Top 10 Acoustic Songs That Are Better Than the Original

#10: “The Wire” (2013)

Haim

The effortlessly cool rock track from the Haim sisters has a satisfying beat and a ton of bass. “The Wire” is a catchy song about how a relationship lives and dies by communication. Released in 2013, the single topped several year-end lists. But their live rendition is even better. When performed on acoustic guitar, the track becomes a fantastic showcase for each of the sisters. Something about hearing them on acoustic instruments allows their musicianship to shine. Their vocals are crisp, distinctive, and without distraction, so you can hear exactly why they fit together so well as collaborators.

#9: “Wrecking Ball” (2013)

Miley Cyrus

The former Disney star’s controversial left turn toward more provocative performances was in full swing when she released what might be her signature hit. “Wrecking Ball” is the lead single from “Bangerz.” It’s a pop ballad with an emotional core. In its original form, it has an epic yet modern sound. But at the 2013 Bambi Awards, Miley Cyrus performed it with minimal accompaniment. Bookended by two acoustic guitars, it was a stark reminder of just how gifted a vocalist she is. Gone is the image of her swinging on a literal wrecking ball. This is just pure emotion with its feet planted firmly on the ground.

#8: “Latch” (2012)Disclosure feat. Sam Smith

Originally released as an electronic track by British house duo Disclosure, up-and-coming pop star Sam Smith was only listed as a feature artist on “Latch.” Both versions found success, going platinum in North America. Smith released an acoustic version on their own debut album, “In the Lonely Hour,” and it might just have the edge of the original. It’s a magical, stripped-down rendition. Foregoing the club-friendly beat, Smith’s solo version features only a piano, some strings, and their own indelible vocals. It’s a powerful love song, no matter what genre the track falls under.

#7: “Cosmic Love” (2009)

Florence + the Machine

From their instantly-iconic debut studio album “Lungs,” the indie rock sensation led by Florence Welch became known for a specific, arty pop sound. Welch’s ethereal, oxygen-defying vocals anchored these bombastic recordings. “Cosmic Love” feels huge. Frequently cited as the album’s best song, it’s full of electronic flourishes and layered harmonies. There’s a sense that it is almost beyond this very plane of existence. But the gentle, intimate version the band recorded in Seattle’s KEXP studio in 2010 is a testament to the song’s raw musical power. It’s authentic and earthbound, losing none of its cosmic beauty.

#6: “Skyscraper” (2011)

Demi Lovato

Fans rightfully feel protective over Demi Lovato. Their transparency about their personal struggles has given new meaning to this 2011 pop hit. “Skyscraper” is a heartfelt ode to perseverance. The recording is good, if polished and radio-friendly. Covering it live, though, the singer taps into the song’s rough edges. A simpler arrangement than the one on the album, it’s more intimate, more affecting, and more impressive when Lovato’s genuine skill isn’t buried by a crowded production. Maybe most importantly, it highlights the performer’s vulnerability. This is a soul-baring song, and it just sounds better when Lovato is the whole show.

#5: “When the Party’s Over” (2019)

Billie Eilish

Billie Eilish and brother Finneas O’Connell are two of popular music’s most talented duos. “When the Party’s Over” is already one of their least digitally-altered songs. But performing it live on The Howard Stern Show, they eschew the song’s processed soundscape in favor of something more heartfelt and natural. Their harmonies are crisp. Eilish’s voice is at its most emotive and solemn. With just a keyboard and their natural vocal talents, the lyrics really shine in a whole new way. Though not actually acoustic, this is such a departure from the track’s original, heavily-altered sound that it deserves a place here.

#4: “All Too Well” (2012)

Taylor Swift

Whether it’s five minutes or ten, the densely-packed lyrics and tragic story was never supposed to be one of Taylor Swift’s biggest hits. But there’s a reason people respond to it. “All Too Well” is an intensely specific, heartwrenching post-mortem of a love gone wrong. It’s not that it doesn’t work with the original arrangement. Produced and recorded for the 2012 “Red” album, its percussive urgency and ear-zinging hooks provide a genre-straddling catchiness. But something about seeing Swift sing it with only a piano to guide her makes it feel even more urgent, even more lonely, and even more aching.

#3: “Million Reasons” (2016)

Lady Gaga

Few artists are as comfortable in so many different genres than Lady Gaga. A lot of that has to do with her genuine musicianship. Frequently accompanying herself on the keys, Gaga’s legend was made on doing oddball renditions of her own early pop hits. But “Million Reasons” is a ballad to its core. It just seems like it’s meant to be performed simply. The cut featured on the “Joanne” album is a throbbing, radio-friendly, string-laden track. But Gaga’s sometimes at her best when she’s on her own. Without distraction, the acoustic version is a triumph of intense theatricality and complete dedication to the storytelling.

#2: “Someone Like You” (2011)

Adele

Her sophomore album cemented her as one of pop’s best vocalists. “Someone Like You” could be her most relatable and devastating song. It’s not just a post-breakup song. It’s a ballad about a relationship that somehow, years down the line, the narrator still isn’t really over. The original recording is plenty stripped-down already. Her concert version of the song only features her voice and a live piano. But just hearing those two instruments together, without any bells and whistles and post-production reverb, accentuates just how raw and gorgeous the song is in its natural state.

#1: “Valerie” (2006)

Amy Winehouse

DJ and producer Mark Ronson teamed up with British superstar songstress Amy Winehouse on two cover versions of “Valerie.” The original by the Zutons is a midtempo rock track. Ronson’s first rendition was uptempo with retro instrumentation. But it’s the slowed-down, guitar-forward version Winehouse sang live that really showcases the song’s timelessness and Winehouse’s enormous gifts. Despite it being a cover of a cover, she owns this track. The way she grooves and slides over the melody really should be studied. This is just one of the many examples of her incredible way of making every song feel improvised.

What song do you prefer when it’s stripped-down? Tell us in the comments.