Produced by Andrew Watt — the current go-to architect for revitalizing rock legends, from Ozzy Osbourne and Iggy Pop to none other than The Rolling Stones — Who Believes in Angels? had every ingredient on paper to become an over-indulgent affair. And yes, it does go over the top. It’s bombastic, even schmaltzy in places. But it never tips into Vegas territory. Instead, it offers something better: a grand, emotional, cinematic experience that plays to the very best of both its stars.
The real triumph here is how strong the material is. These aren’t phoned-in duets or studio Frankenstein tracks — they’re fully-formed songs, written with purpose, emotion, and bite. Both Elton John and Brandi Carlile are in top form, playing to their strengths without overshadowing one another. Carlile is bold and expressive; Elton brings gravitas and that unmistakable melodic touch. When they trade verses or harmonize — as they do gorgeously on the Americana-tinged “A Little Light” — it’s like hearing two kindred spirits in conversation across generations and genres.
Watt’s production leans lush and orchestrated. There’s a digital sheen that can verge on “wall of sound” overload, like his recent Rolling Stones work, but here it largely works — because the songs are good enough to hold it. It’s vintage songwriting with a modern gloss: classic Elton storytelling and piano runs meeting Carlile’s earthy authenticity and controlled fire. The result sounds both timeless and unmistakably of its era. It’s the best of both worlds.
Take “The Rose of Laura Nyro” — an early standout. Despite its name, it doesn’t sound much like Nyro; it’s more like a lost Madman Across the Water track filtered through an ’80s synth haze. The arrangement is dense but earnest, progressive in structure, with a rhythm section that dares to step out of line — and that’s a good thing. Carlile and Elton’s voices blend beautifully, though you might wish Elton were a little higher in the mix. Still, it's a wonderful, rollicking tune, full of hooks that don’t pander.
Other tracks double down on nostalgia — and joy. “Little Richard’s Bible” is a glorious, campy romp that feels like it was born at the crossroads of southern R&B and English music hall. “Swing For the Fences” has similar verve, an uptempo number where Carlile’s voice edges out Elton’s — but never in a competitive way. The album is peppered with these exchanges: moments where one voice leads, the other supports, and vice versa. There’s generosity in the performances.
The ballads are equally rich. “Never Too Late” begins with Elton alone at the piano, singing with aged wisdom. Then Carlile enters, and the song blooms into something near-gospel, McCartney-esque even, but always unmistakably Elton. “You Without Me,” a Carlile solo moment, offers a quieter emotional hit — layered harmonies and a restless guitar line underpinning her always-arresting delivery.
And yes, there’s bombast. The title track, “Who Believes in Angels?”, is glorious, over-sung, string-drenched schmaltz — and it earns every second. It’s the kind of song that could have collapsed under its own ambition, but instead soars because everyone involved commits fully. Then comes the more understated “The River Man,” which begins rusty and hushed, only to kick into high gear midway. The album’s pacing knows exactly when to dial it down and when to go full drama.
“Someone To Belong To” could have lived on Carlile’s The Story, with its tremolo guitar and subtle groove, while Elton’s solo closer, “When This Old World Is Done With Me,” is the emotional gut punch — raw, unfiltered, and almost too much to bear. It sounds like a farewell, and if it were, it would be a damn good one. But let’s hope it isn’t. Elton may be done touring, but this record proves there’s still a lot of music left in him.
Cinematic, emotional, but above all, fun, Who Believes in Angels? is a late-career triumph for Elton John and further proof that Brandi Carlile is one of the best American songwriters of her generation. It’s better than expected — and the expectation wasn’t low.
When the final note fades, the only instinct is to play it again. And to dream — maybe not of a full tour, but a few select dates? Or even better: a sequel.
Genre: Pop/Rock
Release date: April 4th, 2025
Produced by: Sascha Dannenberger
Label: Island EMI
Rating: 9/10
