To “Kelly Clarkson” a song isn’t just about covering it. It means taking a track, setting aside the original arrangement, and rebuilding it with pure vocal command, vulnerability, and the kind of soaring live belts that make you experience the song in a different light. For anyone with less than 10 hours of screen-time this summer, let’s break down what something like “Did Benson Boone just Kelly Clarkson Adele” actually means.

Kelly earned this verb status fair and square. From her American Idol era to her daily “Kellyoke” segments on The Kelly Clarkson Show, she’s made a career out of taking other people’s hits and casually out-singing the studio tracks, bringing out a completely new side to them. The term officially hit the pop culture lexicon when a clip floated around of Benson Boone tackling Adele’s “When We Were Young” on tour. One commenter headlined the chatter: “Did Benson Boone just Kelly Clarkson Adele?.” 50k likes later, a new online standard for live music was born.

_

Olivia Rodrigo‘s take on CMAT‘s “When A Good Man Cries” – BBC Radio 1 Live Lounge

When Olivia stepped into BBC Radio 1’s Live Lounge, she bypassed standard Top 40 picks to take on Irish country-pop star CMAT’s critically acclaimed track. Backed by a full live string section, Rodrigo delivered a cinematically cathartic performance that traded the original’s country-twang production for an orchestral slow-burn. CMAT shared a video on social media reacting excitedly when Rodrigo pronounced her hometown (“Dunboyne”) in the lyrics, proving that the ‘Kelly Clarkson’ effect isn’t just a vocal flex, but a powerful endorsement that can bridge two entirely different worlds of pop.

Sabrina Carpenter‘s cover of Olivia Newton-John’s “Hopelessly Devoted to You” – The Eras Tour Opening Set

Opening for The Eras Tour in Melbourne, Sabrina paid homage to Australian royalty with Olivia Newton-John’s classic Grease ballad. Sliding the track into a setlist dominated by upbeat, cheeky pop anthems like “Nonsense” and “Feather,” she used the shift in pace to highlight her pure vocal range. Replacing the traditional theater-pop flair with her distinct, sultry vocal control, she delivered a performance that proved she could hold a stadium of 96,000 captive with nothing but her vocals.

Rebecca Black remixing Addison Rae‘s “Fame is A Gun” – Triple J Like a Version

For her Triple J Like a Version session, Rebecca Black re-engineered the instrumental backbone of Addison Rae’s alt-pop standout. Fresh off her recent viral resurgence as a club-circuit DJ and hyper-pop adjacent electronic producer, she swapped out the original synth production for layered vocal loops, pitched harmonies, and an elevated tempo. In doing so, she transformed a sleek studio track into a brilliant, self-produced live moment that had TikTok comment sections begging for the track to be available on streaming services. 

Role Model‘s re-model of The 1975‘s “Somebody Else” – Spotify Singles

Dropping right in the middle of his Kansas Anymore era, Role Model took on the 1975’s synth-heavy heartbreak anthem and made it feel right at home alongside his folk-infused sophomore record. Replacing the lush, atmospheric pop production with a gentle twang, he placed the yearning vulnerability of the lyrics right at the front of the mix. It’s safe to say this song never got old, but the addition of subtle country lilt made the modern classic feel completely reborn.

boygenius‘ cover of Shania Twain‘s “You’re Still The One” – BBC Radio 1 Live Lounge

Guided by their signature three-part harmonies and a delicate acoustic arrangement, boygenius stripped this shiny 90s country production down to its barest bones. In its place, they uncovered a nostalgic, almost devastating weight hidden inside the original classic that left us staring at the ceiling in complete silence. This performance leaned into the natural blend of Phoebe, Julien, and Lucy’s voices to deliver a cover that feels less like a stadium tribute and more like a quiet confession late at night, proving that a truly great melody can survive a total shift in genre.

_

Turning a performer’s name into a verb speaks to the power of a great live cover. In some cases, it’s about giving a classic a pop culture face-lift for a new generation. In others, like Olivia Rodrigo taking on a CMAT cut, it launches an indie darling into the mainstream by exposing them to millions of new fans. It’s the ultimate live tribute: taking a song so completely into your own world that, for three minutes, it feels brand new.

Head to AdmitONE to see your favourite artist live.