Live at Benaroya Hall with the Seattle Symphony is the fourth album by American singer-songwriter Brandi Carlile, released on May 3, 2011, through Columbia Records.

Seattle-based producer and audio engineer Martin Feveyear recorded the concerts, which contained orchestral arrangements by Paul Buckmaster and Sean O'Loughlin.

Live at Benaroya Hall with the Seattle Symphony was recorded at two sold-out shows in November 2010 during Carlile's tour in support of her previous studio album, Give Up the Ghost (2009).

[2][3] Carlile, who said that she and the band had always wanted their fourth release to be a live album, had initially hoped to record at a famous venue but decided to return to Benaroya Hall, since she had performed there alongside the symphony in 2008.

[6] Carlile's band included long-time members (and brothers) Phil and Tim Hanseroth on guitar and bass, Josh Neumann on cello, and Allison Miller on drums.

[6] Carlile, a fan of the "dark" string arrangements that appear on John's album Tumbleweed Connection (1970), contacted Buckmaster on the advice of her manager.

[6]The number of cover songs, which play a prominent role in Carlile's live act, represented what she typically includes in a concert.

[5] Carlile said that she felt as though she were a member of The Beatles when the audience stood and loudly sang the words to "Dreams",[11] and that "Before It Breaks" and "I Will" were emotionally the most difficult to perform.

[2] During the concert, the band experienced technical difficulties, and a bra thrown from the audience, intended for the drummer, hit Carlile on stage.

Nick Vissey of The Seattle Times wrote that "standout" tracks included "Dreams" and "Pride and Joy", which highlighted Carlile's "unique folk-rock style" and "enthralling, emotional and fun" voice.

[2] The Hanseroth brothers' cover of Paul Simon's "The Sound of Silence" was deemed "spot-on" by Allmusic's Andrew Leahey and "breathtaking" by Gene Stout of the Seattle Post-Intelligencer.

[10] Glide magazine's reviewer complimented Carlile's "authentic and raw" vocals and appreciated that recorded flaws were not covered up.

[16] The magazine's contributor Jeff Leven wrote that though the album was "over-stacked" with cover songs, it was "anthemic" and "captivating", and that Carlile's passion was "overwhelming and contagious.