Like A Version Meets triple j's Hottest 100 – The Pairing Your Ears Have Waited Years For

"Cover songs are often perceived as the slacker's way to fame. 'Like A Version' was inspired by the mission to snatch the cover back from the Shannon Nolls and Alien Ant Farms of this world and give it back some pride." – Liner notes to the first Like A Version CD compilation in 2005.

For just about two decades now, triple j have managed to enlighten its listeners and enrich their respective days thanks to their near-weekly Like A Version session. It's a simple concept, and while its storied history has been covered (no pun intended) by the station over the years, and though its general format has shifted from its earliest days, the focus has remained the same; an artist goes in, and out comes a performance of an original track and a cover.

The segment first started back in January of 2004 when Mornings host Lissie Turner (then known to listeners as Mel Bampton) introduced a new segment to her program. Occurring each Wednesday morning, an artist was invited into the triple j studios in Sydney to perform a cover song followed by an original. At the time, few could have foreseen the cultural impact such a humble and – at times – shambolic segment would have.

In fact, so informal was its early days that not only are very few records available publicly, but the recording of the very first cover version has been lost to time. Inviting Sydney multi-hyphenate Spod into the studio, the inaugural performance was a fitting one, with the musician performing a rendition of Madonna’s ‘Like A Virgin’. (However, in June 2023, Spod was invited to recreate his long-lost cover by Double J’s Tim Shiel, thus rewriting this piece of lost history.)

One could likely assume that Turner hadn’t expected the segment to amount to much at all, but the reception by listeners was swift and positive, frequent requests for replays flooding the online guestbook and ultimately resulting in the release of the very first Like A Version CD compilation in February 2005.

My personal collection of the Like A Version-related media from the last 18 years.

By 2005, the segment had become a staple of listeners’ Wednesday morning routine, and Like A Version reached a greater height later that year when The Herd’s rendition of Redgum’s ‘I Was Only 19’ was so well-received that it was soon re-recorded professionally, making it into the Hottest 100 of 2005 at the respectable (and frustratingly-numbered) 18.

As the years continued, so too did the covers increase, the profile of the featured artist, and the response to the covers themselves. While the segment would shift to Thursday afternoons on Robbie Buck’s Top Shelf Radio in 2007 (where the format was reversed to its now-more familiar one whereby the cover is performed second), and finally to Breakfast in 2008, when Robbie Buck, Marieke Hardy, and Lindsay ‘The Doctor’ McDougall gave it a new home.

But as time went by, the importance and cultural importance of the Like A Version segment began to shift. Suddenly, these covers found themselves going viral. Humble San Cisco’s cover of Daft Punk’s ‘Get Lucky’ would nab more an impressive 6 million views on YouTube since its upload in 2013, though it’s since been grossly overshadowed by Childish Gambino’s 2016 cover of Tamia’s ‘So Into You’ which holds the current record at over 41 million views.

Likewise, some of these covers would go onto outshine their originals, as evidenced by Owl Eyes’ cover of Foster The People’s ‘Pumped Up Kicks’, which would reach #28 in the Hottest 100 of 2011, four places higher than the original’s peak the year prior. (For those playing at home, two originals recorded as part of the Like A Version sessions also made it into the countdowns over the years, by way of Muscles’ ‘Ice Cream’ in 2008, and The Beards’ ‘You Should Consider Having Sex With A Bearded Man’ in 2011.)

Further sill, some of these covers would go on to shine a whole new light on the artists at the core of it. In 2016, DMA’S would enter the triple j studios to cover Cher’s ‘Believe’. Despite the band’s Britpop sensibilities, they blew away listeners with the level of emotion they added into a (admittedly legendary) ‘90s pop hit. Such was the response to this cover that it became the first Like A Version cover to teach the top ten of a Hottest 100, hitting #6 that same year.

In 2019, Denzel Curry took things to the next level with his ferocious rendition of Rage Against The Machine’s ‘Bulls On Parade’. The reaction to this brutal reimagining of the song was so positive that many ruminated on what could happen if a cover song made it to the top of the Hottest 100 poll. Their questions went unanswered at the time, with the song only reaching #5 – tying the then-record of highest-placed cover version in a poll.

However, it was 2021 where everything changed. Beloved children’s entertainers The Wiggles were brought into the studio for what some had assumed was nothing more than a nostalgia trip (or a chance to create some viral content). Regardless, when the group covered Tame Impala’s ‘Elephant’, everything changed. One could potentially sort Like A Version history into BE (Before ‘Elephant’) and AE (After ‘Elephant’) with how things changed following this cover.

The song went on to top the Hottest 100 of 2021, causing many to wonder whether this was nothing more than a viral chance to troll the poll masked by childlike nostalgia, or if it was actually a good cover and a deserving winning song. Regardless of where you stand, its #1 placing was a boon for the station, with even more eyes placed upon the weekly segment.

In 2023, triple j announced a new Hottest 100 poll, this time focusing on the Like A Version covers that have been performed over the years. As a result, the station opened up their archives of covers, allowing listeners to revisit the vast majority of covers (though sadly, not originals) performed by the myriad artists that have visited the studios over the years.

Of course, not every song is eligible for voting. Some (including Spod’s aforementioned cover, and performances by The Gin Club and Jack Ladder) have been lost by the station, while others (such as Courtney Barnett’s rendition of ‘Black Skinhead’ or Jinja Safari’s cover of ‘Ignition (Remix)’) have been nixed due to backlash and controversy surrounding the covered artist, respectively.

However, it does happen to raise an important point that will likely skew the poll’s results: recency bias. Sadly, it wasn’t until Big Scary’s cover of ‘Hurt Me’ in April 2012 that performances began to be uploaded onto YouTube with regularity, with the previous eight years somewhat overlooked in favour of newer content in the digital age. 

In June 2023, triple j announced that as voting stood currently, only one song in the Hottest 100 list had been recorded prior to 2012, effectively taking almost 300 covers out of the running and ensuring that the poll would be focused on tracks recorded across the last 11 years. Of course, this is to be expected. After all, this fear of recency is likely why triple j didn’t do another Hottest 100 of All Time poll a few years ago, instead choosing to do a Hottest 100 of The Decade. As they say, modern problems require modern solutions.

Sadly, this also means that the vast majority of covers that will feature in the countdown will likely be from the era in which the covers were recorded in-studio rather than live-to-air. Initially, almost every performance for Like A Version was an acoustic one, performed with manageable instruments next to the presenting host’s desk. As time went on, larger setups, increased production values, or even greater artist demands, necessitated moves to different studios. Artists like Regina Spektor, Silverchair, and Illy all required larger spaces, and eventually, every performance was recorded in the Like A Version studio to accommodate both more impactful performances and filming needs.

(As a brief aside, much criticism has been levelled at triple j over the years for no longer recording the performances live-to-air. In fact even as far back as 2004, many performances were pre-recorded so as to accommodate artists’ schedules and the weekly broadcast time.)

But really, will it matter that many of the more off-the-cuff performances will be overlooked in favour of more polished renditions of famous songs? Perhaps, but maybe the biggest tragedy is just that younger music fans aren’t aware of many famous names covering songs that they’d never have expected. 

Ultimately though, all that matters is the art of a good cover, and that’s what Like A Version has been about for 20 years. It’s about allowing an artist to take on a song that, whether it fits their style or not, has provided them with some inspiration over the years. The result? Well Like A Version’s impact on culture seems to speak for itself, really.

For me, without any sense of hyperbole, I’ve had my life changed by Like A Version. I remember picking up a copy of the Like A Version 2 compilation soon after its release, ripping it to my iPod, and having my life changed from that very first note. That compilation wouldn’t leave my ears for the next two years, accompanying me through the end of high school and going so far as to kick off a love of the segment which continues to this day.

It enlightened me to so many different genres, to so many different artists, and it underlined what a good cover is. It’s not just a carbon copy of the song, it’s leaning into those lyrics as if you wrote them yourself, living those experiences, and reinterpreting it through your own personal lens.

This newfound love, paired with my love of the Hottest 100, continued a passion for the station which continues to this day (I’ve tried repeatedly and passionately to gain employment, but the prospects continue to fade daily), and even resulted in my curation of a hefty spreadsheet which, for almost 15 years, has seen me archive information about the weekly Like A Version segments. 

So I feel it’s only fitting if I was to conduct my own Hottest 100 of Like A Version countdown so as to appease my own love of the segment, lists, and creating esoteric content. After listening to every available Like A Version session (and even a few that remain unavailable to the general public), I’ve curated my own personal list of the 100 greatest Like A Version covers. I’ll admit that it heavily caters to my own taste, and that it probably overlooks some of the more popular and famous ones in favour of others that affect me on a deeper, more personal level, but isn’t that what any list like this is about? After all, the mission statement of the original ‘Hot 100’ back in the day wasn’t about the “best” songs, but rather, your own favourites.

Will any of these covers make it into the final poll when it counts down on July 15th, 2023? Perhaps, but if anything, it provides a perfect excuse to revisit some brilliant renditions that many have quite possibly forgotten.

My Own Hottest 100 Of Like A Version

100. 'Smoko' – Wet Leg (2022) (Covering The Chats)
99. 'Tubthumping' – Angus & Julia Stone (2006) (Covering Chumbawamba)
98. 'Bitch Better Have My Money/Dance Wiv Me/Milkshake' – Ecca Vandal (2018) (Covering Rihanna)
97. 'You're The Voice' – Bec Sandridge (2017) (Covering John Farnham)
96. 'Running Up That Hill (A Deal With God)' – The Wombats (2022) (Covering Kate Bush)
95. 'Here Comes Your Man' – Skegss (2019) (Covering Pixies)
94. 'Wrecking Ball' – Gordi (2020) (Covering Miley Cyrus)
93. 'Super Rich Kids' – You Am I (2013) (Covering Frank Ocean)
92. 'Brother' – Thundamentals (2012) (Covering Matt Corby)
91. 'A Girl Like You' – Tame Impala (2020) (Covering Edwyn Collins)

90. 'The District Sleeps Alone Tonight' – The Trouble With Templeton (2013) (Covering The Postal Service)
89. 'History Lesson – Part II' – The Hold Steady (2009) (Covering Minutemen)
88. 'Yellow' – King Stingray (2022) (Covering Coldplay)
87. 'Gooey' – The Delta Riggs (2014) (Covering Glass Animals)
86. 'The Unguarded Moment' – Ruby Fields (2019) (Covering The Church)
85. 'You Don't Get Me High Anymore' – PUP (2016) (Covering Phantogram)
84. 'Dope Calypso' – Modern Baseball (2016) (Covering Violent Soho)
83. 'Africa' – SubAudible Hum (2006) (Covering Toto)
82. 'The Boys Of Summer' – Custom Kings (2006) (Covering Don Henley)
81. 'DNA.' – Sampa The Great (2022) (Covering Kendrick Lamar)

80. 'Hang Me Up To Dry (feat. Stephanie McKay)' – Katalyst (2007) (Covering Cold War Kids)
79. 'Wolf' – Kingswood (2013) (Covering First Aid Kit)
78. 'Shake It Off' – Milky Chance (2015) (Covering Taylor Swift)
77. 'What Can I Do If The Fire Goes Out?' – Nothing But Thieves (2018) (Covering Gang Of Youths)
76. 'If I Could Start Today Again' – Alex The Astronaut (2017) (Covering Paul Kelly)
75. 'My Happiness' – Ball Park Music (2017) (Covering Powderfinger)
74. 'Anarchy In The U.K.' – Genesis Owusu (2021) (Covering Sex Pistols)
73. 'Ex-Girl Collection' – Okkervil River (2006) (Covering The Wrens)
72. 'While My Guitar Gently Weeps' – Jake Shimabukuro (2008) (Covering The Beatles)
71. 'Blood' – Gang Of Youths (2017) (Covering The Middle East)

70. 'The KKK Took My Baby Away' – Alkaline Trio (2009) (Covering Ramones)
69. 'There Is A Light That Never Goes Out' – Speedstar (2004) (Covering The Smiths)
68. 'Vitriol' – Grenadiers (2015) (Covering Bluejuice)
67. 'Do I Wanna Know?' – CHVRCHES (2014) (Covering Arctic Monkeys)
66. 'Wide Open Road' – The Panics (2007) (Covering The Triffids)
65. 'When Doves Cry' – Damien Rice (2004) (Covering Prince)
64. 'Dumb Things (feat. Paul Kelly & Dan Sultan)' – A.B. Original (2016) (Covering Paul Kelly & The Coloured Girls)
63. 'Everybody Wants To Rule The World' – Andy Bull (2011) (Covering Tears For Fears)
62. 'Pony' – Abbe May (2013) (Covering Ginuwine)
61. 'This Magic Moment' – Mia Dyson (2009) (Covering The Drifters)

60. 'Reckless' – Children Collide (2010) (Covering Australian Crawl)
59. 'You've Got The Love' – West Thebarton (2018) (Covering Florence And The Machine/Candi Staton)
58. 'Time After Time' – Saosin (2007) (Covering Cyndi Lauper)
57. 'Little Water Song' – Kate Miller-Heidke (2005) (Covering Ute Lemper)
56. 'I Go To Sleep' – Sia (2009) (Covering The Pretenders)
55. '(I'm) Stranded' – Alexisonfire (2010) (Covering The Saints)
54. 'Hyperballad' – Big Heavy Stuff (2004) (Covering Björk)
53. 'Maps' – Camp Cope (2016) (Covering Yeah Yeah Yeahs)
52. 'Boys (Don't Cry)' – Wolf Alice (2018) (Covering Charli XCX/The Cure)
51. 'cardigan' – Something For Kate (2021) (Covering Taylor Swift)

50. 'Ausmusic Month Medley' – Illy (2013) (Covering Silverchair, Hilltop Hoods, Paul Kelly And The Coloured Girls, Powderfinger & Flume)

For a lot of people, this is probably where Like A Version first hit them hard. For 2013’s Ausmusic Month celebrations, hip-hop artist Illy decided to take on the ambitious task of covering a medley of some of Australian music’s greatest hits. On paper, it sounds like it would be a messy clash of genres, but such is the power of Illy that it turns into an almost effortless-sounding celebration of what makes Australian music great.

49. 'Maggie May' – Dirty Three (2006) (Covering Rod Stewart)

Dirty Three are the sort of band that should be required listening for any Australian music fan. Sadly, their emotional gut-punch of a back catalogue remains largely unheard by the average punter, instead relegated to the label of ‘underrated gem’ by those in the know. However, even the sort of band that can compose a track like ‘Everything’s Fucked’ aren’t above the likes of Rod Stewart, delivering an instrumental take on his 1971 single in this largely-unheard Like A Version. There’s something strange about hearing Dirty Three perform a radio staple, but even Stewart isn’t above the transformative nature of the legendary Victorian trio.

48. 'Exactly How You Are' – Tim Minchin (2021) (Covering Ball Park Music)

When Tim Minchin released his Apart Together album in 2020, he proved that he was more than just the punchlines his comedy work would suggest. Appearing for a special Requestival Like A Version, Minchin took one of the great Ball Park Music’s most heartfelt songs and turned it into his own. Combining his own affable personality with lyrics that espouse pure love and connection, no one looks happier about the performance than Minchin himself, and the energy is truly infectious.

47. 'The Holiday Song' – Holidays On Ice (2005) (Covering Pixies)

I’ve often wondered if this cover would have even occurred had Holidays On Ice not chosen a different name, but given that it gave us the chance to hear Frente!’s Angie Hart covering the Pixies, I’ll not think too heavily. A little-talked about project with Leonardo’s Bride’s Dean Manning, Holidays On Ice are an interesting little band, even more so when you consider their acoustic cover of one of the Pixies’ earliest cuts. With simple guitar lines at the forefront while Hart’s deceptively sweet voice sings of onanistic tendencies, it’s not a song you’d expect, but like the title suggests, it’s worth the trip.

46. 'Beautiful To Me' – Bob Evans (2006) (Covering Little Birdy)

The Western Australian music scene has always been a vibrant one, and Little Birdy’s arrival in the early ‘00s was just more proof of this. It was fitting, then, that fellow WA rocker Bob Evans (aka Jebediah’s Kevin Mitchell) would take on the group’s 2004 single, stripping it back, adding harmonica, and turning it into an almost wistful lament of lost love than even Bob Dylan would approve of.

45. 'The Special Two' – Dear Seattle (2019) (Covering Missy Higgins)

When Missy Higgins first made her mark with her debut album The Sound Of White, ‘The Special Two’ was a powerful apology for undisclosed indiscretions, gaining even more impactful for the cutting, emotional lyrics at its core. When Dear Seattle set their sights on it in 2019, their special blend of pop-punk and vivacity combined to an upbeat reimagining of the original. Angrier than its predecessor, but still as reflective and forceful, it shows that even slower cuts need not stay that way forever.

44. 'None Of Dem' – Austra (2012) (Covering Robyn)

Canada’s Austra has shifted in its membership over the years, and these days, it’s the moniker used by Katie Stelmanis and her live band. But in 2012, Austra were on the rise, visiting the country and stripping back Robyn’s bouncy ‘None Of Dem’ for Like A Version. Replacing Röyksopp’s instrumentation with little more than staccato piano, and turning Robyn’s almost cheeky vocal into a haunting, choral arrangement, it’s a cover that stays with you, and rightly so. You won’t listen to Robyn the same way again (but damn it, you’ll try your best).

43. 'Jump' – Macromantics (2006) (Covering Kriss Kross)

When Kriss Kross turned music (and fashion) on its head in the early ‘90s with ‘Jump’, few could have imagined what would happen to that song in 2006. As it turned out, Macromantics’ ​Romy Hoffman had the answer, taking her acoustic guitar to the hip-hop staple to strip it back in an unexpected way. We’ve seen plenty of terrible acoustic hip-hop covers over the years, but this isn’t one of them, and makes you think what a trio made of Mac Daddy, Daddy Mac, and Macromantics would’ve sounded like.

42. 'Rolled Up' – Live@Subs (2005) (Covering Long Beach Dub Allstars)

One of my least favourite things is treating artists as forgotten entries in the world of music, with their legacies being overlooked by the passage of time. Sadly, Live@subs have become one of those bands, though their (increasingly hard-to-find) discography does remain. In 2005, they entered the studio to take on the Long Beach Dub Allstars’ ‘Rolled Up’, a reggae ode to needing that one person to rely on when in lock-up. Equal parts fun and earnest, Live@subs didn’t phone it in, utilising their own brand of ska-infused reggae to provide a cover that will serve as a strong legacy. (Do yourself a favour though, check out their track ‘Holiday In Japan’ if you can track it down.)

41. 'Show A Sign Of Life' – Starky (2004) (Covering The High Strung)

If you’ve not heard of The High Strung, you might however be aware of the work of their frontman Josh Malerman, whose debut novel Bird Box was adapted into the 2018 film with Sandra Bullock. But before that, he was hard at work crafting indie-rock classics that would be covered by the likes of Sydney’s Starky. A faithful recreation of the source material, it’s hard to see Starky adding much of their own flavour to this one, though it’s easy to see why they picked this one, given it aligns so closely with their own sound. One of the most raucous covers in Like A Version’s early weeks, it’s a testament to the station’s willingness to let bands not just sit behind the acoustic guitars, but to also turn the volume up to 11.

40. 'Children' – sleepmakeswaves (2017) (Covering Robert Miles)

You’d be forgiven for thinking this cover was dreamt up after a night of heavy substance abuse, but truly, it was an unexpected marriage of so many different elements that worked together in perfect harmony. Having released ‘Children’ – one of the biggest trance hits of all-time – in 1995, Italian producer Robert Miles passed away in May 2017. Exactly one month later, Sydney progressive outfit sleepmakeswaves hit up the Like A Version studios for an instrumental tribute to the late artist. It went against all expectations, but it hit all the right notes, tugged on the heartstrings, and spoke to the power of defying genres.

39. 'Upwards At 45 Degrees' – Spoon (2005) (Covering Julian Cope)

For as long as they’ve existed, Spoon have been experts at their chosen genre of indie-rock. Thus, it felt only fitting that when they made their first appearance in the Like A Version studios that they take on a track by Julian Cope, frontman of the influential post-punk outfit The Teardrop Explodes. Increasing the level of melody, percussion, and, well, everything really, it’s turned into a punchy cover that’s helped along by some exceptional reverb in Britt Daniel’s voice. If anything, this is the sort of cover that would’ve helped newcomers back in the day to discover the rich fruits that Cope’s solo discography had to offer.

38. 'Little Suicides' – Gorgeous (2004) (Covering The Golden Palominos)

Gorgeous were a relatively short-lived duo comprising Emma Heeney and Fi Claus, but in that time, they left us with a handful of eclectic recordings, including one done for an early Like A Version appearance. Having reportedly been covering ‘Little Suicides’ by American outfit The Golden Palominos since they first got together, it’s no surprise that this was a fitting entry into their brief discography. It’s casual and accomplished, yet still features an unpolished sheen that adds to the very essence of what makes a Like A Version cover so good. Had you met Heeny and Claus in the street and asked them to whip out a cover of ‘Little Suicides’ on a whim, it wouldn’t have sounded much different to this, and that’s what makes it so perfect.

37. 'Good Luck' – WAAX (2020) (Covering Basement Jaxx)

When it comes to a good cover, one could argue it’s all about bands taking on artists and styles that don’t align with their usual sound. If that’s the case, then it’s time to crown WAAX as legends of the cover, especially after setting their sights on English producers Basement Jaxx. Focusing on 2003’s ‘Good Luck’, WAAX replace big beats with guitar, drum, and bass, while vocalist Maz De Vita channels Lisa Kekaula, giving her all and pushing herself to the limit in the process. The performance is so forceful that you can’t help but feel exhausted once it’s over, and frankly, to achieve such a feat is nothing short of remarkable.

36. 'UFO' – Ocean Grove (2021) (Covering Sneaky Sound System)

Sneaky Sound System were equally catchy and irritating in their heyday, with their pop hits overplayed to the point that it felt impossible to find any redeeming qualities within them. (Or maybe that was just me Ocean Grove, however, seemed determined to look past the bubbling synths and soaring vocals, delivering a brooding, slow-burning rendition of ‘UFO’ for their appearance on Like A Version in 2021. The result was an explosive rendition of the track, complete with vocalist Dale Tanner throwing in elements of Nirvana as he made full use of the performance space, showing that Ocean Grove are as progressive and unexpected as they are unafraid of some pop indulgence.

35. 'Kids' – The Kooks (2008) (Covering MGMT)

In 2008, tastemaker blogs the world over were all about MGMT and their debut album, Oracular Spectacular, which had become a sleeper hit since its release the year before. Though electronic music and indie rock were typically viewed as enemies, it was up to The Kooks to mend the bridge. That resolution came by way of an acoustic cover of ‘Kids’, the peppy piece of indietronica that spoke of brighter days in one’s childhood. Though something of an unexpected pairing, it worked, and The Kooks’ cover would become one of the biggest and most popular Like A Version performances of the year.

34. 'Life On Mars?' – Sarah Blasko (2016) (Covering David Bowie)

Sarah Blasko has never been a stranger to the Like A Version studio, though her most poignant (and most recent) appearance was a bittersweet one. Performing just five days after the passing of David Bowie, Blasko paid tribute to the chameleonic artist by covering his 1973 single ‘Life On Mars?’. Though a common cover choice in the wake of his death, Blasko’s was one of the first, and most affecting. A triumphant performance that stood in contrast with the bleakness felt by the music world at large, Blasko chose not to turn this musical memorial into a funereal dirge, but instead a celebration of all Bowie had done for music. Judging by the response to this cover, there was barely a dry eye within earshot of the radio for some time after.

33. 'Words From A Woman To Her Man' – The Drones (2005) (Covering Beasts Of Bourbon)

As their name would suggest, Beasts Of Bourbon were an animalistic, alcohol-soaked entry to the Australian music scene. Nevertheless, their ability to write a song – be it forceful, frightening, or surprisingly emotional – was unparalleled. Likewise, few bands since have managed to reach the same level as the Beasts Of Bourbon, but if any were to come close, it would be The Drones. If anything, this cover of 1990’s Black Milk cut felt like it had been bestowed upon them by the Beasts themselves. Gareth Liddiard isn’t trying to imitate Tex Perkins here, yet he channels the Beasts’ charismatic frontman with ease, turning the haunting track into an anthem for a drunken morning after, and one that would unify fans of both acts in an instant.

32. 'I Would Die 4 U' – Mariachi El Bronx (2009) (Covering Prince)

Los Angeles punk outfit The Bronx are a ferocious force to be reckoned with, complementing crushing, anthemic songs with the vocals of Matt Caughthran. Naturally, it only makes sense that they occasionally moonlight as a mariachi group dubbed Mariachi El Bronx. Turning their sights towards the Mexican genre while on tour in Australia in 2009, Mariachi El Bronx first showed listeners what they were made of with a performance of the stellar ‘Cell Mates’, but it was their cover of Prince’s ‘I Would Die 4 U’ that proved their mastery of shifting genres. If you’ve ever witnessed the majesty of The Bronx in full flight, it almost feels impossible to imagine them in this format. Thankfully, we’ve got Like A Version to remind us of what it sounds like when genres collide.

31. 'Relapse' – Evermore (2005) (Covering Little Birdy)

Little Birdy’s debut single in 2003 was the twinkly ‘Relapse’, a surprisingly popular song among triple j listeners that ruminated on a failing relationship. In 2005, rising New Zealand outfit Evermore turned their attention to the track, deciding to turn it into a more straightforward folky ballad. Katy Steele’s lyrics are faithfully reimagined, with Jon Hume’s vocals making it feel as though he’s telling the other side of the story in the relationship, with a twinge of sadness shining through at all times.

30. 'Blackfella/Whitefella’ (feat. Peter Garrett, Emily Wurramara & Mambali) – Bad//Dreems (2019) (Covering Warumpi Band)

When Adelaide’s Bad//Dreems hit the Like A Version studios in 2019, they decided to utilise the extra legroom in a big way. Inviting a handful of special guests, the group were joined by Emily Wurramara & Mambali's Brad Bara and Don Murrungun, and Midnight Oil's Peter Garrett for an exceptional version of Warumpi Band’s ‘'Blackfella/Whitefella’.

A lyrical plea for racial harmony within Australia, any band could easily have taken on this song and called it a day. Bad//Dreems, however, ensured that Indigenous voices would be part of the modern reimagining, and recruited their special guests for the song thusly. (Garrett himself had toured with Warumpi Band following its original release and has long been a proponent for Indigenous issues.) With many listeners agreeing that this was not only a good cover, but an important one, it’s clear that Bad//Dreems hit the nail on the head with this one. (Plus, it’s worth the price of admission alone to watch Garrett show immense restraint and simply stand still during his performance.)

29. 'I Could Never Take The Place Of Your Man' – Eels (2005) (Covering Prince)

Eels frontman Mark Oliver Everett (better known as E) is an enigmatic fellow, but he knows his way around a tune. Anyone could likely agree that covering Prince is a lofty task, but E has never been one to shy away from a challenge. The final single from 1987’s Sign O’ The Times, ‘I Could Never Take The Place Of Your Man’ is a relatively simple track that speaks of a woman attempting to find a new relationship following the collapse of her previous one. As E takes over the song, he sounds weary and exhausted, almost as if he’s singing from lived experiences. The result is a song that feels like it had just been written for the Eels next album, and at no point attempts to step on the toes of Prince’s acclaimed original.

28. 'You Woke Up My Neighbourhood' – Death Cab For Cutie (2006) (Covering Billy Bragg)

These days, Ben Gibbard and his Death Cab For Cutie bandmates are pretty much considered indie-rock royalty, though back in 2006, they were still in the process of cementing their impressive legacy. While in the country off the back of 2005’s Plans, the group stopped by triple j’s studios for a brief performance which saw them take on Billy Bragg’s 1991 track ‘You Woke Up My Neighbourhood’. A beautiful song in its original form, and written by the untouchable Bragg, it feels as though this would’ve been a tightrope that Death Cab For Cutie would need to walk deftly so as to ensure they do the track justice (after all, we all remember how their cover of The Smiths’ ‘This Charming Man’ went…). Thankfully, it became abundantly clear this was a song which had soundtracked their collective lives and touched their souls, with the beauty of ‘You Woke Up My Neighbourhood’ being brought to the forefront thanks to Gibbard’s delicate voice. 

27. 'Pet Sematary' – Faker (2008) (Covering Ramones)

You’d probably be hard-pressed to find any band that resides under the umbrella of rock or its variations that aren’t in some way influenced by punk icons the Ramones, and Sydney’s Faker are clearly no exception. For their sole Like A Version appearance, Faker took on a rather strange entry in the Ramones’ catalogue. Written for the Stephen King film of the same name, one would expect a later-era Ramones song to be a dud, though it ended up becoming their biggest commercial hit.

Regardless, the goth-meets-punk track was a guilty pleasure for many fans, with the brooding sound feeling custom-made for Faker’s post-punk influenced sound. With Nathan Hudson leaning hard into the morose vocals, Faker’s version feels like more of a desperate plea to avoid supernatural resurrection, standing in stark opposition to the Ramones’ original, which feels inauthentic in comparison. 

26. 'Pulse' – Dan Sultan (2008) (Covering Front End Loader)

Many could be forgiven for not being aware of the great Front End Loader and their acclaimed oeuvre. However, if anyone was to know anything of the group, it would likely be their 1997 single ‘Pulse’. Written about the unlikely topic of assisted suicide, it would have felt like an odd choice for Dan Sultan’s first appearance in the Like A Version studio, but the proof is in the pudding. Turning the upbeat alt-rock anthem into a solo acoustic lamentation, Sultan’s haunting vocal drives this one, with its sound feeling heavily influenced by themes at play. It’s dark and it’s dreary, but Sultan adds a layer of beauty to ‘Pulse’, singing as if he knows the ins and outs of its origins better than Front End Loader themselves.

25. 'LoveStoned/I Think She Knows (Interlude)' – Kaki King (2008) (Covering Justin Timberlake)

There have been plenty of strange covers over the years, including Matt & Alex’s final show, Ziggy The Bulldog taking on Hudson Mohawke, or even Jay & The Doctor paying tribute to Mel Bampton via their ‘Mel-dley’, but few encompass as much beauty as this one. Best known for her truly phenomenal guitar playing, a cover of one of Justin Timberlake’s biggest singles might have raised some questions as to what it would consist of.

King, however, is the mistress of surprise. Effectively covering only the ‘I Think She Knows (Interlude)’ end section of Timberlake’s original, King eschews her traditional fingerpicking and percussive elements to create a distant, layered version which makes heavy use of a loop pedal. Despite her smiling face throughout, King feels almost pained in her vocal, as if the lyrics of love are darker and more personal than their original pop sheen may indicate.

24. 'Andy Warhol' – Love Outside Andromeda (2004) (Covering David Bowie)

Love Outside Andromeda were a band who never lasted quite as long as they should have. But in their heyday, they managed to nab some well-deserved airplay and even be invited to be one of the earliest acts to appear in the Like A Version studio. (For the trainspotters among us, the group would’ve been known as Andromeda at the time they recorded their Like A Version cover, only to expand their name a few months after.) However, for their lone appearance, the group took on ‘Andy Warhol’ from David Bowie’s Hunky Dory album.

Written as a tribute to its namesake, Love Outside Andromeda’s version might as well have been a tribute to Bowie himself, expertly clinging to the legendary bouncy guitar riff, and expanding upon the famed chorus thanks to effortless harmonisation. Even as they let loose through a wholly casual bridge, it's clear the band aren’t taking this one too seriously, and that they just hope everyone is enjoying it as much as they are. As the track comes to a close, Love Outside Andromeda almost bring it full circle, wrapping up with some in-studio apologies to each other, inadvertently echoing Bowie’s own conversation with producer Ken Scott that begins the original. 

23. 'The End Has No End' – Metric (2009) (Covering The Strokes)

For a band like The Strokes, the fear of succumbing to second album syndrome was one that must have weighed heavy on their minds. After all, when your debut album is the sublime Is This It, how can you deliver anything that comes close? 2003’s Room On Fire was the answer to that, and with three singles, it was a valiant effort that didn’t quite meet expectations, but didn’t tank their career. The final of these singles, ‘The End Has No End’, was an almost nihilistic take on modern life that feels as though it could’ve easily appeared on their debut, yet never quite got the accolades it deserved.

Thankfully, Canada’s Metric were on hand to right that wrong, with Emily Haines’ effortless vocals fronting an acoustic cover of the track that feels like the morning-after yin to the original’s yang. Slick, intricate riffs are replaced by simplistic acoustic strumming, boiling down an underrated indie-rock classic to its bare bones and proving that not only were Metric themselves vastly overlooked, but that sometimes simplicity is the key to a good cover.

22. 'Real Love' – Regina Spektor (2007) (Covering John Lennon)

‘Real Love’ is an intriguing piece of John Lennon’s discography. Having initially recorded a number of demos the year before his untimely passing in 1980, it wasn’t until 1988 that his demo recording was released, with a fleshed-out version being released under The Beatles name in 1995. Regardless of whether it’s considered an official Beatles song, a completed track, or somewhere in between, it’s a fascinating piece of work that hints at what may have remained in the works for the acclaimed artist. In 2007 though, New York-via-Moscow musician Regina Spektor was the song’s latest voice.

Having covered the track for the Instant Karma compilation that same year, a visit to Australia saw her invited into the Like A Version studios, but as host Robbie Buck recalled, it was a performance that required some heavy lifting. For one thing, she needed not only an expensive German grand piano and room to fit it in, but also a high standard of sound engineering. This meant that she wouldn’t be set up alongside the host’s desk like usual, but rather, in a dedicated studio. The result was one of the most immersive and truly special performances for the segment in its early years.

Her delicate piano playing and intoxicating voice are almost enough to overpower the lyrical message of the original, yet her dedication to the cover, and her effortless attempts to turn into her very own song make it a singular entity which feels untouchable for any other artist. It’s wistful, romantic, and smooth, and it’s the very essence of what made Like A Version so enjoyable in its formative years. 

21. 'Video Games' – Bluejuice (2012) (Covering Lana Del Rey)

From the very moment they made their way onto the Australian music scene, Bluejuice were an enigmatic dark horse. With their boisterous sound, incendiary live shows, and immensely catchy hooks, it’s no wonder that the group found an audience on triple j. However, back when triple j first started playing unassuming tracks like ‘Employment’ almost two decades, many would never have assumed that by the time they split in 2014, a few tears would accompany these final gigs. But for all their fun-loving antics, Bluejuice were also an incredibly good band that possessed some stunning talent. Sure, you could look at almost every single song in their discography for proof of that fact, but for a quick primer, one needs only to look at their cover of Lana Del Rey’s ‘Video Games’.

To put it simply, her early days are murky, and it’s a little hard to work out where Lizzie Grant and May Jailer end and where Lana Del Rey begins, but for all intents and purposes, it was ‘Video Games’ that kicked things off for her back in 2011. The hazy dream-pop anthem was a sultry, atmospheric throwback to a bygone era, with Del Rey asserting herself as a truly unique figure in the world of music. So, fast-forward to January 2012 (just three months after its release, and one day after the song reached #6 in the Hottest 100 of 2011), and it seemed fitting that Bluejuice give the track a folky reimagining for their second of three Like A Version appearances.

Led by bouncy acoustic guitar, and featuring Ngaiire on guest vocals, the real magic of the track is the vocal interplay between Jake Stone and Stavros Yiannoukas, who combine to add a strange sense of paired sweetness to the track. While Stone can be seen reading the lyrics off the page at times, it doesn’t stop his performance being so powerfully pitch-perfect that it feels as if they’d been playing this song together well before its original was officially released.

It’s an incredible example of an artist changing the song to slot neatly into a wholly different style, even if that style is itself an unexpected left turn for the performing artist. But really, that’s what Bluejuice was. They were wildcards of the Australian music scene, a never-ending musical left turn, and a beloved group that felt like home for lovers of all genres. One only needs to take a look at this cover of ‘Video Games’ to see what they could do, and what magic they could create, when given the chance to let their visions be realised.

20. 'Seventeen Going Under' – Camp Cope (2022) (Covering Sam Fender)

In 2016, Camp Cope made their Like A Version debut with a cover of the Yeah Yeah Yeahs’ ‘Maps’. Famously, this wasn’t the group’s first decision, with triple j reportedly having nixed Camp Cope’s choice to cover Royal Headache’s ‘Carolina’ for reasons unknown. In the ensuing six years, Camp Cope’s profile increased dramatically, with everyone starting to realise just how important they’d been to not only the Australian music scene, but the international one as well. Needless to say, when they returned to the Like A Version studio in 2022, there was no way they were going to be having their song choice turned down.

Indeed, the song they chose was Sam Fender’s ‘Seventeen Going Under’, a moving coming-of-age track that describes Fender’s personal struggles at the age of 17 as he realises that comfort and safety is far from guaranteed in life. It’s a powerful song at the best of times, but when Camp Cope revealed it as their song of choice to cover, it was clear things were about to get heavy. Instead of a traditional cover, the group approach it in their own way, with guitarist and vocalist Georgia Maq changing some lyrics to not only make it more palatable for the Australian listener, but to also personalise it to themselves. Given what Maq has revealed about her past, changing lines such as “and the boy who kicked Tom's head in” to “and the boy who took that from me” becomes a lyric that takes on so much more weight than a standard cover could possibly.

Even with this commanding aspect to the performance, there’s something so casual about it as well. Not only does Maq sing it like she wrote it, but her shift from holding the microphone to picking up her guitar almost feels as if this is a candid snapshot of the band in the studio, making you wonder: if this is a fly-on-the wall vision of the band, what are they like when firing on all cylinders? The answer, of course, is that they’re always firing on all cylinders, and this cover is a perfect representation of what made them so great.

Sadly, at the time of writing, the band have all but wrapped things up, with one final show to take place later in the year. I was lucky enough to witness one of their earliest shows, and after years spent watching them grow into the band they are today, I’m hoping to catch this final show as a way to farewell them with pride.

19. 'Sweet Nothing' – Something For Kate (2013) (Covering Calvin Harris)

Something For Kate are one of those Australian bands that means so much to so many. They’re also the only band to have featured in Like A Version across the ‘00s, ‘10s, and ‘20s, indicating that they’re not just a popular staple of the segment, but one whose legacy is well and truly cemented. In 2013, they made their second appearance on the segment, and – like always – proved they were up for a challenge. Diverting from their usual indie/alt-rock sensibilities, the group turned towards the world of electronic pop, covering Calvin Harris and Florence Welch’s ‘Sweet Nothing’.

Already a chart staple by the time they covered it, it was clear that music-lovers – fans or not – would be paying close attention to see how their cover stacked up to the original. As anyone would know, however, Something For Kate are masters of the cover, with this becoming one of their most beloved renditions of a song to date. Appearing as a quartet with late touring member John Hedigan, the group turn the triumphant piece of electronica into a meat-and-potatoes acoustic-led cover which relies heavily on their secret ingredient: Paul Dempsey’s voice. Dizzyingly moving between the forceful and the tender, Dempsey belts out the song like his life depends on it, with his run into the final chorus worthy of being taught as a masterclass in both dedication and power. It’s always a good time when Something For Kate set their sights on a cover version, and ‘Sweet Nothing’ exemplifies why they’re masters of the craft.

18. 'Read My Mind' – Catfish And The Bottlemen (2015) (Covering The Killers)

“Live music; what the kids want.” Those are the now-iconic words spoken by Catfish And The Bottlemen’s Van McCann as he realises he’s sung the wrong verse to The Killers’ ‘Read My Mind’ during his 2015 Like A Version appearance. Asking hosts Matt Okine & Alex Dyson if he can carry on, McCann indeed forges on with the cover, adding a sense of humanity to something that sounds otherworldly for the most part. While any other artist might have derailed things completely thanks to an error, McCann was on the cusp of making it an all-time cover already, only cementing the fact as he endearingly works a brief error into his performance.

But that’s not where the surprises end, because only moments later, the cover takes a sharp turn, becoming a performance of the now-disgraced R. Kelly’s ‘Ignition (Remix)’, and adding a sense of pop-fuelled levity to a performance that has already been hitting all the highs at all possible moments. But aside from any novelty, any errors, or any endearing qualities, it’s hard to not look past the fact that this multifaceted cover is just McCann and an acoustic guitar, with his emphasis on melody and emotion making it feel more than just the sum of its parts. There’s a reason why fans of Like A Version keep going back to this one, and a simple listen will tell you exactly why that is.

17. 'Jóga' – Hermitude (2008) (Covering Björk)

Covering Björk is no easy feat for any artist. That said, it’s been attempted thrice over the years, including Big Heavy Stuff’s version of ‘Hyperballad’ in 2004, and Kali Uchis’ take on ‘Venus As A Boy’ in 2019. Her theatrical vocals and eccentric performance style make the task of delivering an effective cover a difficult one, though when done well, it’s enough to dazzle through the ages. Thus, when Blue Mountains production duo Hermitude announced that they’d be covering Björk’s 1997 single ‘Jóga’ for their Like A Version appearance, it was anyone’s guess what would come next. Though the song is known for its explosive production and deep beats, how in the world could Hermitude manage to match the Icelandic icon’s trademark vocals?

Having been asked to perform only the day prior, the group’s dubstep-influenced version was crafted in just ten hours, with the pair overcoming the “interesting” vocal situation by channelling Luke Dubs’ own vocals through a vocoder. Though it lacks the sheer beauty of Björk’s own version of the song, it’s a fascinating reworking that almost presents itself as a metallic instrumental version which is rooted in both the worlds of wonky hip-hop and baroque pop. It’s not what you’d expect from a cover of a Björk song, and frankly, that’s why it works so well.

16. 'The Wrote & The Writ' – Laura Marling (2008) (Covering Johnny Flynn)

These days, he’s probably best known as having portrayed David Bowie in Gabriel Range’s 2020 film Stardust, but years before that, Johnny Flynn was a burgeoning actor and musician, landing his first television role in 2005. Around that same time, the world was being introduced to fellow English creative Laura Marling, who enchanted the music world when she released her debut album, Alas, I Cannot Swim in 2008 at the age of 18. As it turned out, Flynn and Marling had been close friends, with each others’ work informing the other somewhat, so when Marling made her way to Australia in August 2008, the song choice for her sole Like A Version appearance was an easy one.

Released on his debut album A Larum that same year (though issued under the name Johnny Flynn & The Sussex Wit the year prior), Flynn’s ‘The Wrote & The Writ’ is an interesting song. Poetic in nature, and featuring a bouncy, folky vibe throughout, it speaks of Flynn’s experiences with faith and the disillusionment he’s faced with Christ-based religion. It’s not exactly the sort of thing you’d hear pumping out of clubs, though its writing is heartfelt and its delivery is mesmerising. When Marling performed an acoustic version of the song, it’s an equally-interesting rendition.

On one hand, it’s endearing to see her giving a close friend a wider platform through her performance, and on the other, any feelings of nepotism are assuaged by the fact this is exactly the sort of song that Marling herself could have written. But a close listening to the original shows that Marling’s version almost feels timid, like it’s unrehearsed and unpolished, and indeed at times, she hits a few wrong chords. But it’s the commitment to it, her stellar voice, and the decision to cover such an unwieldy yet satisfying song that makes this cover so wonderfully satisfying.

As an equally satisfying addendum, Marling and Flynn would go on to collaborate together just two years later, with Flynn’s 2010 song ‘The Water’ prominently featuring Marling, turning this cover into something of a manifestation of what was destined to be.

15. 'Sex From The Bong' – Something With Numbers (2009) (Covering Kings Of Leon & Cypress Hill)

Throughout the history of Like A Version, numerous artists have offered up mash-up covers which have seen two or more songs combined to create a truly unique result. For the most part, they’ve almost all been done sublimely, with very few being received negatively. Famously, The Bedroom Philosopher decided to take this concept to the extreme back in early 2006 where he covered a total of 30 songs that had made the then-recent Hottest 100 of 2005. Most artists, including Something With Numbers, have decided to utilise a far more manageable number to achieve intriguing results.

In 2009, Something With Numbers made the decision to marry Kings Of Leon’s then-Hottest 100-topping ‘Sex On Fire’ with Cypress Hill’s ‘Hits From The Bong’. Like many of these mash-ups, the idea of pairing a rock radio staple with a hazy hip-hop classic felt unwise on paper, though worked so much better in practice. As Jake Griggs spits out the lyrics to ‘Hits From The Bong’ in rapid-fire succession, it’s tempered only by the chorus to ‘Sex On Fire’ helping even things out. The acoustic-led cover is made all the better by the fact that it feels as though it’s on the verge of collapsing in a shambolic heap at any given moment. But above all, it’s a cover bolstered along by the overwhelming sense of fun that everyone is having.

It’s endearing and infectious, and the fact it does indeed collapse into laughter at the end of proceedings shows that this isn’t a cover that sees Something With Numbers enter into it all with a sense of reverence. They’re here to have fun, and as a result, so do we all.

14. 'Mistress' – Holly Throsby (2005) (Covering Red House Painters)

Mark Kozolek has managed to gain a reputation from some folks in the music world as a difficult person. His onstage behaviour as the vocalist of Red House Painters or as Sun Kil Moon is often hit-or-miss, with his decision to focus on longer, more rambling songs instead of fan favourites often being met with confusion from fans. Meanwhile, his offstage behaviour can be polarising, as evidenced by his infamous spat with The War On Drugs, to name one instance. But there’s one thing that’s undeniable, and that’s his worth as a singer and songwriter.

While Sun Kil Moon is his main vehicle these days, throughout the ‘90s, he could be found fronting San Francisco indie rock outfit Red House Painters, whose slowcore sound was a breath of moody air for the grunge-heavy scene at the time. In 1993, they treated fans to two self-titled albums, with the first of which (dubbed Rollercoaster for its cover art), being considered one of their finest pieces of work. The album also featured a notable track titled ‘Mistress’, which had the strange distinction of being featured in a more distortion-laced format, and a reflective, piano-led format as well.

When Holly Throsby selected it for her Like A Version appearance in 2005, she met the Red House Painters in the middle, offering a haunting acoustic guitar rendition of the track. While the original can often feel meandering and muddled despite its equally powerful or gentle approach, Throsby tries to provide an anchor with her finger-picked guitar lines, her tender voice recalling lyrics of abuse and infidelity with a sense of tenacity. The lyrics feel like they hit a little too close to home for her, and the very notion of singing the song feels like an achievement for her. If anything, it shows us that she’s not just covering the song because it sounds good, rather, she’s leaning into the cover with everything she’s got, and it feels as authentic as it possibly could.

13. 'Long Black Veil' – Crooked Fingers (2005) (Covering Lefty Frizzell)

I’m going to wager that the chances are good you’ve likely not heard of William Orville "Lefty" Frizzell. Though not a household name, his fingerprints can be found all over the world of country music, with at least six number one country songs released in his lifetime, and countless other songs and albums influencing future country icons. One of these icons was the Man in Black – Johnny Cash. In 1965, Cash covered Frizzell’s 1959 single ‘Long Black Veil’ on his Orange Blossom Special album, before it featured on the landmark At Folsom Prison album in 1968. As such, it’s long been considered a Cash original, with many considering it one of the icon’s best.

Lyrically, it’s a simple song of tragic love. A man is falsely accused of murder, though to provide an alibi means admitting he was with his best friend’s wife. Rather than admit the truth, he takes the secret to his grave, with his lover visiting his memorial in the ensuing years. It’s typical country fare, and it’s been covered by countless artists over the years, but in 2005, it was up to Crooked Fingers to offer the latest version. The group was formed by Eric Bachmann following the dissolution of Archers Of Loaf in 1998. Though it could be seen as a solo project by some, it offered Bachmann a chance to cover new ground than he could have with Archers Of Loaf. As such, when he takes on ‘Long Black Veil’, it’s hard to believe you’re listening to the same person who’d sung ‘Web In Front’ years prior. But Bachmann approaches the song in a weary sort of way, as if he’s singing the track from personal experience, or about to face the hangman’s noose himself. The solo performance feels as lonesome and troubled as the narrator itself, and serves as a great example of the sort of magic artists were capable of in the Like A Version studio.

While Frizzell’s original version of ‘Long Black Veil’ would be selected by the US Library of Congress for preservation in the National Recording Registry in 2019, the Crooked Fingers version found itself receiving a second wind the following year. Though it’s hard to say which came first in this chicken-or-the-egg scenario, 2006 saw the release of Bachmann’s solo album To The Races. Notably, the instrumentation of the track ‘Carrboro Woman’ is a near recreation of his ‘Long Black Veil’ cover the year prior. Did he have it in his pocket for a few years before, or was this cover deemed so good that it needed to be utilised on a proper album? Only Bachmann knows, but it’s a nice way for fans of Like A Version to relive the cover in a different light.

12. 'Believe' – DMA'S (2016) (Covering Cher)

Before DMA’S covered Cher’s ‘Believe’ in 2016, the highest position that a Like A Version covered had reached in triple j’s Hottest 100 countdown was #21, when Chet Faker covered Sonia Dada’s ‘(Lover) You Don't Treat Me No Good’ in 2014. Prior to 2016, it somewhat felt as though the Like A Version sessions didn’t quite have a level of authenticity to them, as if it was simply a way for an artist to enter the studio, resurrect an old radio hit, and enjoy some quick and easy success. While many may still hold this notion, it was in 2016 that the segment found itself receiving a well-deserved spotlight, and another healthy dose of legitimacy.

In early 2016, Sydney’s DMA’S had released their debut album, having spent a couple of years receiving widespread comparisons to the likes of Oasis for their stadium-ready Britpop sound. However, the group had mystified some of their non-believers thanks to a cover of Madonna’s ‘Beautiful Stranger’, indicating they were more than just a one-trick pony and that their eyes were open to traversing unexpected genres. So when the group revealed they’d be covering Cher’s ‘Believe’ for Like A Version, it was clear we were about to witness something very special. Indeed, as the group ventured into the atmospheric acoustic cover of the 1998 single, they showed a side that no one had expected to see.

As vocalist Tommy O'Dell chewed on gum between his silky-smooth voice belting out the passionate lyrics, guitarists Matt Mason and Johnny Took showed just how simply this song was at its core. But most impressively, the stripped-back version underlined DMA’S’ impressive musicianship, with O’Dell eschewing any notion of the original’s pioneering use of autotune to deliver a cover so raw and passionate that it would be impossible to melt the hearts of even the staunchest pop critics.

Indeed, this was a cover which seemed to turn the tide for Like A Version, with the song going on to reach #6 in the Hottest 100 of that year – the then-highest ever reached by a Like A Version cover, and only one spot lower than the then-record of a cover song in the countdown. Not only that, but any of DMA’S critics were suddenly aware that this wasn’t a band eager to just follow Britpop trends and continuously deliver a sound which had gained prominence two decades earlier – they were here to be masters of their craft, regardless of genre.

11. 'Bulls On Parade' – Denzel Curry (2019) (Covering Rage Against The Machine)

Throughout the history of triple j’s Like A Version, only one artist has had the nerve to try and cover Rage Against The Machine. I don’t say that as though they’re an untouchable entity, but rather because the very notion of covering them means excelling on so many different levels. What made Rage Against The Machine great was the ferocity of Zack de la Rocha, the intricate guitarwork of Tom Morello, and the watertight rhythm section of Brad Wilk and Tim Commerford. It’s entirely possible to cover them, but to do it well is to walk on ground which many have feared to tread.

Thankfully, Denzel Curry is an artist born without any sense of fear in the slightest. Just one day before his 24th birthday at the time of the performance, Curry wasn’t even a year old when Rage Against The Machine released ‘Bulls On Parade’ as the lead single from their second album, Evil Empire. Led by Morello’s crushing guitar riff and de la Rocha’s frenetic vocals, its brutal takedown of the US military is a message whose relevance hasn’t died out yet – much like the song’s impact. But Curry, with Harts on guitar, knew he could make this song his own, and own it he did.

From the moment his cover kicks off, it’s clear we’re witnessing a faithful recreation, but as Harts’ fuzzy guitarwork reaches its end, Curry jumps into action, screaming out de la Rocha’s lyrics with more fury than the song had seen since Rage Against Machine split once again eight years earlier. With Curry and his band performing with a level of animation that’d make Cartoon Network blush, the song never once relents, with Curry looking like he’s on the cusp of fainting at any given moment. Even Curry’s addition of new lyrics complements the original, while Harts’ take on Morello’s iconic solo is up the same lofty standards that the 1996 version set all those years ago.

Understandably, public reaction to this cover was incendiary, with many labelling it the greatest cover to have ever come from the Like A Version sessions, and being labelled a strong contender as the first cover that could top the Hottest 100 countdown of that year. Ultimately, it only hit #5, though the impact had been made, and Curry had cemented his legacy amongst triple j listeners.

10. 'Am I Ever Gonna See Your Face Again' – Seabellies (2010) (Covering The Angels)

Being asked to cover an Australian song for Ausmusic Month in 2010, Newcastle’s now-defunct Seabellies explained they’d decided to put “a pink dress on an Angels song”. For anyone even remotely familiar with the song, they knew what was coming. In fact, we all did. Arguably one of Australia’s most influential pub-rock bands, The Angels had always been a force to be reckoned with.

Growing up in Adelaide, where the band were from, hearing them was a frequent occurrence, and when I grew to realise their influence wasn’t just confined to the South Australian – or even Australian – borders, I felt a bit of pride about that. But their most famous song, 1976’s ‘Am I Ever Gonna See Your Face Again’, has always been a staple for just about any Australian out there. It’s a unifying experience from start to finish. From the opening riff to the chugging verses, to the heartfelt chorus line, its original status as a ballad was eventually updated to be a harder rock song. But it was when the crowds took over that things really got out of control.

As any Australian knows, the correct response to the chorus’ question is a forceful “No way, get fucked, fuck off”. Its origins are unknown, though its impact is well-documented, and it’s often used as a way to locate any Australians in a room in which the song is played. So when the Seabellies, acoustic guitars in hand, revealed this was their cover of choice, it was clear that things were going to be unique. Opening with a tender recreation of the riff, the Seabellies’ version is so saccharine and sweet that you could be forgiven for thinking they’d be playing it straight and narrow, ensuring it’s a cover suitable for family listening.

In fact, that’s part of the reason why this cover works so well, just how it defies expectations. It’s so far removed from the original version that by the time it reaches its peak, you’ve probably forgotten what’s about to happen. Sure enough, as the band tends towards the end, they softly belt out the most polite version of the iconic phrase you’ve ever heard. The Angels’ original might be a bonafide classic in the world of Australian music, but the Seabellies’ is one you can take home to meet your mother on a cosy Sunday afternoon.

In 2022, Dune Rats and a group of friends (including The Angels’ own John and Rick Brewster) performed a cover of the song to great acclaim, with theirs being more in-line with the original. Though that is in itself a fantastic take on the track, I can’t help but look back on the Seabellies’ version with fondness and applaud them for turning something so ferocious into something so sweet and delicate.

9. 'Slow Dre' – alt-J (2012) (Covering Kylie Minogue & Dr Dre.)

In 2012, alt-J were on their way to indie superstardom, but they weren’t quite past the point of entering the triple j studio to lay down a humble live cover for the Like A Version series. Having given listeners a clue that they’d be performing a cover that was “via Australia and Compton”, host Tom Ballard jokingly addressed the uniqueness of their song choice best when alt-J revealed they’d be mashing up Kylie Minogue’s ‘Slow’ and Dr. Dre’s ‘Still D.R.E.’: "That's annoying, the band last week did the same thing. This is going to be very unoriginal”.

Indeed, taking the instrumental to the latter and adding the lyrics of the former, the cover is as dreamy and mesmerising as anything alt-J have ever created, with the surrealness of hearing Minogue’s lyrics over Dr. Dre’s iconic instrumental only adding to the experience. While most mash-ups come off feeling like novelties that were curated simply based around the humour factor, ‘Slow Dre’ (as it was since dubbed) feels entirely organic, almost like something alt-J would slip into their sets to unsettle and surprise their audiences. Truly, it’s one of the most unique covers seen in Like A Version history, with its tangible warmth and the near-hypnotic of its melodies and vocals making it feel like something that shouldn’t be able to exist, but thankfully – thanks to whatever musical theory is at play – does.

8. 'Look At Miss Ohio' – The Kill Devil Hills (2006) (Covering Gillian Welch)

It’s hardly any surprise that Gillian Welch is such a fascinating performer. Following an upbringing fitting of any country song, she grew up with her adoptive parents who introduced her to the world of music, including the iconic sort of folk singers she would come to adore. As such, it’s only fitting that with such a myriad influences on her side that she grew to write songs like ‘Look At Miss Ohio’.

Appearing on her 2003 album Soul Journey, ‘Look At Miss Ohio’ is described by Welch as one of her “lonesome stories”, and to listen to it, she couldn’t be more right. A sympathetic tale of the titular all-American girl, Welch sings of a young woman pushed to “do right” in her life, despite a desire for it to not happen “right now”. It’s equal parts heartbreaking, powerful, mystifying (what is it that needs straightening out?), and satisfying (rhyming Atlanta with ‘fantasy’? Outstanding), yet it presents itself as something so casual and carefree for Welch that she might as well have been ready to record another five songs like this when in the studio that day. Since its release though, it’s become a highly-regarded song, with numerous artists the world over looking towards it as a fitting track to cover.

One of these artists was Perth swamp-rockers The Kill Devil Hills, who took on the song for their sole appearance on Like A Version in 2006. On paper, it works, with the band’s country-tinged sound feeling like a natural fit for a song such as this. Though at times, their almost menacing songs make it feel like maybe this song was a little too heartfelt for such a band to cover? As it turned out, the result was a beautiful creation that has long been overlooked in Like A Version history. Arming themselves with acoustic guitars, the pair look ready for war, yet their voices are so harmonious and gentle that you could be forgiven for thinking you’re watching the wrong video or hearing the wrong song.

It’s soft and it's slow, with sliding guitar peeking out from between verses, and the pair feeling each and every note as though the song has affected them in ways we could never understand. But listen to the lyrics closely and you start to realise just why it is so effective, and you begin to understand exactly why they feel totally mesmerised by the task at hand.

7. 'They Thought I Was Asleep' – Jae Laffer (2009) (Covering Paul Kelly & The Stormwater Boys)

Paul Kelly is, in no uncertain terms, a true legend of the music world. His mastery of lyrics, his prolific nature, and his tireless and ever-impressive compositional skills have cemented him as one of the greatest to ever do it in the country. Releasing his first album in 1981, it wasn’t until 2017 that he received his first-ever chart-topping record, with many declaring it criminal it had taken so long.

After all, it was back in 2009 that triple j had decided to take a retrospective look at his career, collecting an array of Australian musicians for their Before Too Long tribute which would see these artists performing his beloved creations in their own style. While names like Clare Bowditch, Missy Higgins, Jae Laffer, and Ozi Batla all appeared to share their take on his myriad works, so too did The Panics’ Jae Laffer, who covered ‘When I First Met You Ma’ and ‘They Thought I Was Asleep’.

Earlier that same day though, Laffer had entered the triple j studios in preparation for the show, appearing on Like A Version in a rare instance where the artist played two covers. Previewing the songs he’d play that night, it was his first song, his cover of ‘They Thought I Was Asleep’, that hit the hardest. Originally released on 2005’s Foggy Highway and released with The Stormwater Boys, it’s a simple yet effective song that sees Kelly recalling a pivotal childhood moment in which he witnesses his parents fighting while on a road trip, thinking that he was asleep in the back of the car. The beauty of the lyrics, their simplicity, and the way they illustrate such a vivid picture of this moment of childhood turbulence, is the key to this cover, and Kelly’s folk-tinged original is stellar.

Laffer’s version, however, is an almost carbon copy of the original. So why is it so good? The power of this one lies within its isolating nature. Laffer’s reverb-laden vocals are a haunting companion to his simple guitarwork, feeling like a snippet from a dark memory that has lingered for years. This cover feels like it transports you back to that moment, providing a visceral account of the foggy memory that you almost feel like you’re there witnessing it happen in real time. But at the same time, it’s a comforting accompaniment to the trip to the past, and it reminds you that even the darkest of memories can disappear as quickly as a deep sleep can take hold.

6. 'Hybrid Moments' – Regular John (2009) (Covering Misfits)

From what Regular John told the Breakfast team when they appeared in the Like A Version studio back in 2009, we’re lucky this performance even happened. Citing themselves as being adverse to the notion of covering a song, it was one thing for the Sydney group to perform an original, but an entirely different undertaking to cover another artist’s song. “We’ve sold out, people,” they joked to listeners before revealing they’d be covering the Misfits’ ‘Hybrid Moments’.

Armed with acoustic guitars, it felt almost sacrilegious to take on an iconic punk song like ‘Hybrid Moments’ and strip it back for the radio, but for Regular John, it was all in a day’s work. Turning Glenn Danzig’s crooning howl into a sweet and simple melody, it presents the Misfits as a thing of beauty rather than something to be feared. Though it’s doubtful that Danzig and co. had ever intended ‘Hybrid Moments’ to be presented as a romantic piece of acoustic folk, there’s no doubt that they were well-versed in the art of crafting a pop song and dressing it up like a gritty punk anthem. So it was up to Regular John to see through the complexity and simplify it into the majesty we hear in this cover.

“Am I imagining things, or have you guys played that at somebody’s party in the kitchen at three o’clock in the morning, or in a backyard somewhere?” Robbie Buck asked the group. “It certainly is reminiscent of that kind of situation.” The answer was negative, but the result was an immense positive, and one that has long been forgotten in the Like A Version archives.

5. 'Edge Of Town' – Paul Dempsey (2017) (Covering Middle Kids)

Though The Wombats may have featured five times throughout the history of Like A Version, I maintain that Paul Dempsey is the real MVP, having appeared six times thanks to appearances as a solo artist and with Something For Kate. Anyone who is even remotely familiar with Dempsey’s work will agree that a cover song is his forte. In fact, Double J themselves investigated the phenomenon in 2018, bluntly asking Why is Paul Dempsey so good at playing covers? It’s a fair question.

After all, there are few artists who can so effortlessly pick up a guitar and transfix an entire room as they belt out the powerful strains of songs by Archers Of Loaf, The Afghan Whigs, Midget, MGMT, and countless others. Even with Something For Kate, any fan’s dream setlist includes a rendition of ‘Truly’, a song originally performed by Oregon band Hazel in the ‘90s. The point is that any song would be lucky to be given the Paul Dempsey treatment, and any band honoured to have received his attention.

In 2016, Sydney’s Middle Kids released their debut EP, with lead single ‘Edge Of Town’ gaining attention the world over, including from the likes of Elton John. When Dempsey performed Like A Version the following year, it was ‘Edge Of Town’ that took his fancy and received his trademark treatment. At first, everything feels normal. Dempsey, dressed in an Arabic Sonic Youth shirt, faithfully recreates the song, simply adding his own unique flair into the mix as he lulls us into a sense of false security. But as the second chorus comes in, his brilliance flashes, with a preview of his vocal acrobatics coming into full view. It’s impressive, but as he reaches the bridge, the lyrics repeat and his intensity increases.

Slowly switching from his regular vocals to a near-falsetto, he increases speed, swapping between the two rapidly before he reaches an intoxicating peak, backing away from the mic as the natural grit of his voice makes itself known, and his brilliance cements itself. Usually, one could be accused of hyperbole when using so many positive descriptors of a performance such as this. But really, if you’ve ever watched this version, or even just had the privilege of seeing Dempsey live, you’ll realise that I’ve not even come close to underlining how outstanding this cover is.

4. 'Colour Television' – Jonathan Boulet (2010) (Covering Eddy Current Suppression Ring)

To date, I’ve only been fortunate enough to witness Eddy Current Suppression Ring once, at the Adelaide Big Day Out in early 2009. Sadly, there’s very little I remember about the experience apart from the sheer ferocity of their live show and the heaving crowd that had gathered to worship at their altar. But one memory I still hold dear occurred near the end of a song I was – at the time – unfamiliar with. As the rough-as-guts instrumental faded out, frontman Brendan Suppression was left chanting the words “I switch on, I switch off” repeatedly for longer than seemed necessary. By the time he’d finished, I’d been converted, and Eddy Current Suppression Ring quickly became a band I regarded very highly.

The following year, Sydney multi-instrumentalist Jonathan Boulet was invited into the Like A Version studios where he would go on to cover the great ‘Colour Television’. Looking nervous as ever, Boulet’s cover could very easily have been mistaken for a lost Vampire Weekend song, with acoustic guitars playing high chords, smooth vocals, and intricate rhythms (courtesy of two drummers, some brushes, pots, and buckets) helping out to round the ensemble. But while Eddy Current Suppression Ring’s original almost felt like an urgent warning about the perils of mass media, Boulet’s feels as though he’s resigned to the fate such a warning brings. He’s comfortable with the tumult that lays before him, so he’s making the best of a bad situation and delivering a cover that – though feeling breezy and jovial – still simmers with a sense of rage.

It’s a far cry from the original that transfixed countless Aussie music fans a few years earlier, yet it’s so far removed that you could be forgiven for not realising you’re listening to a cover. It’s an entirely different beast – just like Boulet in every iteration of his storied career.

3. 'Bluestoned' – Epicure (2005) (Covering The Dead Salesmen)

While they lasted, Ballarat’s Epicure were a relative oddity in the world of Australian music. Alt-rock at their core, they weren’t scared of flirting with beauty, or of leaning into the sweet and soulful. Their songs were equally introspective and sad, yet joyful and exuberant at the same time, and their records never quite got the sort of critical acclaim that they deserved. To the commercial radio-listening masses, they might as well not have existed, with their work being overlooked by all except those who adored them, with their final tour, 2010’s Quietly Into The Night, being a fitting farewell for a group who should have lasted far longer than they did. But everything is relative, and compared to fellow Ballarat outfit The Dead Salesmen, Epicure were as big as AC/DC.

Though a staple of Melbourne venues throughout the ‘90s, The Dead Salesmen never quite got the kudos they deserved, and though they still perform today (mainly in duo formation), they were beloved by those lucky enough to witness them in full flight. Likewise, their recorded output is difficult to track down, though if you’re equally lucky enough to locate their 1997 album Bluestoned, you’d be met with the power of its title track. A majestic piece of work, its hardly any surprise that when Epicure had the chance to record their one and only Like A Version appearance in late 2005, they played tribute to their hometown heroes with a stunning rendition of this song.

Typically, the impact of a cover comes from knowing how it translates in comparison to the source material. For example, you’re able to say if it’s good or bad depending on how it stacks up when placed alongside the original version. For years though, The Dead Salesmen’s elusiveness meant that I have nothing to compare Epicure’s version to. Was it good? Was it bad? I had no clue, but what I did know was that I’d felt something ethereal while listening to it. These lines felt so cryptic, yet phrases like “me and my girl, we lost our conversation skills/we took each other like we were taking sleeping pills” resonated with such depth and meaning that I knew that Epicure were onto something with this cover. In fact, for a long time, I was so taken by the majesty of this recording that I almost didn’t want to discover the original, lest it somehow ruin the relationship I have with this gorgeous recording.

Thankfully, I relented, I was able to hear The Dead Salesmen’s original, and I could see just how dedicated to the band Epicure were to have created something so powerful. Though it feels perfectly in line with the version of ‘Tightrope Walker’ they performed alongside this cover, Epicure captured something truly amazing with this version. It’s impossible to make a comparison, because for years, I might as well have been convinced this was indeed Epicure’s song, and I’m sure many others would agree.

2. 'Alex Chilton' – Kisschasy (2009) (Covering The Replacements)

When Robbie Buck introduced Kisschasy’s cover to the triple j listenership back in August 2009, he was right to point out that their cover was a song that most would be unfamiliar with. Covering Minnesota rockers The Replacements, the song in question was ‘Alex Chilton’, The ‘Mats’ 1987 tribute to Big Star’s titular frontman. While The Replacements spent years as a word-of-mouth band for many fans of music, so too were Big Star the sort of group that everyone discovered after being turned onto by a fellow music fan. Though I can’t speak for Kisschasy themselves, it’s clear that a song such as this spoke to them on a deep level.

By the time the original was recorded in 1987, Chilton had been in the limelight for more than 20 years. Having found success as the teenaged frontman for The Box Tops, he later founded Big Star in 1971 with Chris Bell. Their debut album, the fittingly-titled #1 Record, is arguably one of the finest records of the ‘70s, with Chilton’s vocals being found across some of its biggest songs, including ‘The Ballad Of El Goodo’ and the phenomenal ‘Thirteen’. Following Big Star’s dissolution in 1975, Chilton went on to launch a solo career, releasing a number of albums, and by 1987, he’d teamed up with The ‘Mats. Recording guitar for their song ‘Can’t Hardly Wait’, the band themselves were honoured to have worked with an idol that they recorded a song in tribute to the rocker which also featured on 1987’s Pleased To Meet Me. So beloved was the song that it’s gone on to be considered one of the band’s finest, with its memorable chorus line – “I’m in love with that song” – finding itself as the title to numerous tribute albums to The Replacements.

When Kisschasy turned their attention to the song, it felt fitting, in a way. Like The Replacements had paid tribute to Chilton 20 years down the line, Kisschasy themselves felt like they were pulling a double duty and honouring both Chilton and The ‘Mats in one neat package. More reflective than the original, it only adds to the poignancy of the lyrics as it feels as though Darren Cordeaux is singing of an overlooked and unappreciated of the music world, near-depressed at the lack of attention he receives for his work.

While I admit being floored by this song upon its performance in August 2009, its importance and poignance was only amplified seven months later when Chilton passed away in New Orleans – not in Memphis, as the lyrics suggest. As a result, this heartfelt performance almost becomes an epitaph for such an influential, powerful, and overlooked career – as if it’s pleading for more people to sing along and claim, “I’m in love with that song”.

1. 'Monument' – Gyroscope (2005) (Covering Jebediah)

I’d probably go so far as to say that Jebediah are one of my favourite Australian bands of all time, and I’ve long held the belief that their debut album, 1997’s Slightly Odway, is one of my favourite albums of all time. But when it comes to niche opinions on music, I’d argue that the better version of this album is the Japanese release, with my reasoning being due to the inclusion of one particular song, ‘Monument’.

Back in 1997, Jebediah had been going for three years, and after an EP, they’d begun recording some singles. Though tracks like ‘Jerks Of Attention’ and ‘Leaving Home’ would appear on Slightly Odway when it was released, the versions found on these singles are – in my opinion – superior. While the latter is an incredible song, its single release is improved tenfold by its accompanying B-side, ‘Monument’. Named for a mishearing of the chorus line, “I’m supposed to be the one you want”, ‘Monument’ was described by the band as a song that didn’t quite make the team. Indeed, it should very well have been included on Slightly Odway at the time, with its perfect alt-rock composition feeling like a perfect addition to an album such as that. Instead, it was relegated to live on as a B-side, as a compilation track, or as a fan favourite at live shows.

Lyrically, it captures feelings of insecurities and projects them across the backdrop of finding someone who looks past them, yet this connection can’t be made. As Kevin Mitchell almost pleads, “I’m supposed to be the one you want” feels like the sort of cry that countless teenagers would have shared as their plans for love never quite came to fruition.

The same year that Jebediah released their debut album, fellow Perth band Gyroscope were in the process of coalescing. Given their geographical proximity and sonic similarities, I’d be willing to wager Gyroscope were likely fans of Jebediah at the time. If they weren’t, however, they certainly were by the time they were promoting their second album, Are You Involved?. Invited into the Like A Version studios for the first time, the group picked out the elusive Jebediah B-side as their song of choice and let loose with one of the finest covers ever recorded for the segment.

Musically, there’s very little different to the original apart from the fact it’s being performed on acoustic guitars. However, the acoustic instrumentation adds a layer of clarity, allowing Daniel Sanders’ vocals to shine through as Mitchell’s lyrics are delivered without a wall of distortion hiding them. Likewise, while Mitchell sounds almost pained at times, Sanders feels like he’s reached a moment of understanding. It’s like the lyrics have themselves just happened to him, and he’s not miserable or bitter, but surviving, and the only way to do so is with this song. But even as he asks questions like, “I know that I don't earn 100 points in bed, but will you love me anyway?”, it feels like there’s a naive sense of hope still left in the aftermath, and his passion for a hopeful future remains in his mid-chorus howl.

I will admit, I’m probably a little biassed with this song. It was indeed the very first song from the Like A Version segment that I ever heard, having first presented itself to me thanks to being the opening song to the second compilation album. To this day though, I still remember the feeling of picking this CD up from the store, reading the liner notes on the train home, loading it onto my iPod, and hearing those opening notes ring out of my headphones. I’ve always said that Like A Version changed my life, and most importantly, this was the song that did so. I was never the same again after I heard Gyroscope cover ‘Monument’, and I’ll forever be grateful for the privilege.