May 292026
 

‘The Best Covers Ever’ series counts down our favorite covers of great artists.

Taylor Swift Covers

A few weeks ago, a mysterious countdown appeared on Taylor Swift’s website. It got fans all aflutter, as tends to happen whenever Taylor Swift does anything. But then it disappeared, and nothing happened. A rare error, apparently. Whoops. How excited everyone got for those brief few hours, though, shows just how omnipresent Swift remains, twenty-plus years into her career (has it really been that long?).

A while ago, we at Cover Me were thinking of what current pop star have we not yet done a list for. Swift was the blindingly obvious answer. I was going to say we’ve done most of her peers already, but, after completing the biggest tour in history, does she even have any peers?

So, below, 25 covers of her some of greatest songs. By the time this list comes out, she’ll probably have more songs, and there will certainly more be more covers of them. Maybe we’ll have to go back and revisit it. The Best Taylor Swift Covers Ever (Taylor’s Version).

Photo by Paolo V

25. Sondre Lerche — Anti-Hero

The biggest hit from 2022’s Midnights, Swift’s sort-of return to more mainstream pop after her dalliances with folk, “Anti-Hero” had Swifties all over social media quoting the chorus lyrics as a meme. Norwegian musician Sondre Lerche decided to take it on for his annual Christmas cover. He begins the song with nearly horror-movie-esque strings, before the beat comes in. Lerche mostly speaks the lyrics, rather than sings them. To start, though, the backing is just electronic percussion and strings, which are behaving themselves a little more. But when it comes to meme-able chorus, initially he omits most of the oft-quoted lyrics, just repeating “It’s me.” (He also plays with the order of the verses.) Lerche goofs around with his string section, getting really avant-garde in the middle, and setting us up for a drop. When he finally does the full chorus, there’s almost an orchestra backing him, though he omits all of those instruments out at the end of the last verse, once again masterfully playing with dynamics are our expectations.

It’s an extremely creative arrangement that threatens to deprive fans of the most famous part of the song, but adds tension and a whole lot of punch when it finally arrives. — Riley Haas

24. The Maine — cruel summer

This dream-pop cover with just a touch of emo gives us the appropriate level of nostalgic yearning to take us back to Summer 2019. It’s unhurried and laid-back with its syncopated percussion and echoey vocals. However, the pace escalates enough to deliver the “he looks up grinning like the devil” line with the crucial little bit of snarl. — Sara Stoudt

23. black midi — Love Story

Taylor Swift was an odd choice for experimental rock-post-punk-free-jazz band Black Midi, which I’m sure was entirely the point. They surprise-dropped it on a vinyl-only (at first) covers EP, Cavalcovers. As you might guess from those genre tags, it sounds different from the original—but, more surprisingly, not as different as you’d expect. They give it a somewhat yacht-y rock gleam, with added distortion and a whole lotta sexy saxophone. — Ray Padgett

22. MUNA — August


Famously, Folklore brought about a change in Swift’s writing and sound, due to the isolation of the pandemic. “August” very much captures that new sound, with acoustic instruments mixed in with subtle electronic production, but still with an extremely hooky chorus. The album has been called “cinematic” because of its sound and the focus on characters, including the mini song cycle of which “August” is a part. Indie poppers MUNA lean into both the folk feel and the cinematic vibe. Though the cover is live, they create a massive wall-of-sound, widescreen feel on the chorus and the bridge that contrasts really effectively with the more folky verses. The result is appropriately epic for the middle third of Swift’s love triangle song cycle. — Riley Haas

21. Old Dirty Brasstards — Shake It Off

A pivot to pop might disappoint some country purists, but it does leave an artist’s catalogue open to inventive covers which can convey the meaning of the originals without losing as much of the meaning. Old Dirty Brasstards take the energy of New Orleans with some of the sensibility of UK Symphonic Wind Band tradition (you can have a tuba, which is more difficult to march with, and full drum kit) and have fun with it. They find foot tappers in unusual places were necessary but give them an already danceable pop hit and watch them go, go, go! — Mike Tobyn

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May 302025
 

‘The Best Covers Ever’ series counts down our favorite covers of great artists.

yacht rock covers

“Yacht rock” is a genre kinda like emo: No musician admits to making this style of music. Unlike emo, though (maybe more like “indie sleaze”), no one called it “yacht rock” at the time. Nevertheless, whether artists like the name or not, yacht rock exists now. It used to be considered something of a guilty pleasure, but these days, after a splashy (no pun intended) documentary about it got a lot of attention, it’s just a regular pleasure. Questlove loves yacht rock! So do Thundercat, Mac Demarco, Vampire Weekend, and many other musicians considered far “cooler” than Toto ever was. So, today, we salute the yacht rock catalog through covers.

This brings up a contentious question though: What counts as yacht rock? We didn’t want to get derailed debating that indefinitely, so we deferred to the experts. The guys who coined the term in a 2000s web series have a long-running website and podcasts called Yacht or Nyacht. They literally invented the phrase, so we followed their guidance. Any song that scored above 50 on their 100-point scale—more yacht than nyacht—counted. Any song that scored below did not. (You can read more about their criteria on their website, but one thing to note is they define yacht rock not just by the sound of a song, but also whether it emerged from that specific ’70s-LA studio-rat scene.)

Their rigorous ranking includes most of the songs you’d expect, by The Doobie Brothers (and McDonald solo), Christopher Cross, Toto, etc. It also helps deal with the thorny cases. Steely Dan is mostly not yacht-rock, but some songs, particularly in the Aja era, very much are. Fleetwood Mac, though, is definitively not yacht-rock. (Good news: We have an entire Fleetwood Mac list you can peruse.)

So, if you have any beef with what songs do or don’t count, take it up with them. We just want to celebrate the music. Sail away on these 30 covers that do just that.

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Aug 052024
 
Black Hole Sun

Meet Postmodern Jukebox: Everyone’s favorite music collective. Known for taking pop and rock tunes and turning them into everything from ragtime to bebop to soul covers. Recently the pianist-spearheaded group has decided to recreate the mournful and apocalyptic feeling of the Soundgarden tune “Black Hole Sun.”
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Aug 022024
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Don't Stop

“It doesn’t sound that great when I’m singing it myself. Why don’t we make it a duet?”

According to Ken Caillat, producer of Fleetwood Mac’s Rumours, when Christine McVie said that to Lindsey Buckingham, it proved to be the key to making “Don’t Stop” the song it is today. With the two of them exchanging vocals, compressed so much they almost sounded alike, and McVie playing a jaunty tack piano, they make the song so uplifting you’d never know it was about the end of Christine’s relationship with bassist John McVie. The Guardian called it one of the band’s five best songs, saying that “its cantering rhythm and chorus are so impossibly, infectiously buoyant, the song so flawless, that it cancels out the unhappiness that provoked it.”
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Mar 032023
 

‘The Best Covers Ever’ series counts down our favorite covers of great artists.

Spice Girls covers

In the winter of 1998, the Spice Girls were the biggest pop act in the universe. Their movie Spice World, released on Boxing Day ‘97 in the U.K. and in late January in the U.S, brought in more than $100 million worldwide. On February 24, 25 years ago last week, the group launched its first-ever world tour in Dublin, Ireland.

It was both the best of times and the beginning of the end. Just a few months later, on the eve of their American tour, Geri Halliwell (aka Ginger Spice) would depart the group. Though they continued as a quartet and released Forever in 2000, they would never rule the pop cultural zeitgeist in the same way.

Still, in their short run at the top of the charts, they made a colossal impact on music history. In the U.S., the Spice Girls cut a wedge right through the heart of ‘90s music. Before they hit, pop music was serious business for long-haired dudes with guitars and rappers who felt they were too cool to be parodied by “Weird Al.” But the Spice Girls gave us what we wanted, what we really really wanted, whether we knew it or not. They made it okay for pop music to be brash, fun and unapologetically commercial again. The group opened the door for the countless pop acts who led music into the new millennium, such as Britney Spears, the Backstreet Boys and NSYNC.

The Spice Girls were never highly regarded by critics or music snobs, who tend to scoff anything that appeals to young girls. Though they’re now eligible for the Rock & Roll Hall of Fame, I can’t imagine they’ll ever get nominated. Yet the Spice Girls’ music, image and legacy have endured surprisingly well in the ensuing decades. The group performed at the closing ceremonies of the 2012 Olympics in London and just the mention of a possible reunion tour is enough to set the press into a frenzy. Not convinced? Try listening to Spice or Spiceworld. From the hits to the deep cuts, the albums are consistent listens throughout, as they both feature brilliantly crafted pop tunes that are catchy and easy to sing along to.

Despite being the best-selling female pop group of all time, the Spice Girls haven’t been covered that extensively. One has to go deeper than the usual suspects to find great covers. Whether it’s an acoustic rendition of “Stop,” a jazzy cover of “Wannabe” or countless takes on their deep cuts, the music has lived on through many different voices, just not in the voices that were used to seeing and hearing. Perhaps it takes an artist with less to lose to take a chance and deliver an original take on such pop classics. More than 25 years after their world dominance, “Girl Power” in all its awesomeness shows no signs of letting up. One just has to know where to look.

– Curtis Zimmermann

25. Zebrahead – Wannabe

Pop-punk covers in the early 2000s were unavoidable. Napster (or Limewire or Kazaa) ballooned music libraries and saturated the market with power chords and nasally vocals. It was glorious. There’s something about this cover that calls back to that time of downloading yet another song to the library; it didn’t matter if it was labeled wrong or it wasn’t the version you expected. It was catchy and would work great on your next burned CD. In their power-punk version of “Wannabe,” Zebrahead find the right mix of goofy and uplifting, just like the original. – Mike Misch

24. Shakey Graves & Begonia – Too Much

This song makes a perhaps surprisingly great duet, and this pair really sells it. Hearing the song played live can also help you really appreciate the soulful guitar lines. The soulfulness continues as they trade off lines, eye to eye, bar for bar. Around the 4:30 mark, they really take the “give it a try” line literally, repeating the refrain over and over in different ways: from monster-mash depths to falsetto heights. As much as they are having fun with this nostalgic cover, they bring back the more somber mood for the closing. – Sara Stoudt

23. The Moon Loungers – Say You’ll Be There

The Moon Loungers specialize in performing acoustic covers of songs from across the pop spectrum. The band has an extensive discography of “unplugged” recordings of tracks ranging from Taylor Swift to Jefferson Starship. The group transformed the Spice Girls’ iconic dance track into a mellow acoustic tune. The track features some heavy guitar strumming and harmonies reminiscent of ‘70s mellow rockers America and Seals & Crofts. No boomerangs or karate kicks are required for this cover. The group lets their voices and guitars do all the work. – Curtis Zimmermann

22. Sitti – 2 Become 1

“2 Become 1” was the Spice Girls’ third straight UK number 1, a romantic ballad that took the time to advocate safe sex (“Be a little bit wiser, baby / Put it on, put it on”). Philippine bossa nova singer Sitti covered it on her 2007 album My Bossa Nova, but you’ll be hard pressed to blame it on that genre. Instead, it’s a jazz sound with none of the original’s flash. That’s not a knock – when you’re in a room with quiet and candlelight, sometimes a soft warm glow is exactly what you need to hear and feel. – Patrick Robbins

21. My Sun and Stars – Wannabe

The opening ukulele might make you think that this cover is all sugar and no spice, but even with the angelic high vocals and that cheery ukulele strum, this “Wannabe” cover still has a little kick. The lyrics are doled out patiently, unrushed, matter-of-factly telling the listener how it is. That snap of the hand on the body of the ukulele and the more clipped strumming changes the tone a bit, signaling some seriousness. There’s no “here’s the story” and no bodies winding all around, but friendship remains never-ending. – Sara Stoudt

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