# Be amazed by the sky #

# Darlings,
stay wild if you can #

# The girls with the world
in your hands #

# The kingdom of heaven
belongs to a boy #

# While his worry
belongs to a man #

# #

# Stay gentle, stay gentle #

# The most powerful thing
you can do #

both: [vocalizing]

# #

- # Oh, gentle,
unbreakable you #

# #

["Sinners, Saints and Fools"
playing]

# #

# Where the winds of change
were blowing #

# There lived
a God-fearing man #

# He was turning
through his Bible #

# When he came up with a plan #

# He painted up a sign and
held it high above his head #

# Waved it proudly in the air #

# And this is what it read #

# You can't break the law #

# There are reasons
for the rules #

# They keep things safe here
for everyone #

# You sinners, saints,
and fools #

# The poor and huddled masses
who are hungry and afraid #

# You got to do it
by the book #

# And there'll be
no exceptions made #

# #

# To the weary, desperate souls
who washed up on the sand #

# He said, we haven't
seen your paperwork #

# And he withdrew his hand #

# But he never felt any safer #

# All the peace he hoped
he'd find #

# Oh, and up
until the day he died #

# He never changed his mind #

# You can't break the law #

# There are reasons
for the rules #

# They keep things safe here
for everyone #

# You sinners, saints,
and fools #

# The poor and huddled masses
who are hungry and afraid #

# You got to do it
by the Book #

# And there'll be
no exceptions made #

# #

# By the time he got to heaven,
it was surrounded by a wall #

# The pearly gates
were locked up tight #

# The golden chains and all #

# They said, we cannot let just
anyone walk in here anymore #

# You didn't do it
by the book #

# And then they pointed
to the floor #

# You can't break the law #

# There are reasons
for the rules #

# Oh, they keep things
safe here for everyone #

# You sinners, saints,
and fools #

# The poor and huddled masses
who are hungry and afraid #

# You got to do it
by the book #

# And there'll be
no exceptions made #

# #

One, two,
one, two, three, four!

# #

SistaStrings!

# #

both: [vocalizing]

# #

[cheering]
- Yeah, Sistas!

[laughter]

- Yeah!
[chuckles]

Killer!
- Whoo!

- Whoo!

[telephone rings]

- Oh, boy.

Hello?
- Hello. It's me again.

- Hello, Catherine.
What a surprise.

- That was insane.

- Oh, it was insane, wasn't it?
[chuckles]

My heart's pounding.
[laughter]

- Those SistaStrings,
I tell you.

- Oh, I know.

- So I actually have
a question

relating to SistaStrings.
- Okay.

- So Missy Clark,
who's watching

from the Regal IMAX theater
in Atlanta, Georgia...

- Okay.
- Would like to know--

I'm a huge fan of
SistaStrings--aren't we all?

- Yep.
- She said--

This is interesting--she's
quoting Malcolm Gladwell,

but she says,
they have clearly put in

their 10,000 hours.
- Oh, yeah.

- Who inspired them
to get into music?

- Oh, you know, I know
the answer to this question,

but I'm actually going to walk
over to them with my mic

and let them holler at you--
hang on a second.

- All right.

- [clears throat]

Okay, I hope this
is going to work.

We're taking a risk here,
friends.

Hand them
the golden microphone.

- I was gonna say--

I've been wanting
to get my hands on this thing.

I've been wanting to get
my hands on this thing,

so this is wonderful.
[laughter]

Yes, I started violin

copying off of my oldest
sister, Rakeena.

I just was a copycat
of whatever she did.

And she doesn't even play
violin now, so, thanks, sis.

- [laughs] Yeah, definitely
copying our older sister.

Chauntee and I were
always paired as two,

so we did everything together.

We're the two youngest of five,
we were homeschooled,

and we all did music,
so thank you, Mama.

Oh, our amazing mom
that loves to come

to our shows and holler
and heckle at us

and tell us what to play,

even though we have setlists
planned--it's great.

We adore her, but she
raised five children

who are all musicians.

We love you, too, Dad.
[laughter]

- Man, their mom came out
to a show recently

we were doing in Nashville
at City Winery,

and she sat out in the audience
heckling them all night,

telling them what song to play,
what key to play it in.

Yeah, they'd be playing--
they were like, Mom, stop it!

And she'd go, come on,
Black babies!

Come on, Black--
[laughter]

- Yep, yep.

- In, like,
the whitest room ever.

And I was like, yeah, bring it,
SistaStrings' Mom.

[laughter]

[strumming guitar]

Man, I'm definitely inspired
by your all's mother,

and I'm inspired
by you two as well.

# #

[telephone rings]

Now what?
- [laughs]

- It reminds me of when
I used to play golf.

This used to happen
the whole time.

Hello?

- I'm sorry,
but there are a lot of people

watching tonight, all right?
- Okay, okay.

All right, I've got
another question for you.

- Okay, what's that?

- Well, since you're about to
do this very beautiful version

of "Throwing Good
After Band"--

"Bad," I should say,
three-part harmony,

Jordan Marks from
the IMAX theater in Chicago...

- In Chicago, cool.
- Yeah, shout-out to Chicago.

- Shout-out to Chicago!
- Is wondering if--

You and the twins
have been together in a band

for so many years now,

and in her opinion,
you three

are the best three-part
harmony singers out there.

all: Ooh!
- Thank you.

- I mean, I wouldn't disagree.

But are things always
harmonious at home

on the compound?

[laughter]

- Next question.

- Pass.
No.

You take this one, twins.

- Pretty harmonious, I'd say,
like, yeah, 98% of the time.

- Yeah.

- You know, unless you
need the wood splitter

and Brandi hasn't returned it

to where
the wood splitter goes.

[laughter]
- And left it out in the rain

because it's too heavy
for me to move.

- No, we get along great.

- Yeah, for people
that don't know,

we live together
like a benevolent cult...

in the Cascade foothills
outside of Seattle, Washington,

and we've lived together
for quite a few years now.

And we spend a lot
of time together

when we're not on the road
and when we are on the road.

And I mean, "harmonious"
is such a funny word

because there are times
when we'll get together

and sing three-part harmony,
like, on the I.

And we'll do
"Helplessly Hoping"

or a CSN song.

And I'll think
that it was out of tune,

or it was out of pitch, or
you know, it was out of time,

or something wasn't
right about it.

And then I'll look back
on the performance,

and I'll watch it,

and I'll see that it
was fully harmonious,

and that any imperfection
there, I think,

only made us human as singers.

And anytime
we perceive imperfections

in our relationships, I think,
or our family bond

in all this time
that we've spent together,

I think when we look back on
them at the end of our lives,

we'll see them as, like, some
of our most triumphant moments

or the moments that the most
beautiful songs came from,

you know?

I don't think we've ever
had a really gnarly fight.

- But we're family,

so even the disharmonious
stuff's harmonious, you know?

- Yeah, and we still
could have a gnarly fight.

[laughter]

[strumming guitar]

# #

This is probably the most
Laurel Canyon-influenced

reworking of any song
on "In the Canyon Haze."

And I absolutely
love this rework.

I like it better
than the original.

And there were a few times
I like the rework better

than the original, but--

[strumming guitar]

And, actually,
reworking this song

is how I knew we had
to get Jess and Holly

to come out and sing with us,

because we've been on tour with
these guys all summer long,

and they put out
a beautiful album this year

called "Second Nature."

And there's just really nothing
like these harmonies,

this huge family of harmony.

I cannot get enough of it.

And we were
reworking this thing.

And we wanted that
Mamas & the Papas, you know?

# All the leaves are brown,
and the sky is gray #

all:
# And the sky is gray #

- And I just knew that this
would be the one

for the call-and-answer
all-part harmony.

And my friends, ladies,
it's been a real pleasure

to sing this show with you.

I'll never forget it.

And I think I even have it on
tape somewhere, they told me.

[strumming guitar]

Ready, boss?

- All right.
- Yeah.

["Throwing Good After Bad"
playing]

# #

Yeah.

all:
# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh,
ooh, ooh, ooh #

# I know you're leaving me #

# I know I'm not your home #

# You want a movie dancer #

# You want blood from a stone #

# But I'm onto you #

# And you will pour your heart
into any shimmering fad #

# Throwing good after bad #

# People get addicted to #

# The rush, the chase,
the new #

# Just hoping that
all that chaos #

# Will lead to something
like this #

# I'll get over you, but you
won't be home until you do #

# You won't find what you had #

# Throwing good after bad #

# And I'll always feel
a little left behind #

# But that lying wind
that calls your name #

# Will leave you flying blind #

all:
# Leave you blind #

- # And are you fantasizing? #

# You're taking us
for granted #

# I know you're bored #

# You always say
I'm heavy-handed #

# You got a beautiful mind
and the soul of a coyote #

# Hunger driving you mad #

# Throwing good after bad #

# Hunger driving you mad #

# Throwing good after bad #

all:
# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh, ooh,
ooh, ooh #

- # I know you loved me once #

# You were something to prove #

# I was an unfinished song #

# You were nothing to lose #

# I'm a dandelion #

# And when my color suited you,
you allowed me to grow #

# But you know when you know #

# And now the party's over #

# And you're dancing alone #

# You've been spinning
round forever #

# The band have all gone home #

# And you're fantasizing #

# You're taking us
for granted #

# I know you're bored #

# You always say
I'm heavy-handed #

# You got a beautiful mind
and the soul of a coyote #

# Hunger driving you mad #

# Throwing good after bad #

# And you got a beautiful mind
and the soul of a coyote #

# Hunger driving you mad #

# Throwing good after bad #

# Hunger driving you mad #
all: # Hunger driving you mad #

- # Throwing good after bad #

# Hunger driving you mad #
all: # Hunger driving you mad #

# Throwing good after bad #

# Hunger driving you mad #

# #

all:
# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh #

# Ooh, ooh, ooh, ooh, ooh,
ooh, ooh #

# Ooh, ooh, ooh, ooh #

[cheers and laughter]

[instruments tuning]

- Anybody that went today
and listened to,

streamed, or bought
"In the Canyon Haze"

is asking themselves,

why did she put a David Bowie
song at the end of this thing?

[laughing]

Well, because, you know,

I've always loved doing things
that are slightly incongruent

to where, you know, I feel
at any given time musically.

And when I think
about David Bowie,

Elton John, and Queen
and Annie Lennox

and some
of the glam-rock elements

that we've been bringing into
our music these last few years

that have given me so much joy
and fulfillment onstage--

and, you know, it's given me
the excuse

to dress really flamboyantly

and embrace
my inner Elton John--

you know, I feel that that's
the path for us musically.

But when we got to do this
as a project...

it was really special.

And it was amazing

to kind of just get it
out of our systems, you know?

The influence is right there.

I've been spending such a lot
of time with Joni Mitchell.

And I wanted to
just really go there

unabashedly, unapologetically,

and embrace this sound
in our music.

But kind of at the end
of the album,

I wanted to have something
where I said, just kidding.

[laughter]

Just kidding.
Here's some glam rock for you.

So we threw this one at the end
of it, just for some contrast.

And we're going
to do it tonight.

[strumming guitar]

[David Bowie's "Space Oddity"
playing]

# #

# Ground Control to Major Tom #

# #

# Ground Control to Major Tom #

# #

# Take your protein pills
and put your helmet on #

# #

# Ground Control to Major Tom #

# #

# Commencing countdown,
engines on #

# #

# Check ignition, and may
God's love be with you #

# #

# This is Ground Control
to Major Tom #

# You've really
made the grade #

# And the papers want to know
whose shirts you wear #

# Now it's time
to leave the capsule #

# If you dare #

# Oh, this is Major Tom
to Ground Control #

# I'm stepping
through the door #

# And I'm floating
in the most peculiar way #

# And the stars look
very different today #

# For here #

# Am I sitting in a tin can #
all: # Sitting in a tin can #

# Far above the world #

# Planet Earth is blue #

- # And there's nothing
I can do #

# #

# Though I'm past
100,000 miles #

# I'm feeling very slow #

# And I think my spaceship
knows which way to go #

# Tell my wife
I love her very much #

# She knows #

# Ground Control to Major Tom #

# Your circuit's dead,
there's something wrong #

# Can you hear me, Major Tom? #

# Can you hear me, Major Tom? #

# Can you hear me, Major Tom? #

# Can you-- #

# Here am I floating
in a tin can #

all: # Floating in a tin can #

- # Far above the moon #

# Planet Earth is blue #

# And there's nothing
I can do #

# There's nothing I can do #

# There's nothing I can do #

# #

# There's nothing I can do #

# Ooh, ooh #

# There's nothing I can do #

# There's nothing I can do #

# There's nothing I can do #

# There's nothing I can do #

# Oh, oh #

# Nothing I can do #

# Nothing I can do #

# There's nothing I can do #

# There's nothing
I can do, no #

# #

Glam rock in the canyon.

Ah, this has been high energy,

high tension.

We put some pressure
on ourselves tonight.

I hope that everyone has had
an amazing time.

Our amazing director,
Sam Wrench,

and our incredible
crew out there,

they came up with the idea
of doing this all in one shot.

I mean, there's this big camera
out here on a big stand,

and it's moving
some of the time.

But sometimes it's just a guy
with a camera,

and I'm watching
him, like, back up,

and I'm so afraid he's going to
fall down, because if he does,

the only camera that's on us
would then fall down.

And so every single person here
took a risk,

and I just want to say,
it was incredible.

And I hope that everybody
at IMAX has loved it

as much as we have.

And we're going to take
another risk right now

because we have left
our final song

up to the audience.

So that phone is going to ring,

and it's going to
tell us what to play,

and all we can do is hope
it's not "Bohemian Rhapsody."

[telephone rings]

Hello, darling.

- Hello.
Congratulations.

- Thank you.
- That was incredible.

- How'd we do, sweetie?
- Amazing.

- Yeah?
- I approve.

- You did really well, too.
- Oh, thanks.

Moving on...

- [British accent]
Moving on...

Don't compliment me.
I'm British.

- So it's
Jonathan Meyers' lucky day.

- Okay, Jonathan Meyers.

- Because guess where
he's put his question in from?

- Where?

- He is watching
in the Cineplex in Saskatoon,

the IMAX theater in Saskatoon.
- What?

Okay, I think I know
what's going to happen.

Okay, which one is it?
- Well...

- Which Joni song is it?

- I mean, of course,
it's "Woodstock."

- [sighs]

- Because you're
in her stomping ground,

it's got to be "Woodstock."

- Okay, well,
"Woodstock" it is.

We can do that,
right, my friends?

We've been doing
this all summer long.

Let me just see if I can get
an electric guitar.

Everybody just hang on.

- Best of luck, everyone.
- Nobody go to the bathroom.

[instruments tuning]

Hang on. Let me just test that
guitar out

because
I haven't played it yet.

Make sure it's on.

- [strumming guitar]

- I don't know.

Should I turn
the distortion pedal on?

- All the way on.
[feedback whines]

- Ooh!
[laughter]

[feedback whines]
- Okay.

[laughter]

Okay.

All right, Phil, are you going
to go to that keyboard?

Okay.
Is everybody ready for this?

All right.
[clears throat]

[Joni Mitchell's "Woodstock"
playing]

# #

Philip, why don't you give them
your long intro?

Don't worry.

Nobody's going anywhere.

Mr. Phil Towns.
- Whoo!

- Yeah!

# #

- Yes, Phil!

# #

# I came upon a child of God #

# He was walking
along the road #

# So I asked him,
where are you going? #

# And this he told me #

# #

# He said, I'm going
down to Yasgur's Farm #

# I'm going to join
in a rock-and-roll band #

# I'm gonna sleep
up on the land #

# I'm gonna set my soul free #

# #

# We are stardust #

# We are golden #

# And we've got to get
ourselves #

# Back to the garden #

# #

# Then can I walk beside you? #

# I have come here
to lose the smog #

# And I feel to be a cog #

# In something turning #

Yeah, it's turning.

# #

# Well, maybe it's the time
of year #

# Or maybe it's the time
of man #

# Well, I don't know who I am #

# But you know that
life is for learning #

# #

# We are stardust #

# We are golden #

# And we've got to get
ourselves #

# Back to the garden #

# #

# By the time we
got to Woodstock #

# We were
half a million strong #

# And everywhere there were
songs and celebrations #

# Celebrations #

# #

# And I dreamed
I saw the bombers #

# Riding shotgun in the sky #

# And they were turning
into butterflies #

# Above our nation #

# #

# We are stardust #

# Billion-year-old carbon #

# We are golden #

# Caught
in the Devil's bargain #

# And we've got to get
ourselves #

# Oh, we have got to get
ourselves #

# Oh, we have got to get
ourselves #

# Back to the garden #

# Yeah! #

# Whoo! #

# #

[all cheering]

Yeah!
[laughter]

Well, I don't know
how that translated,

the rock-and-roll moment.

We definitely took it
into the canyon

on another level, didn't we?

We have had an incredible time.

This put us
in a kind of pressure

that I think that we all need
and made me feel really alive.

And I want to thank
everybody in this band

for going through this with me.

This is such a special thing
that we just did,

and we're always going to
be able to remember it.

I want to thank Sam Wrench,
the incredible Sam Wrench,

who conceptualized
so much of this,

IMAX,

my crew, who is exhausted
and has been getting up

at the crack of dawn to come
out here and sweat in the sun.

[cheers and applause]

And I want to thank my wife,
Catherine Carlile.

And I want to thank
the great icons and legends

of the Canyon

for influencing us so deeply

and giving us so many things
about Americana music

that we love.

It's been an honor
and a pleasure.

We love y'all.

Bye!
- Bye!

- See you next time.

- Laurel Canyon!
[all cheering]

- Yeah!
[excited chatter]

- It was excellent!

- That was great.
- Yeah!

- That was, like, the best
we've done everything so far.

- Yeah, it was.

[continues indistinctly]

[all cheering,
shouting happily]

[chatter continues]

[bright tone]