Who Believes in Angels? by Elton John and Brandi Carlile shows the power of true collaboration

Having collaborated with the likes of (deep breath) John Lennon, Aretha Franklin, George Michael, Rod Stewart, Little Richard, Luciano Pavarotti, Eminem and Leonard Cohen, it’s fair to say that Elton John likes to work with other artists.

The news, then, that he has embarked on another joint musical project, this time with Grammy-winning American superstar Brandi Carlile, won’t have raised many eyebrows. It may not even be too much of a shock that their album Who Believes in Angels?, released April 4, just reached the top spot on the UK album charts.

What is surprising, perhaps, is that John lists its creation as “one of the greatest musical experiences” of his life, and has declared it the start of his “career mark two”. What is it about this particular collaboration that left the music legend feeling so “utterly revitalised”?

John’s penchant for collaborating isn’t unusual, of course. Solo artists frequently pool their resources with others. Producers bring in guest vocalists. Bands unite to create “supergroups”, and swarms of celebrities crowd into a studio for the latest charity or novelty song. Collaborations have been a staple of recorded music since (and probably before) Louis Armstrong and Bessie Smith committed St. Louis Blues to wax a century ago.

Since then we’ve seen the legendary: Ella Fitzgerald and Duke Ellington, Marvin Gaye and Tammi Terrell and Aerosmith and Run DMC. We’ve seen the surprising: Kylie and Nick Cave, Tony Bennett and Lady Gaga and Lil Nas X and Billy Ray Cyrus. And we’ve seen ones we’d rather forget: the unholy union of Metallica and Lou Reed, the raspy-voiced overload of Sting, Bryan Adams and Rod Stewart, and the horror show of Will.i.am featuring Mick Jagger and Jennifer Lopez.

Artists like David Bowie have used collaboration as an opportunity to challenge themselves across different genres. In his case, this has led to a catalogue of diverse – and sometimes baffling – linkups ranging from Bing Crosby (“I just knew my mother liked him,” said Bowie) to Trent Reznor.

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Other artists use collaboration to stay current in an ever-evolving musical landscape. Take Paul McCartney teaming up with Michael Jackson in the 1980s then Kayne West in the 2010s. Or The Beach Boys’ ill-advised foray into hip hop with The Fat Boys. Or Madonna recording with insert name of current flavour-of-the-month artist.

Some even specialise in collaborations, such as rapper Nicki Minaj, who has been a featured artist on more singles than she’s been the lead (84 v 52 if you’re interested). Or DJ Khaled, whose 24 hits on the Billboard Hot 100 have all been collaborations.

And collaborations are only becoming more common. According to the Official Charts company, since 2020 almost half of the 100 biggest tracks have been collaborations, which is more than double the amount we saw at the end of the noughties.

Better off alone?

There’s good reason why more and more artists are getting together to record.

A 2023 research paper found that collaborations not only received more than twice the number of plays per week on average compared to solo efforts, but also significantly increased the number of plays an artist received in the future.

Although such songs may increase commercial success, however, and a well-timed, well-placed collaboration can be enough to revive even the most waning of careers, they come with risks, too. They may sound artificial and inauthentic; feel like soulless and corporate attempts by record labels to cash in; or, in the case of Ed Sheeran (according to Guardian music critic Issy Sampson) give the impression of tricking the public into thinking you’re cool by getting some famous mates on your songs.

To avoid such pitfalls, cultural sociologist Jo Haynes prescribes competency, creativity, financial recompense, passion, respect and sincerity as the main ingredients of successful musical collaboration.

In the case of Elton John and Brandi Carlile, although we may only speculate on the financial recompense, evidence suggests the other elements were abundant during the album’s creation. And this may be what has so rejuvenated John.

Who Believes in Angels? represents a collaboration of equals who were pushing each other and raising the other’s game.

“It was a connection,” John says, emotionally and musically. Pop music collaborations may come along as frequently as trains on the Victoria Line at rush-hour, but true artistic connection is a rare and precious commodity indeed.

Glenn Fosbraey does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.