Brandon Heath had his first experience at the famed Bluebird Café, a legendary Nashville hotspot for songwriters, as a teenager. More than the great music, the camaraderie between the songwriters grabbed hold of Heath. In a community of songwriters, he noticed, the songs became bigger than mere songs. They were about shared experiences and lives that are bound together in true friendship. Brandon Heath likes the little moments. Those opportunities to observe, process and act upon what he witnesses in the world surrounding him are the primary traits of a great songwriter, something Heath continues to showcase on his second Reunion Records release, What If We. Over the next few years, Heath became close friends and songwriting partners with the likes of Bebo Norman, Matt Wertz, Dave Barnes, Chad Cates, Philip LaRue and Ben Glover. He finally found the songwriting camaraderie for which he’d longed. He began to write songs for other artists, including Norman, Joy Williams and Christopher Williams. Don’t Get Comfortable is Heath’s major label debut, and it is the culmination of all of his years studying the songwriting greats.

Super-producer Dan Muckala (Backstreet Boys, Nick Lachey, The Afters) uses his pop music dexterity to mold earthy songwriting into the stellar sound that rises above the clutter of mindless radio pop without losing its larger than life hooks. Heath’s second album is a compilation of him working both solo and together with co-writers, wrote more than 40 songs in preparation for What If We, and of the 11 that finally made the cut. Heath admits the process of collaboration with people like Jars of Clay’s Dan Haseltine, Charlie Lowell, Stephen Mason, and Matt Odmark, plus award-winning writers Jason Ingram and Chad Cates, helped draw out and sharpen those individual moments. Brandon Heath toured as a guest on Aaron Shust’s 30-city Whispered and Shouted tour from early to mid 2008. The album’s first single, “Give Me Your Eyes”, became a number-one hit. It stayed at number one on R&R’s Christian CHR chart for eleven weeks in a row by mid December, ending the year as the second most played song on the format.