There’s a thread that runs through British history — a reminder that the freedoms we enjoy weren’t handed out politely by benevolent elites. They were fought for, demanded, and in some cases paid for in blood. Last week we revisited the Peterloo Massacre of 16 August 1819, when cavalry charged into a peaceful crowd of 60,000 in Manchester. Eighteen people died, hundreds were maimed, and all because ordinary men and women dared to insist on the right to vote.
It’s worth repeating: civil and religious liberties are never guaranteed. They can be chipped away by those who claim to be “protecting” us from offence, discomfort, or ideas they don’t like. The arts — especially the awkward, challenging, non‑conformist bits — are often the first target. So, in the spirit of artistic freedom, curiosity and a refusal to be told what we should or shouldn’t listen to, here are the highlights of this week’s quirky Midweek Song List.
And yes — we’re indulging in cover versions. Three of them. Each one worth your time.
The Corrs – “One Day Like This”
Elbow released One Day Like This in 2008, and it quickly became one of those modern anthems that festivals, weddings and late‑night singalongs cling to. The Corrs strip it back entirely — no bombast, no orchestral swell, just a warm acoustic glow. Their version leans into intimacy rather than grandeur, giving the song a different emotional centre. It’s less “arms around strangers at Glastonbury” and more “quiet moment in the kitchen at midnight.” A lovely reinterpretation that shows how a song can breathe differently when handled with care.
The Regrettes – “Fox On The Run”
Sweet released Fox On The Run in 1975, during their glam‑rock pomp. It was the first A‑side written entirely by the band, hinting at the heavier, more muscular sound they’d later explore. The Regrettes take the track and inject it with youthful urgency. Their drummer, in particular, drives the whole thing forward with a kind of joyous insistence. The glam swagger is still there, but now it’s filtered through punk‑pop energy and a modern sense of fun. It’s a reminder that good songs survive reinvention — and sometimes thrive on it.
The Dead South – “People Are Strange”
The Doors released People Are Strange in 1967 — a psychedelic, slightly eerie meditation on alienation. The Dead South, a Canadian folk‑bluegrass outfit, take that strangeness and relocate it to the prairies. Their banjo‑driven version is playful, off‑kilter and oddly charming. Bluegrass is usually associated with Appalachia, but Canada has its own long tradition of folk, fiddle and acoustic storytelling. The Dead South grew out of that culture, blending it with Americana influences and a taste for the theatrical. Their cover keeps the song’s weirdness intact but gives it a new accent.
The Babbons – “Devil Moon”
A raw, atmospheric track with a moody pulse. The Babbons specialise in dark, rootsy rock with a hint of the occult. Devil Moon feels like a late‑night walk down a road you probably shouldn’t be on — but you keep going anyway.
Dif Juz – “No Motion”
Dif Juz were part of the early 80s 4AD orbit — instrumental, atmospheric, and quietly influential. No Motion is a drifting, echo‑laden piece that feels like a half‑remembered dream. A reminder that post‑punk wasn’t always about sharp edges; sometimes it was about space.
Fatal Blow – “Skinhead Attitude”
Fatal Blow channel the classic UK street‑punk tradition. Skinhead Attitude is loud, proud and unapologetic — a celebration of working‑class identity, defiance and community. Straightforward, punchy and built for live crowds.
José González – “Heartbeats”
Originally by The Knife, González’s acoustic version became the definitive one for many listeners. Sparse, delicate and haunting, it’s a masterclass in how stripping a song back can reveal its emotional core.
The Hawks – “Hana”
A shimmering indie track with a gentle melodic lift. The Hawks blend jangly guitars with wistful vocals, creating something both nostalgic and fresh.
Led Zeppelin – “Kashmir”
A titan of rock. Released in 1975, Kashmir is Zeppelin at their most expansive — orchestral, hypnotic and utterly commanding. A reminder of how far rock music can stretch when ambition meets talent.
Hazel O’Connor – “Will You”
From 1980’s Breaking Glass, Will You remains one of Hazel O’Connor’s most powerful performances. The sax solo alone is worth revisiting. Emotional, tense and beautifully delivered.
Primal Scream – “Rocks Off”
A swaggering, Stones‑infused slice of rock ’n’ roll. Released in 1994, it marked Primal Scream’s shift back toward guitars after their electronic phase. Pure attitude.
Retaliator – “Patriotic Alcoholic”
A raucous, tongue‑in‑cheek punk anthem. Retaliator specialise in rowdy, pub‑ready singalongs, and this one fits the mould perfectly.
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