The Best and Worst of Punk Goes Pop

759bf-punkgoespop-768x235-1.jpg

Written by Ceci Graham


Does anyone else remember that weird period of time where all we listened to was alt-rock covers of pop songs cause we were still in denial about our emo phase? Or was it just me? There are things that I forgot I actively listened to in the prime of my emo phase and Pop Goes Punk was one of them.

Sadly, now that Pop Goes Punk has not produced a compilation in quite a few years, we are left with Our Last Night covering everything from “Old Town Road” to “Hot Girl Bummer” leaving us all wishing there was a way to take memories out of our heads so we never have to think about those covers ever again. Thankfully there have been a few notable Punk Goes Pop covers over the decade that have become fan favorites and will still be played live today. So without further ado here are the best and the worst of Pop Goes Punk.

The Best

Ice Nine Kills “Animals,” originally performed by Maroon 5

Let’s face it, the entire creepy vibe of the song fit Ice Nine Kills to begin with, making it a stellar cover. 

I Prevail “Blank Space,” originally by Taylor Swift

My first ever experience with this song was when I saw the band live many years ago. I found it to be both an incredibly popular cover amongst fans while also one of my favorite covers at the time.

Grayscale “Love Yourself,” originally performed by Justin Bieber

There are pop songs where I feel one chord change could turn it into an alternative song. This is one of them and Grayscale perfectly completed my fantasy of turning “Love Yourself” into a pop-punk song.

Tonight Alive “Little Lion Man,'' originally by Mumford and Sons

This is one of the cases where I don’t think I’ve ever listened to the original song but have definitely cried listening to the cover. 

Mayday Parade (feat. Vic Fuentes) “Somebody That You Use To Know,” originally by Gotye

I happily remember listening to this cover for the first time and my mind was completely blown when Vic Fuentes was featured on the track. It is also a solid cover, even though this is a case where the song already had alternative influence and just sounds redone by a different band.

The Worst

Issues “Boyfriend,” originally by Justin Bieber

It probably has to do with the fact that the song was terrible to begin with but the screaming did not make up for the number of times the word “swag” was used in the first verse. Not even Issues could save this song.

The Downtown Fiction “Superbass,” originally by Nicki Minaj

I really want to yell at whoever thought this was a good idea to begin with. For one thing “Superbass” is already a song everyone regretfully knows all the words to and has heard 10,001 times. Then you try to cover it with an alternative spin and I really wish there was a way to un-listen to something. The chorus is good, however the rapping-turned-singing should have never been considered.

Upon This Dawning “Call Me Maybe,” originally by Carly Rae Jepsen

I ask again who heard this song for the first time and decided “let’s add screams.” I’m scared, never liked that song to begin with, and don’t understand why a cover was attempted.

Dance Gavin Dance ”What I Like” originally by Bruno Mars

It sounds like a bad acid trip and I’ve never done acid but I feel like this is what it would feel like and I don’t like any of it. The original sounds too high pitched for the lead singer’s vocal range and it sounds strained even within the recorded track.

Oceans Ate Alaska “Drunk In Love,” originally by Beyoncé

I feel like there was a different way that this could have been covered to make it sound better. My only grievance about this is that I got bored listening to it and there was very little that sounded unique to the band besides the screaming. It felt like it was a forced recital of the song and that is the only reason it was covered to begin with.

Did we miss your favorite Punk Goes Pop cover? Disagree with our list? Sound off in our comments!

Previous
Previous

Solo Rock Artist Stanley June Delivers Impressive 17-Track Album

Next
Next

REVIEW: The Second After - 'We Are Who We Are'