Elton John and Brandi Carlile Spark a New Classic with 'Who Believes in Angels'

A Bold Meeting of Icons

It’s not every day that two musical worlds crash together in such spectacular style, but Elton John and Brandi Carlile have managed just that with their new album, Who Believes in Angels. Imagine the sweeping glam-rock drama of John's classic era smashing into Carlile’s gritty, in-your-face emotional storytelling. The result isn’t nostalgia for its own sake—it’s a gutsy, flamboyant journey that feels urgent and alive, even as it tips its hat to the golden age of 1970s rock.

Manning the controls is Andrew Watt, a producer with a knack for balancing retro sensibilities and fresh, contemporary flair. He keeps the album sounding rich and punchy without letting it slide into gaudy excess or watered-down pop. Instead, there’s a real sense of craft. You can hear it right from the opening blast on “The Rose of Laura Nyro,” a prog-inspired tribute that honors its namesake’s legacy but brims with new life. John and Carlile match up perfectly—a bit like old-school duos such as Sonny & Cher or the Bowie/Queen link-up, only here the blend is more about contrast than imitation.

Tracks That Hit Hard

For fans of big anthems, the record leans into brassy, expansive sounds reminiscent of John’s Caribou and Captain Fantastic days. But Carlile’s sharp-edged vocals and fearless lyricism, co-written with Bernie Taupin, keep the whole thing grounded. When she takes the lead on songs like “You Without Me” or “Swing for the Fences,” it's raw, not rehearsed—no slick Broadway pretensions here. There’s back-and-forth energy, too; John’s theatricality gets a boost, but Carlile never lets things spiral into pure showbiz. It’s that push and pull that makes the album spark.

• The Rose of Laura Nyro: A sweeping opener paying honest tribute, setting a sincere yet glammy tone.
• Swing for the Fences: Jangly, pop-rock adrenaline—Carlile’s vocals take command, with John riffing right along.
• Never Too Late: Rings with reflective melancholy, letting both singers shine in their own light.

Not every track sticks the landing. When John closes solo on “When This Old World Is Done With Me,” it feels a bit awkward, tonally disconnected from the fiery teamwork earlier. But it’s a rare misstep. The bulk of the album is bold, emotional, and surprisingly cohesive, considering the star power and different backgrounds involved.

Critics are latching on for a reason: this isn’t just a late-career lark or a guest-spot cash-in. Who Believes in Angels sounds like a real shot in the arm for John and a clear artistic leap for Carlile. It’s proof that the old and new can slam together and turn out something that’s more than the sum of its parts—something that rocks, hurts, and sticks with you.