Listening to Sarah McLachlan perform live is a lot like listening to her records. Like 1999's multi-platinum-selling Mirrorball, Afterglow Live relies on the breathy Canadian's fluid and faultless vocals and performances – by McLachlan and band alike – that are so spot-on that they may well have been cut in the studio…

Live Acoustic (Nettwerk) is an EP by Sarah McLachlan. It was released on 31 May 2004 in Canada only. Four of the tracks were recorded live at a "Live from the Lounge" event with Ryan Seacrest for radio station Star 98.7 on 7 October 2003…

Released at the front end of 1999's Lilith Fair, Mirrorball is a take-home sampler of the live performances that catapulted Sarah McLachlan into the modern rock stratosphere. Over half of the album's 14 songs are radio hits (including four of the first five), proving McLachlan's worth as a pop songstress bar none, but also hinting at an underlying stagnation in her recent musical output…

On the verge of breaking the mainstream with 1994's Fumbling Towards Ecstasy, McLachlan released this live concert as a limited edition EP to promote her North American tour. Taken mostly from Solace, these seven songs are beautiful, ambient tracks that are not complimented by their live setting…

In 1996, before she had blown up into the AAA luminary she later became, Sarah McLachlan issued the first volume of Rarities, B-Sides & Other Stuff, which was a nice, albeit remix-heavy, collection of some of the Canadian chanteuse's harder to find material…

Dedicated fans of Sarah McLachlan had a lot to buy in 2008, when the Canadian songwriter issued three retrospective albums. Rarities, B-Sides & Other Stuff, Vol. 2 led the pack in April, followed by a deluxe edition of Fumbling Toward Ecstasy several months later. Closer: The Best of Sarah McLachlan brought up the rear, arriving in October and compiling McLachlan's greatest hits along with two new songs…

In the time it took her to release her first three proper albums, Sarah McLachlan put out nearly as much music as B-sides, singles, or stray tracks for compilations and soundtracks, leaving no easy job for fans wanting her entire output…

The relative intimacy of the Storytellers stage is appropriate for an artist like Sarah McLachlan, who in the course of this 10-song, 55-minute performance establishes an easy and close rapport with her audience. In truth, empires will neither rise nor fall, and few lives are likely to be changed, on account of McLachlan's music…

Solace is at once comforting, mysterious, expansive, timeless, and familiar. The sophomore jinx was certainly eluded here, as McLachlan sets forth a superior collection of songs and performances with the help of longtime producer Pierre Marchand. The opening track, "Drawn to the Rhythm," serves its title well and does the job of luring you in. Intelligent, intriguing lyrics and lilting melodies abound, whether amidst the pulsing rhythms of "Into the Fire" and "Back Door Man" or the quietly profound stories of "Home" and "Shelter." Although pretty much all of the tunes will grab you at one point or another, "The Path of Thorns (Terms)" and "I Will Not Forget You" are especially memorable, the latter not to be confused with McLachlan's "I Will Remember You," which appears on the 1995 soundtrack for The Brothers McMullen. Solace is a wonderful record that offers a glimpse of the astounding talent of a young Sarah McLachlan.

Released at the front end of 1999's Lilith Fair, Mirrorball is a take-home sampler of the live performances that catapulted Sarah McLachlan into the modern rock stratosphere. Over half of the album's 14 songs are radio hits (including four of the first five), proving McLachlan's worth as a pop songstress bar none, but also hinting at an underlying stagnation in her recent musical output. Though fans of McLachlan and folks who missed her Lilith performances will likely enjoy Mirrorball, it's a little too by-the-book to win any converts or please critical listeners. There is little dialogue between songs, for example, and the sound quality is so pristine that if it weren't for the occasional hoot and holler from the audience, one would never know it's a live album.