Elton John & Brandi Carlile – ‘Who Believes in Angels?’ album review: Carlile shines in the ambiguous pursuit of greatness

Posted On April 3, 2025April 3, 2025

THE SKINNY: Nothing is ever truly the end for Elton John. Even his farewell on the Farewell Yellow Brick Road tour didn’t feel like a true goodbye, especially for someone whose very being pulses with music, both unheard and yet to be created, waiting to be carried away by a voice that never fades. As such, Who Believes In Angels began spontaneously during a casual meal with Andrew Watt and Brandi Carlile.

Such a demand from any other artist would have likely been met with countless questions, likely about sound direction, approach, scheduling, and other logistics, but Watt and Carlile felt that the moment Elton John pulls you in on something, it should be special. In other words, a resounding “no” was never on the cards at such an immediate and commanding call for musical magic.

Equipped with a swirling concoction of varying degrees of greatness—including Watt’s unmatched production, John’s unrelenting voice, and back-and-forth lyrical collaborations between Carlile and Bernie Tapin—Who Believes In Angels should have demonstrated the very best of seasoned energy and efficiency, and while this is true in obvious ways, some moments feel a little directionless or unintentionally flat.

These aspects, however, feel somewhat convoluted, especially as the record itself seems like it should be pure stardust—floating effortlessly between nostalgia and contemporary evolution. However, many of its positives centre around Carlile’s effortless delivery, with other parts failing to capture the essence of everything that should have made it great to begin with. In the end, even greatness needs time to be fine-tuned, you suspect that such a liberty was never fussed over here.

For fans of: Brandi Carlile.

A concluding comment from my mother: “This isn’t the same kind of music I adored decades ago.”

Who Believes in Angels track by track:

Release: April 4th | Producer: Andrew Watt | Label: Interscope Records

‘The Rose of Laura Nyro’: Without much prior knowledge about how this record came to be, a song like this might feel entirely unexpected. After a while, this disconnect becomes a little more prominent, disregarding the forthcoming magic when it’s barely just begun. [1.5/5]

‘Little Richard’s Bible’: Bringing together the fundamental pieces that would eventually form ‘Little Richard’s Bible’ is what John regarded as his ultimate “breakthrough” moment, and it no doubt shines with energy and fervour, even if it feels a little harder to fall into with natural grace. [2/5]

‘Swing For The Fences’: With immediacy and a commanding burst of energy, this track effortlessly blends the best of both Carlile and John’s worlds, with a mix of layered sentimentality and pure fun that feels like a genuine snapshot of a moment in time. [3/5]

‘Never Too Late’: Keeping a firm grasp on the magic of music feels especially prominent in this song, with John delving into the kind of instantly gripping piano ballad he came to be known for. The icing on top is Carlile’s beautifully delivered harmony. [3.5/5]

‘You Without Me’: A gloriously spine-tingling standout, ‘You Without Me’ showcases Carlile’s knack for crafting softly swaying nostalgic soundscapes—the kind that draws you in instantly but grows even more emotionally resonant with each listen. [4.5/5]

‘Who Believes In Angels’: Another dreamscape led by Carlile’s vocal beauty, this track brings together all the best facets of the record. Perhaps this comes from each artist elevating the arrangements and melodies to new heights in the way only legends can. [3/5]

‘The River Man’: There’s no denying how gorgeous John and Carlile’s harmonies sound, especially on songs like this. However, while the first part of the song pulls you in with an effortlessly ethereal build-up, the upbeat surge that breaks up this gorgeous flow feels a little unwarranted, even when it slows down again. [2.5/5]

‘A Little Light’: Another standout, ‘A Little Light’ opts for obvious sentimentality, though in a way that feels less like it’s reaching for something inexplicable but more like a simple, organic display of vocal and lyrical greatness. [4/5]

‘Someone To Belong To’: While this song is undeniably nice to listen to, it feels like that’s all it is. Simple pleasures can sometimes be enough in new music, but in this case, while some parts stand out more than others, the surface-level niceness starts to blur into average. [2/5]

‘When This Old World Is Done With Me’: Album closers, especially when it comes to John, warrant immediate attention. Listening closely, this track feels like raw, authentic John, where the lyrics and melodies shine with the weight of years of greatness, bringing the positives back to the surface with love and a glimmer. [4/5]

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