When singer-songwriter Sara Bareilles welcomed fellow troubadour Rufus Wainwright on stage at the Kennedy Center to sing “She Used to Be Mine,” the result was nothing short of magical. This unique collaboration – part of Bareilles’ New Year’s Eve concert with the National Symphony Orchestra – became a viral sensation and an emotional high point of the night. Bareilles, a “pop icon, multi-faceted artist and activist,” and Wainwright, a “trailblazing power-tenor” with a genre-blending style, joined forces to reinvent the Waitress anthem.
The performance captivated the sold-out concert hall and soon the internet, proving that when two master storytellers meet, sparks fly.
Setting the Stage: A Special Night at the Kennedy Center
This show took place on December 31, 2024, as part of PBS’s Next at the Kennedy Center series.
The evening was a career-spanning celebration of Bareilles’ music, backed by the National Symphony Orchestra and featuring special guests. Rufus Wainwright was one of those guests, stepping into Bareilles’ world for a much-anticipated duet. Bareilles has seemingly done it all – from penning chart-topping pop hits to starring on Broadway – but even she had never performed an orchestral concert of her own music until this moment. Wainwright, an acclaimed singer-songwriter himself, was an inspired choice of partner for this song. In fact, Bareilles was a long-time admirer of his, she revealed, describing how a casual Instagram exchange led her to boldly invite him to sing with her – an invitation that “he said yes” to, much to her delight. It was an unexpected pairing of two distinct artists, brought together by mutual respect and the promise of creating something special.
This was the first time I got to meet Rufus Wainwright. I have been a super fan of his since I was in my late teens,”
The song they chose could not have been more fitting. “She Used to Be Mine” is the soul-stirring ballad Bareilles wrote for the Broadway musical Waitress. It’s the emotional centerpiece of the show – a “critically acclaimed musical theater super-hit” as PBS describes it – known for reducing audiences to tears with its raw honesty. By performing it as a duet, Bareilles and Wainwright aimed to shed new light on the song’s emotion. The Kennedy Center audience, full of devoted fans, instantly understood they were about to witness a once-in-a-lifetime interpretation of a modern classic. Little did everyone know, the two singers had only met in person that week and – remarkably – only rehearsed the song once together before performing it live. Perhaps that spontaneity added an extra edge of excitement; what unfolded on stage was a moment of pure musical synergy that felt both fresh and deeply assured.
Sara Bareilles – A Storyteller at the Piano
To appreciate this performance, it helps to know each artist’s background. Sara Bareilles is often praised for her storytelling in songwriting and her warm, powerhouse vocals. Breaking through with the 2007 hit “Love Song,” she built a career on piano-driven pop melodies that balance clever craft with confessional heart. Her style draws from pop, soul, and even folk influences, but above all, she has a theatrical streak – evident in the emotional arcs of her songs and her later foray into musical theater.
Career Highlights: Bareilles is a true multi-hyphenate. Some standout accomplishments include:
- Chart-Topping Songs: Bareilles achieved multi-platinum success with singles like “Love Song” and “Brave,” showcasing her knack for catchy melody and relatable lyrics.
- Broadway Composer & Star: She wrote the music and lyrics for the Broadway musical Waitress (2016) – earning a Tony nomination – and even took on the lead role herself in an acclaimed run. In 2022, she wowed Broadway again as the Baker’s Wife in Into the Woods, for which her performance (and soaring vocals) earned rave reviews.
- Acting & Television: Bareilles co-created and starred in the comedy series Girls5eva and has appeared in live TV musicals, proving her versatility on screen as well as on stage.
Beyond the resume, Bareilles is beloved for her down-to-earth personality and authenticity. She often writes about self-doubt, hope, and empowerment with disarming honesty. (It’s no surprise she’s also an outspoken activist for causes like women’s rights and LGBTQ+ equality.) On stage, she radiates a generosity of spirit – the kind of performer who makes a concert hall feel intimate. All of these qualities shine through in “She Used to Be Mine,” a song Bareilles has called “a page out of my diary” in its deeply personal nature.
Small wonder that with Bareilles at the helm, the Kennedy Center audience was prepared for an emotionally truthful performance.
Rufus Wainwright – The Trailblazing Troubadour
Rufus Wainwright, on the other hand, brings a different flavor of artistry. If Bareilles is a pop storyteller with a Broadway soul, Wainwright is often described as a baroque-pop or operatic troubadour – a singer-songwriter who fuses classical influences and theatrical flair into contemporary songwriting. He came up in the late ’90s as a critical darling, acclaimed for his lush melodies, poetic lyrics, and a voice that can be both tender and grand. Wainwright’s vocals are distinctive: a rich tenor with a sweeping range (PBS aptly calls him a “trailblazing power-tenor”) that can crest into a delicate falsetto. There’s a dramatic, almost old-world cabaret quality to his performance style, which made him a fascinating complement to Bareilles on this song.
Career Highlights: Wainwright’s career has been marked by bold artistic ventures and widespread respect from his peers. For example:
- Critically Acclaimed Albums: His early albums like Poses (2001) and Want One (2003) earned him a devoted following. Rolling Stone and other outlets praised his songcraft, and his song “Hallelujah” (a cover of Leonard Cohen’s classic) became widely known, introducing his voice to many new listeners.
- Genre-Blending Projects: Wainwright has never been confined to pop/rock – he composed a full-length opera (Prima Donna, premiered in 2009) and famously recreated Judy Garland’s 1961 Carnegie Hall concert in a live tribute performance. These projects highlight his love of classical music and stage tradition, woven into his identity as a modern singer-songwriter.
- Accolades and Influence: Fellow musicians hold Wainwright in high esteem. Even Elton John once hailed him as “the greatest songwriter on the planet” – high praise that underscores Wainwright’s songwriting prowess and unique voice in the music world. He’s a true artist’s artist, unafraid to take risks and chart his own path.
Personally, Rufus Wainwright is known as an expressive, candid performer. He was one of the first openly gay male artists to achieve mainstream success in pop, and he’s used that platform to advocate for LGBTQ+ representation. On stage, he often dresses flamboyantly and engages audiences with witty banter and emotional vulnerability in equal measure. All of that distinctive character – the romance, the drama, the vocal agility – he brought with him to the Kennedy Center for this duet. Bareilles joked that her criteria for inviting guests was basically “who’s a great hang,” and Wainwright fits the bill.
More importantly, she knew his artistic sensibilities and emotive voice could meet her song on equal footing. As Bareilles said, “I was kind of shocked [he agreed], but over the moon” to have him join. With Wainwright on board, her beloved ballad was about to get a gorgeous new twist.
How and Why This Collaboration Happened
So how did these two end up singing “She Used to Be Mine” together? The seed was planted by fate (and social media). In a fun anecdote, Bareilles shared that she once posted a video of herself wearing a Rufus Wainwright T-shirt – which caught Wainwright’s attention online.
The two exchanged messages, and Bareilles half-jokingly dared him to let her collaborate someday. When she began planning her Kennedy Center orchestral concerts, she saw the perfect opportunity and invited him as a guest. “He said yes,” Bareilles recounted, still sounding a bit amazed at her luck. It was a fan’s dream come true for her – getting to sing with an artist she idolized – and Wainwright himself seemed excited to step into a new musical environment with Bareilles and the NSO.
Choosing “She Used to Be Mine” as their duet was a no-brainer. This song is one of Sara Bareilles’ signature pieces – the emotional climax of Waitress – and arguably her most famous ballad. In the musical, it’s performed solo by the lead character Jenna, a woman lamenting the loss of her younger self and dreams. Bareilles, however, has often noted how personal the song is to her own life, despite writing it for a fictional character. (“The circumstances are different, but [Jenna’s] personality… that feels like a page out of my diary,” she’s said.)
Because the song already carries so much of Bareilles’ heart, sharing the vocals with another singer could unlock even more depth.
Why Rufus Wainwright for this song? For one, his vocal style is ideally suited to heartfelt, melodic material. Wainwright can deliver sincerity without shying away from drama – and “She Used to Be Mine” lives in that sweet spot of quiet introspection swelling into catharsis. There’s also a thematic resonance: while the song is written from a woman’s perspective, its core sentiment is universal – reflecting on who you used to be versus who you’ve become. Wainwright, as an openly gay man and a new father (at the time), likely found his own connection to the song’s message of love and longing for one’s past self. By singing it as a duet, they essentially turned the song into a conversation or a shared confession, almost as if two halves of the same soul were speaking. Bareilles took the invitation further by arranging to have the full National Symphony Orchestra accompany them, giving the piece a sweeping grandeur.
It’s worth noting that this Kennedy Center concert was not just a one-off gig; it was filmed for television and meant to be a celebration of Bareilles’ artistry. The duet with Wainwright served as a highlight of that celebration, “a tribute to Bareilles’ contributions to music and theater,” as one outlet described the event.
In other words, Bareilles was curating moments that reflected her musical journey – and “She Used to Be Mine” is arguably the crown jewel of her songbook. Having Rufus Wainwright join her on that song showed her confidence in re-imagining her biggest hit, and her generosity in sharing its spotlight. It also symbolized how far the song had traveled beyond its origins: from a Broadway stage to a grand concert hall, embraced by another acclaimed songwriter in duet.
Musical Chemistry Onstage: Why the Performance Soared
From the moment the first piano notes and orchestral strings of “She Used to Be Mine” sounded, it was clear this performance was going to be special. Bareilles began the song in her signature style – seated at the piano, voice quiet and brimming with emotion on the opening lines. Wainwright stood at her side with a microphone, entering subtly on harmony in the first chorus. Though the duet arrangement was simple, it was profoundly effective: they traded lines occasionally, but mostly Wainwright layered his voice around Bareilles’, amplifying the feeling rather than altering the melody’s story. His vocal timbre, with that slight vibrato and ache, wrapped around her pure tone like a delicate veil. In the verses, he’d often hold back, letting her voice carry the narrative, then join on key phrases (“she is messy but she’s kind… she is lonely most of the time“) to reinforce them like an echo of empathy.
As the song progressed, you could sense Bareilles and Wainwright finding a groove – pretty astonishing given they’d only just met and had minimal rehearsal. In fact, according to one account Wainwright told the crowd beforehand that it was literally their first time performing together after just a single run-through.
Yet their artistic chemistry was immediate. They frequently locked eyes or smiled in mutual understanding of a poignant lyric. There was a palpable respect between them; neither one tried to outshine the other. Instead, they listened and responded in the moment – the hallmark of seasoned musicianship. Critics later hailed the duet as a standout moment of the evening, noting how Bareilles’ heartfelt delivery “was matched by Wainwright’s ethereal vocal quality”. It felt like two storytellers truly in conversation, merging their voices into one storytelling force.
Musically, the arrangement built slowly to an emotional peak. The National Symphony Orchestra, under conductor Steven Reineke, added new colors to the song’s usual piano-only backdrop. Subtle woodwinds and strings swelled in the second verse, and by the bridge the orchestra was adding weight to every surge of feeling. The dynamics were exquisite: Bareilles would crescendo from a near-whisper to a full belt, and Wainwright would either support her with a low harmony or soar above her with a high counter-melody. One especially breathtaking choice was in the final chorus – Bareilles belted the lyric “she used to be mine” with all the ache and strength in her soul, holding a climactic note, and at that very moment Wainwright slid into a high falsetto harmony above her, sustaining the word “mine.” The effect was spine-tingling. His voice floated like a ghost of Jenna’s past self, augmenting Bareilles’ passionate cry with a haunting parallel emotion. It’s a brief moment, but it gives goosebumps – you can feel the emotion as the two voices entwine. (For a taste of this chill-inducing climax, watch around 3:20 in the performance video to witness that harmony.)
Beyond the vocal techniques, what made the performance so masterful was its emotional transparency. Both artists committed 100% to the lyric. Bareilles, as the song’s writer, delivered every line as if confessing it anew. Wainwright, coming into a song he didn’t write, nevertheless gave himself over to its story – you can see him close his eyes on certain lines, almost becoming the character or perhaps channeling his own life experiences through the words. The authenticity of their interpretation was unmistakable. As one reviewer raved, “This wasn’t just a song; it was pure, heart-wrenching storytelling, packed with raw vulnerability and soul-shaking harmonies.”
Indeed, the duet transcended a typical concert number; it felt like a piece of theater, a shared emotional journey that the audience was lucky enough to witness.
When the last notes faded, there was a brief moment of awed silence before the Kennedy Center crowd leapt to their feet in a fervent standing ovation. You can imagine people blinking back tears. Bareilles and Wainwright exchanged an embraced smile – a look of we did something special here – as the audience applauded wildly. On social media, clips of the performance quickly made the rounds, garnering astonished comments from casual viewers and fellow musicians alike. (The PBS video has since racked up hundreds of thousands of views, spreading the moment far beyond the concert hall.) It’s rare that a live duet lives up to the lofty expectations of fans, but this one did that and more. One fan’s reaction perhaps said it best: “This is my favorite duet I have ever heard in my whole life – a masterful piece of art.”
Such was the impact of Bareilles and Wainwright’s combined talents.
The Song’s Resonance: Why “She Used to Be Mine” Hits Home
At the heart of this performance’s power is, of course, the song “She Used to Be Mine” itself. Since its debut in 2015, this ballad has taken on a life far beyond the Waitress musical. It has become an anthem of self-reflection and empathy, embraced by a broad audience. The lyrics describe a woman recognizing how much she’s changed – “She’s imperfect but she tries… She is gone but she used to be mine.” It’s a mournful apology and a love song to one’s own former self. You don’t have to be a pie-baking waitress or even a woman to feel the gut punch of those words. We all have moments in life where we look in the mirror and wonder where the hopeful version of us went. Bareilles captured that feeling so beautifully that the song has resonated across generations and backgrounds. “I think everybody can relate to the idea that no matter where you ended up, you ended up different than you thought you would be,” Bareilles has said, explaining why the song connects, “We all have to reconcile the differences between who you thought you would become and who you actually ended up being.”
I think everybody can relate to the idea that no matter where you ended up, you ended up different than you thought you would be.
That universal truth, wrapped in gentle poetry and soulful melody, is what gives “She Used to Be Mine” its enduring impact.
Because of this relatability, the song has inspired countless cover versions. From Broadway actors performing it in auditions, to pop stars like Kelly Clarkson belting it on TV, to aspiring singers on YouTube – everyone wants to sing this song. In fact, by 2019 Bareilles noted that “She Used To Be Mine” had already sparked “thousands of internet covers” and sing-alongs, becoming the standout number that audiences request most.
It’s rare for a theater song to break into the pop culture consciousness like that, but this one did. There’s just something healing in it. It starts as a sad solo piano ballad, almost like a diary entry, but by the end it swells into a triumphant declaration of dignity and self-worth, even in brokenness. As a listener, it’s hard not to feel seen and comforted by that journey.
Bareilles and Wainwright’s duet amplified all those feelings. By turning the solo into a shared experience, they almost made it about community – two people (and by extension the whole audience) collectively acknowledging the pain of losing oneself and the hope of finding oneself again. The orchestral arrangement added further emotional weight; those sweeping violins behind the line “for the girl that I knew” made it even more cinematic and tear-jerking. If the song normally feels like a personal prayer, this rendition felt like a universal anthem. Many viewers commented that it gave them chills or moved them to tears, even if they’d heard the song many times before. That speaks to the fresh perspective the duet brought. Wainwright’s presence introduced a new texture and a sort of dialogue, while Bareilles’ unwavering sincerity kept it grounded.
Another reason the song resonates so deeply is Bareilles’ talent for balancing darkness with light. “She Used to Be Mine” doesn’t shy away from regret, loneliness, or disappointment – “she’s not what I asked for” – but it ultimately brims with compassion. It’s about learning to love the person you are, despite the scars of life. In the Kennedy Center performance, when Bareilles and Wainwright reached the final lyric, “to be mine,” there was an overwhelming sense of acceptance, even joy. Two friends (new friends, at that!) were singing out a hard truth and simultaneously lifting each other up through it. It was a potent reminder of why we love music: it allows us to feel complex emotions in a safe, shared space.
A Masterclass in Musical Storytelling
In retrospect, the Sara Bareilles–Rufus Wainwright duet of “She Used to Be Mine” stands as a shining example of what live music can achieve at its best. It combined virtuosic skill (two exceptional vocalists at the top of their game) with emotional storytelling of the highest order. As one music publication aptly summarized, the performance was “a masterclass in emotional storytelling through song.”
Both artists brought their unique strengths – Bareilles’ crystal-clear voice and heartfelt urgency, Wainwright’s soaring range and dramatic flair – and in blending them, created something even greater than the sum of its parts. The collaboration came about almost by chance, but it felt predestined once you saw it: here were two very different singer-songwriters finding common ground in a song that speaks to the soul.
The Kennedy Center setting and orchestral backing gave the moment a grandiosity, yet Bareilles and Wainwright managed to make a large hall feel hushed and intimate, as if we were eavesdropping on a personal confession. The artistic chemistry and trust between them, despite barely knowing each other, was remarkable. You could tell they were generous performers, each one truly listening and reacting to the other. That generosity made the duet feel harmonious in more than just the musical sense – it was two human beings connecting through art.
In the end, why do we keep talking about this performance? Because it reminded everyone who watched it of the transformative power of music. A great song can carry so much meaning, and when interpreted by great artists in harmony, it can hit with almost overwhelming force. “She Used to Be Mine” already resonated with so many people; seeing Sara Bareilles and Rufus Wainwright pour their hearts into it together was a gift to all of us who have ever felt like the person we see in the mirror is a far cry from who we once were. The performance was melancholy yet hopeful, grand yet deeply personal. It was the kind of musical moment that gives you chills in the moment and stays with you long after.
As the final ovation died down that night, one thing was clear: this duet had become an unforgettable piece of music history for fans of both artists. “Celebrating Bareilles’ impact on music and theater, this moment proved just how timeless and powerful ‘She Used to Be Mine’ really is,” one publication wrote in praise.
Indeed, timeless and powerful are the perfect words. This song, and this performance of it, will continue to resonate for years to come – a masterful meeting of minds and voices that reminds us of who we used to be, who we are, and why we love music in the first place.
