Bernie Taupin
Jill Augusto
It’s almost impossible to hear the name Bernie Taupin and not think Elton John.
Throughout their nearly six-decade partnership, the legendary duo has collaborated on more than 400 songs and 30-plus studio albums. Taupin famously writes the lyrics independently of John, who then takes the prose and puts it to music. The alchemy that ensues has bubbled into iconic treasures like Bennie and the Jets, Rocket Man, Tiny Dancer, Don’t Let the Sun Go Down on Me, I’m Still Standing and Crocodile Rock.
But there’s another side to Taupin’s artistry. In this scenario, he is both scribe and showman, a fact that’s unbeknownst to many fans. Those same fans also may be unaware he has released three solo albums—one in the early 70s and two in the 80s—and two albums with his own roots-rock band, Farm Dogs, which he formed in the mid-90s and took on the road in support of their two albums.
While buzz builds on the next John project and Taupin’s potential contributions, the latter is more interested in discussing something more timely—his first solo project in nearly 40 years and, remarkably, the first album he has entirely self-written.
Due out October 23 on Vertigo Records and MCA Nashville, The Sea Has No Mercy is a soaring collection that finds a contemplative Taupin distilling his lived experiences into 10 songs that each peel back the curtain and bring a unique perspective—sometimes hushed, sometimes joyful, sometimes elegiac. Featured guests include Brandi Carlile, Lee Ann Womack, and his daughter, Georgey,
It’s a project Taupin says has been, quite literally, a lifetime in the making.
“I’m 76, I’ve got a lifetime under my belt. You’re not as intuitive when you’re younger. That’s not an insult; it’s just a fact of life. I’ve needed my past to pave the way for what I want to say in the present. I feel I have more wisdom now and I’m better equipped to convey a lifetime of recall and reflection,” he says.
While release is still a few months out, a deeply satisfying appetizer can be had on the new episode of the Sad Song Queens podcast, out July 29. Taupin dropped in on the self-proclaimed SSQs, music supervisors by day Laura Webb and Lindsay Wolfington, to give them the first look the project. The podcast, which launched in 2025, focuses on a single sad track as a means for artists to weave personal narratives. Mumford & Sons, Finneas, David Gray, Ashe, Band of Horses, The National, Christina Perri, Snow Patrol and The Fray are among past guests
Taupin proved a natural, and candid, participant. “He may be painted as a shy person or afraid of the spotlight but he isn’t. He wanted to tell the story of his life in these songs on the new album and record them in an intimate way,” Wolfington says.
“Bernie is one of the most prolific songwriters in the world. He specializes in melancholy, character-driven storytelling, and profound vulnerability,” says Webb, who calls Your Song “truly one of the most perfect songs there is… When Bernie walked into the studio and saw our Sad Song Queens logo, he said, ‘You know I wrote a song about sad songs.’ To which we said, ‘Oh we know.’ He was so genuine and approachable.”
As the lyric in the referenced 1984 hit goes, sad songs really do say so much, according to Taupin. “Sad songs in general are more appealing and interesting than the happy go lucky, I love you, you love me variety,” he tells Forbes. “Pain gives you more ammunition, more colors to create from. Aside from that the emotional value is more satisfying.”
Given a treasure trove of options to delve into, Webb and Wolfington chose to focus on the title track.
“The Sea Has No Mercy moved us deeply, as it felt like a pure reflection of a man looking back on his life. Lyrically, it had a lot to dive into, so we knew it would make for a great conversation. And it did. Bernie opened up about his fear of the open sea, and how as a lyricist, he loves a metaphor. One of our first questions was, What does the sea represent? Quite a lot it turns out!” Wolfington says.
“The sea truly terrifies him as well as does open water—beautiful and cruel. Bernie almost drowned twice in his life, once with his life flashing before him. He has nightmares about tsunamis and the storm. The last scene in [the film] The Perfect Storm is a depiction of his worst nightmare.”
Taupin also shares one of his biggest pet peeves—“Do not call him a poet! He mentions that this is a thorn in his paw. He feels poetry and writing lyrics are completely different artforms,” Webb says—and one of his favorite new voices.
“He is a big fan of Olivia Rodrigo! He loves her as a songwriter and person. Talking about her, we reflected on how different phases of life inspire different kinds of songs. It was so cool to hear someone with so many years of songwriting under his belt admire a newer, young talent.”
Taupin also dives into some of his songwriting for John. “He told us that Tiny Dancer wasn’t a hit before its use in Almost Famous and he mentioned that both he and Elton are generally willing to license their music… we love that as music supervisors,” Wolfington says.
Perhaps most revealing of all? “He also tells us how they came up with the title The Bitch Is Back, and who the bitch is!”
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