I’ve always had my reservations about covers of the classics. So when Craig Charles’ Original Pirated Material comes on, it’s more often sacrilege than save to playlist. That was until I heard Feist take on the Bee Gees.

The brothers’ ‘79 classic ‘Love You Inside and Out’ has it all – disco danceability with an R and B groove; a laidback funky bassline; and Barry Gibb’s signature falsetto vocals. It’s a winning formula that earned the group their last Billboard number one single. But up the tempo a notch, add some experimental production techniques, and you’ve got a genuinely compelling rework.

Known for her part in the Canadian indie-rock group Broken Social Scene, Leslie Feist had her first taste of critical acclaim with the second of six studio albums, Let It Die. Released in 2004 on BSS’ independent label ‘Arts and Crafts’, Let It Die is a heady mix of postmodern folk, bossa nova, and, in the case of the title track, lounge pop.

While originals like Mushaboom and later 1234 helped establish Feist’s indie-pop persona, it was ‘Inside and Out’ – one of four covers on the album – that quickly became a fan favourite.

Where the Bee Gees open with the syncopated bass line that defined their disco-era, Feist’s version goes for a soulful Sunday stroll – featuring a deep, moody bass; jazzy piano stabs; pattering bongos; and a flourish of sax before the vocals come in. She retains the funky framework of her predecessors (with albeit subtler strings) while introducing something totally fresh and unique.

Baroque pop influences from the Canadian’s collective efforts shine through in the chorus – when the stroll evolves into something resembling, though not quite a stomp. The drama heightens with a tight call-and-response arrangement, which gives this section a big-band feel without sounding overly oppressive. Shunting guitar and lively brass rhythms build the intensity further in the bridge (the tune’s high point), before a softer breakdown which restores calm through soft, airy vocals, and a scratchy instrumental finish for one last fix of funk.

It’s this combination of release and restraint that makes Feist’s take on the Bee Gees so compelling. She reinvents a classic through her authentic ‘chamber pop’ sound, with delicate, classical instrumentation and a fragility which only ever peaks through – but then that's the real beauty, isn't it?

Ollie Hockings

04.03.25