After bringing Tanya Tucker and Joni Mitchell back from the dead, Brandi Carlile has done it again. This time she has revived Elton John, who after a triumphant Glastonbury had declared himself exhausted and retired (from touring anyway). Here with Brandi’s help, he sings using every ounce of what voice he has left and sounds like a man reborn.
But this isn’t an Elton John album produced by Brandi Carlile. Elton has done something important for Brandi in return – he has humbly let her take the lead across much of the album, sharing the spotlight and the billing. The results are powerful and moving.
Elton has always promoted and supported younger artists but this feels different. There’s a personal connection here that suggests something more than a musical bond. ‘She’s like a part of me,‘ Elton said in a recent interview, as though they share a musical soul and spirit.
Brandi’s musical talent is undeniable but her other underrated skill is that she isn’t afraid to stand in a shadow. Being next to these megastars of the past lets her listen to their light. Here’s a woman making things happen for herself through creative collaboration and creating communities.
Some long time Brandi fans might be disappointed to hear that Elton declared the album would have no ‘Americana power ballads’ but they shouldn’t be worried. Elton knows what he’s doing. This project is his way of bringing Brandi to a wider, specifically British audience. By keeping the music classic rock and roll they have created a really special sound that has wide appeal. The amount of attention this album has generated already shows Elton’s plan to be a success.
Respect too must go to young producer Andrew Watt who has writing credits across the album. He has previously worked with an array of pop and classic rock artists over the last few years, from Justin Bieber to the Rolling Stones, and his production really makes this record soar.
The album begins with a song for Laura Nyro, with lyrics by Bernie Taupin who was also in the studio during recording. Both Bernie and Elton share a deep profound sense of connection to this artist who was always out of time, out of place in the hedonistic, hippie sixities. Never cool, always uncomfortable in the limelight, a tragic figure unfairly forgotten. Here Elton and Brandi sing her back from the dead, with a song written on her birthday, the ghost of her spirit haunting the shadows of the song. Laura Nyro was a queer outsider, someone both these artists can relate to. The music on the song is charged with so much joy and the lyrics are filled with so many references to her brilliant songs this one is a music fan’s dream. Truly a spectacular start.
Honouring the ghosts of music past continues with ‘Little Richard’s Bible’ and this one allows Elton to really let loose on the piano (he has said it’s his best piano playing in a long time). There’s a sadness to the song at the same time, addressing the complex character of Little Richard who had to repress his sexuality and flamboyancy. Both Brandi and Elton have been able to live most of their lives openly and happily gay, and that in itself is a miracle worth celebrating. Hearing them sing and play together encapsulates that spirit.
Brandi brings her best on ‘Swing for the Fences’ – a song which just blisters with unashamed joy. Give Brandi a chance to shine and she can’t fail to knock it out of the park. This one and the solo ode to motherhood ‘You Without Me’ are songs so good they would have no doubt been on the next Brandi album. This is not a side project for either artist, but a showcase for their best work.
After watching the documentary about the recording process I am in complete awe of everyone involved. Seeing them write and record ‘Who Believes in Angels?’ helped me to really understand the song and how their voices combined together to create something new.
Another barnstormer on the album is ‘The River Man’ which began with a guitar riff from producer Andrew Watt. Inspired by Bernie’s writing style, Brandi wrote a character song, a story song about a working man that could fit on any classic Elton album of the past.
The two great love songs on here Never Too Late and Someone to Belong To are both inspired by Elton and David’s relationship. These two and ‘A Little Light’ are the songs closest to the power ballads or Americana that many people might have expected when the album was announced.
The album finishes with a solo piano song from Elton, and one of his best songs in a long, long time. ‘When This Old World is Done With Me’ is a hymn to mortality, with lyrics solely written by Bernie. Elton’s voice is diminished from its heyday but here he embraces that decline, singing with everything he has left. A poignant and powerful finale to a brilliant career.
‘Who Believes in Angels?’ might end with a song about aging and death and yet it has such a joyful, effervescent LIFE to it. This is a record of pure harmony, with a pulsating heart. A testament to a beautiful musical friendship.
All that’s left to say is: get the Grammys ready.
Highway Queens 
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