I used to manage an indie folk band with a very particular approach to music-making. They were desperate for their original music to be noticed, so they refused to do covers. They even turned down an invitation to an emerging bands competition because one of the segments was doing a rendition of a global hit.

Being invited to the triple j’s ‘Like A Version’ studio is a different calibre of covering songs, however. It’s that one iconic radio segment many Australian acts have on their bucket list. And I’m pretty sure few turn down the broadcaster’s invitation when they finally get the call.

So here are some memorable renditions from the ‘Like A Version’ Class of 2024, aka those Aussie acts that were offered this amazing opportunity last year.

PART 213 OF “AM I EVER GONNA SEE YOUR FACE AGAIN?” A RANDOM COLLECTION OF UNKNOWINGLY OBVIOUS FACTS ABOUT THE AUSTRALIAN MUSIC SCENE

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I get why some artists are opposed to covering songs.

After all, you don’t want to be noticed because of somebody else’s work. Many musos also admit it’s a slightly stressful situation to find yourself in. Your take on a beloved classic, for instance, can either break or make you. Some people will love it, no doubt. But some will surely hate it, too, just because it’s different from the original. So, it is a risky business.

But you can always leave the signature elements of the original composition and still make it your own, right? So when the song starts, the audience has no clue what it is until that one iconic guitar riff comes on or that legendary line of the lyrics is sung. Those are the best covers, in my humble view. And artists instinctively know it, too.

That is also the idea behind triple j’s ‘Like A Version’ – a segment that gives artists a chance to present one original and one cover song at a ridiculous o’clock on Friday mornings. I wrote about the popular segment on this blog a few years ago. Believe it or not, people do set their alarm clocks in Australia to hear their favourite bands play those tracks.

The show has become even more popular in recent years, with heaps of renditions going viral globally. But that’s not all. International artists touring Oz now want to be a part of making that music history, too. In 2024 alone, triple j hosted Girl In Red, Gracie Abrams, and RAYE in their ‘Like A Version’ studio, amongst other stars.

But today, let’s focus exclusively on the Australian acts that performed in the youth broadcaster’s studio last year. That was my only criterion when making this subjective list. And it didn’t matter so much if they covered their international counterparts’ tunes or braved new versions of their compatriots’ compositions. What was important, though, was that their version somehow stopped me in my tracks.

G FLIP’S COVER OF TAYLOR SWIFT’S “CRUEL SUMMER”

First of all, you gotta be literally insane to take on a mammoth task like that!

I mean, it’s a song with more than 2.7 billion (!) streams on Spotify alone. And even if you’re not a Tay-Tay fan, chances are you’re singing it in your head right now because… Well, there’s just no chance on Earth that you haven’t heard it somewhere since it was released in 2019.

So, if there was ever a badass artist rising to the occasion, it’s definitely G Flip. The Melbourne singer made sure the tune is even more catchy, more packed with emotions and… just more everything, to be honest 😉

Why? First of all, because you’ve got heavy rock guitars, a string section and the muso themselves drumming at the end of the song. Secondly, because they changed the lyrics (i.e. pronouns) slightly so that the story in “Cruel Summer” spoke more to their queer audience. As a result, the cover has this proper “indie pop meets stadium-pop” vibe.

G Flip also mentioned in their post-performance interview that they “chose to cover it because it’s one of the best pop songs ever written.” And you can hardly argue with that. Apparently, their band always warms up to the song before going on stage.

The singer/drummer also threw a casual invite in the American pop star’s direction to “jam together” one day. If I were Taylor Swift, I’d seriously consider that proposal because G Flip is a crazy talented artist.

ROYEL OTIS’ COVER OF SOPHIE ELLIS-BEXTOR’S “MURDER ON THE DANCEFLOOR”

Originally, I was not going to include this cover.

And I almost forgot about the original song, to be honest. The truth is, I don’t go to clubs so much anymore. But playing it again has reminded me of all those great nights out as a student when “Murder On The Dancefloor” was the party scorcher. Good times.

And because I praised Royel Otis on this blog so much last year, I thought it’d be a bit too much to bring them up here again. But I simply cannot ignore what they’ve done with their version.

It’s just such a clever “guitar-pop meets the 2000 dance vibes” mix. It’s infectious. Royel Otis sped up the original a little and added their signature guitar sound to it. Their version is also more cruisy because it’s shorter. It automatically leaves you unsated, so you’ll instantly want to listen to it again (you’ve been officially warned!).

On a side note: at one point, I listened to Royel Otis’ version so much that my friends politely asked me to – literally – change the tune. I obliged, but I still added it to my ‘Dancy Vibes‘ playlist that I’ve recently started collating “for posterity” 😉

Believe you me – this ‘Like A Version” will soon be more popular than the original (with all due respect to Sophie Ellis-Bextor).

GOLD FANG’S COVER OF ELTON JOHN’S “I’M STILL STANDING”

What does glam-rock from the 80s have to do with dancehall and reggae?

My first thought was – “not much.” But knowing how versatile an artist Elton John is, he probably won’t mind this original take on his classic hit.

I’ll be honest, though. In the beginning, Gold Fang’s take on “I’m Still Standing” sounded nothing like the original. And that’s exactly what makes it so… original 😉 Apart from the reggae vibes, it even has a rapping bit to it.

So, respect to the emerging muso for nailing the idea of changing things up completely. Apparently, he knew right away what song he’d want to do for the segment. Nevertheless, taking that iconic banger and “sprinkling his flavour everywhere” was no small feat.

It’s great to see young upcoming musos be inspired by the music that shaped their parents’ generation. Especially since Gold Fang mentioned his initial career plan was to be a soccer player. Seeing one of his relatives play music live has changed his mind.

The result of this cover might “not necessarily [be] a Gold Fang track,” as the muso himself admitted. But it will surely be remembered.

ALLDAY’S COVER OF CALVIN HARRIS’S “FEEL SO CLOSE”

If I told you a song had dance/electronic elements, rapping and choir, what would your first impression of it be? Pretty random, right?

Calvin Harris’s original banger is so iconic, I’d be shitting my pants if I were asked to cover it. There’s not one person on Earth these days who doesn’t recognise the beat and hook of this track. So, in all fairness, what else could you possibly add to it to make it more interesting?

Enter Allday – a creative rapper who can sing as well. What he decided to do was pretty simple. He opened his version with an all-female choir. At that point, I was already sold on the whole concept. Because it made this updated version of “Feel So Close” sound fresh.

The Melbourne muso also mentioned he wanted his ‘Like A Version’ to be child-friendly. So he largely cut down on swearwords, smuggling only a few minor ones. And that, ladies and gents, also tells me heaps about how he approaches music-making.

Interestingly, Allday wrote the beat to his rendition with another muso, his girlfriend Memphis LK. And he invited Calvin Harris to give him a call to “make a proper song” together.

I reckon the three of them would make a dope producers’ collective. I’d definitely be the first one to play their songs on my channels if it ever came to it. So I’ll eagerly await that collaboration 😉

MAANYUNG’S COVER OF BILLIE EILISH’S “WHAT WAS I MADE FOR?

Billie Eilish is known for her delicate vocals. And even though Finneas makes her songs super catchy in their arrangement, it’s really hard to imitate her understated singing style.

So I didn’t really think there’d be a muso who could do this delicate track justice in such an unusual yet fitting way.

The Central Coast-based First Nations artist, Maanyung, didn’t change the original song’s idea much. What he did add to it, though, was the Aboriginal flavour, but not in the way you’d expect.

“What Was I Made For?” in his version is sung in the Gumbaynggirr language. And it makes for such a unique experience to listen to unfamiliar lyrics that still follow the beautiful softness of the melody.

The artist himself also explained that his rendition was quite a challenge because English and the Indigenous language he chose to translate the lyrics into work in a completely different way. So, he opted for transmitting the message rather than a literal translation.  

As you can imagine, it was Maanyung’s first “Like A Version” and “a dream come true.” And I think it’s amazing that by presenting the song in his native tongue, he opened it to a whole new world of listeners.

STAND ATLANTIC’S COVER OF POST MALONE’S “CHEMICAL”

Let’s get one thing out of the way. “Chemical” is a very pretty love song.

Consequently, it makes it an interesting cover choice for a pop-punk band from Sydney. I was super curious how Stand Atlantic would interpret it.

And what can I say? They delivered by making it a proper rock anthem. At the same time, they kept that vulnerability that “Chemicals” and Posty’s craft are all about.

But I always wonder about how bands approach the challenge not to eff it up.

Stand Atlantic summarised the original as “it slaps.” Still, they claim they didn’t have to think twice about what they wanted to do with it. They instinctively knew how to “rock it up a little more and make it sound even cooler.” That speaks volumes to the band’s maturity and musicality, I’d say.

The band also mentioned another interesting thing in their post-performance interview. According to them, a great song is “one that suits any genre when it’s covered.” I couldn’t agree more with that statement. And their ‘Like A Version’ is surely a testament to that as well.

THE RUBENS’ COVER OF MAZZY STAR’S “FADE INTO YOU”

Okay, so I have to be honest. I didn’t know the original very well.

So I kind of fell in love with The Rubens‘ rendition of “Fade Into You” in the first place. Mostly because it shows such a different side to the alt-rock band from NSW. It’s much softer, vulnerable and goes straight to the heart. Sam’s moving, almost heart-wrenching vocals got me from the first chorus.

That approach was totally necessary, though. I came to that conclusion after listening to the original version a few times.

It has this sensual, cinematic vibe to it. In the vocalist Sam Margin’s words: “It’s a happy-sad song.” The Rubens just made it slightly more dynamic, keeping the ethereal elements that define the track.

During their interview, the band also highlighted an interesting fact about ‘Like A Version’ in general. The more renditions have been done, the harder it is to choose something you’d be interested in covering. Simply because other acts might have already snatched that song before you. It’s particularly true about timeless classics, like “Fade Into You”.

It’s also funny that even a band of The Rubens’s format would admit that doing ‘Like A Version’ is an exhilarating but nerve-wracking experience because of how it might be received. But they have nothing to be ashamed of after doing this rendition because it turned out as a beautiful, intimate and dreamy rock ballad.

MISSY HIGGINS’ COVER OF TROYE SIVAN’S “ONE OF YOUR GIRLS”

These two Australian artists are a special pairing to me.

How often do you have an award-winning singer-songwriter do a rendition of a hit by a super-talented pop prince making waves in the international music business?

Troye Sivan‘s original song is super sexy, with a pronounced bass line, which I just can’t get enough of. The opening lyrics “Everybody loves you, baby / You should trademark your face” get stuck in your head right away, too.

So instead of adding onto those layers, Missy Higgins deconstructed the tune and almost stripped it back to its acoustic basics. She plays it on the piano, perfectly harmonising with her female backing singers. It’s all about the vocals and the lyrics in her version.

Missy shared that it was all done on purpose. She could relate to the feeling from Troye’s anthem because she’s lived through a similar experience the track describes. She could really feel that desire, loneliness, and longing for somebody who doesn’t reciprocate your feelings.

In fact, she stated that most people can relate to these emotions. And that’s what makes this track such an international banger. In both versions, actually.

JOY ANONYMOUS’S COVER OF KYLIE MINOGUE’S “PADAM PADAM”

The last entry in this subjective list is an honourable mention. Here, the situation is reversed. We have a UK-based act paying homage to one of Australia’s most iconic divas.

And who doesn’t know Kylie Minogue‘s fairly recent banger “Padam Padam”?! “It’s “a vibe” in itself, Joy (Anonymous) members said about the track.

The UK-band have a very distinctive sound when making their electronic beats. And they were not afraid to add lots of that UK garage flavour into their ‘Like A Version’, making it an even more joyous and dancy track.

The gents also kept in mind that Kylie’s name is often synonymous with the club culture. So they wanted to reflect that in their rendition as well.

As a result, we get a perfect example of how different music scenes influence and respect each other.

And because Kylie spent a significant part of her life residing in the UK capital, it couldn’t have been a better choice for this ‘Like A Version’.

So there you go. All the above is proof that song renditions can be a proper creative challenge for artists, both the up-and-coming and the established ones.

Plus, there’s no right way to cover a song. So whether you deconstruct it completely, make it an acoustic version or apply a different genre or arrangement to it, what counts is that it evokes some emotions.

Whether you’ll be praised or criticised for it later is out of your hands. But it’s worth giving it that creative shot.

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