There need to be some ground rules set before people go about mucking with the postmodern classic that is Beyonce's "Single Ladies." This song, like James Brown's "Say It Loud — I'm Black and I'm Proud," is a declaration. It is a rallying war cry for single women to take their stand and refuse eternal babymamadom or perpetual live-in girlfriend status. (Shout out to Tiny who finally made it legal with T.I. after all these years) It is not a song meant for mewling or soft-spoken nudges and winks. So why do some white female singers insist on turning this rocking ladies anthem into a subdued coffee shop ditty? It ain't right.
Sara Bareilles covered Beyonce's "Single Ladies" for Billboard's Mashup Mondays and she did unspeakable things to Sasha Fierce. From the onset, Sara said she wanted to completely reinterpret the song. Great. Being a pianist, maybe that means we can get a smashing on the keys, dramatic, raucous piano jam? No. Instead, Sara Bareilles gave us a soft folk-jazz rendition of the song that was sickeningly "pleasant." It was like something out of a dinner theatre that only tone-deaf, senior citizens would attend. And frankly, even they might fall asleep listening to this snoozer.
Watch Sara Bareilles' cover of Beyonce below
Would you cover Prince's "Let's Go Crazy" as some demure, reserved ballad on a harp? No. Certain songs have an energy about them that needs to be respected. If you can't bring it to the table, don't try it. And it's not that "Single Ladies" couldn't be successfully interpreted either. A punk version of "Single Ladies" could be dope. Even a sassy Country version, a la Carrie Underwood's "Before He Cheats," would do. But quirky, jazzy, lukewarm piano covers ain't it.
Beyonce's "Single Ladies" has an aggression to it that can't (or shouldn't) be removed. It's a biting kiss-off fueled by fury and derision. This is one cat that shouldn't be declawed. Respect that.
