🎵Oh man, look at those cavemen go
It's the freakiest show
Take a look at the lawman, beating up the wrong guy
Oh man, wonder if he'll ever know
He's in the best-selling show🎵
Sarah Blasko - "Life On Mars" (David Bowie cover)
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Katie Noonan's version of Ron Sexsmith's “Maybe This Christmas” is intimate, fragile, hopeful, and deeply human.
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CXLOE trades grunge fury for dark pop in her version of The Cranberries' “Zombie”: a song about people dehumanised by ideology, stuck repeating violence without reflection.
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Jebediah flip The Chemical Brothers’ “Go” into a gritty indie-rock sprint — all scrappy guitars, breathless urgency and raw charm.
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Eliza & The Delusionals electrify Phoebe Bridgers’ “Motion Sickness,” flipping quiet heartbreak into soaring indie-rock catharsis with bright guitars and bold vocals.
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Jet’s raw, riff-driven take on N.E.R.D’s “Sooner or Later” trades slick funk for bruised, grunge-rock vulnerability, and turns it into a regret-soaked confession.
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A haunting alt-rock reimagining of Duran Duran’s classic. Something For Kate strip “Ordinary World” to its emotional bones, turning grief into a brooding, atmospheric ache.
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Middle Kids turn Oasis’ cosmic "Champagne Supernova" into a soft, aching indie-folk confession. Stripped back and intimate, their cover trades Britpop swagger for raw vulnerability.
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Spacey Jane drape The Beatles’ classic "Here Comes The Sun" in their own indie shimmer, with jangly guitars and warm, sun-bleached optimism.
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The Amity Affliction turn The Weeknd’s sleek pop hit "Can't Feel My Face" into a blood-splattered zombie love story with heavy metalcore riffs.
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Jarryd James’ soulful take on Weezer's "Say It Ain't So" is wrapped in smoky keys, sparse beats, and falsetto tenderness.
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Alice Ivy’s cover of “How Bizarre” (ft. Allday & Odette) renews OMC’s cult classic with bouncing beats, bright brass, and smooth vocals.
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Gordi turns Augie March’s “One Crowded Hour” into pure quiet ache - stripped-back piano, trembling grace, and the soft hum of survival. It’s heartbreak reimagined as a hymn.
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Kinder flips Nelly Furtados’s enigmatic classic “Say It Right” into an atmospheric Afro-house groove - mystique turns to warmth, detachment melts into dancefloor intimacy.
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Vera Blue covers Jack Garratt’s "Breathe Life", with crystalline vocals, stripped-back beats, and a yearning that feels hauntingly intimate.
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Bee Gees disco classic "Stayin' Alive" reborn as a Tropical Fuck Storm psychedelic noise-rock ritual. Erica Dunn’s eerie vocals float through distortion and grit, flipping dancefloor euphoria into a raw cry of survival.
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The Delta Riggs put a crunchy, gritty, blues-rock shell around a Glass Animals "Gooey" centre.
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The Kite String Tangle casts a new glow on a beloved electronic classic, Flight Facilities’ "Clair De Lune".
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E^ST trades sweeping strings for tender electronica and a touch of Teardrop in her rescoring of The Verve's "Bitter Sweet Symphony".
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Perth prog rock titans Karnivool turn London Grammar’s “Hey Now” into a pin-drop slow-burn - cyclical guitars, restrained rhythm and Ian Kenny’s falsetto in full glow.
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Angie McMahon recrafts Fleetwood Mac’s "Silver Springs" with aching vocals, live-band swell, and Mellotron glow - tender then defiant.
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City Calm Down turns Foals’ epic "Spanish Sahara" into a building storm: slow-burn drums, baritone lead and surging brass carry the final release.
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Crowded House's version of Fred Neil's classic "Everybody's Talkin'" blends melancholic reflection with their trademark melodic grace.
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A softly dramatic indie-rock rework of Alphaville’s classic, Youth Group’s version of “Forever Young” trades synth anthems for acoustic reflection.
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Sarah McLeod and The Superjesus transform Kylie’s Minogue's "Confide in Me" into a brooding, guitar‑loaded alt‑rock track.
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The Rubens restyle Split Enz’s 1980 classic "One Step Ahead", colouring the song’s new-wave energy with smoky guitar tones.
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Claire Bowditch’s take on the Crowded House classic "Fall At Your Feet" features breathy vocals and acoustic tenderness.
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With smooth reggae-rock rhythms, South Summit's cover of The Police's "Roxanne" is chill and charged all at once.
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Ruel gives a soulful, funk-infused rendition of Lenny Kravitz's classic "It Ain't Over 'Til It's Over".
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Little Quirks' indie-folk cover of The Cure’s "Friday I'm In Love" is a breezy, harmony-rich delight, full of acoustic warmth and youthful charm.
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