Singing (Ladies only) Ed Sheeran

1 . Rita Ora . Your Song (w/ Ed Sheeran)

“Your Song” pairs Rita Ora’s charismatic delivery with Ed Sheeran’s undeniable knack for crafting earworms, resulting in a breezy, Caribbean-tinged pop tune that feels as effortless as its two-hour creation process suggests.

Anchored by Steve Mac’s minimal-production style, the track focuses on a bouncy melody that keeps the verses taut and unassuming, letting Rita’s voice guide the listener with playful precision.

Lyrically, the song treads familiar ground—a love story so universal it may border on generic—but that universality is its very point, designed to resonate rather than challenge.

Charting at number 7 on the UK Singles Chart and comfortably landing in the top 50 across 19 countries, “Your Song” establishes its pop bona fides with the elegance of a Sudoku puzzle solved with one hand tied behind your back—straightforward yet satisfying.

The accompanying music video, directed by Michael Haussman, offers sleek visuals that complement the glossy polish of the track, though it hardly innovates beyond expectations for such a release.

Live performances, whether on “The Ellen DeGeneres Show” or the MTV Europe Music Awards, evidence Rita Ora’s natural ability to command attention, but they don’t necessarily reframe the song in a more dynamic context.

As the lead single from the “Phoenix” album, “Your Song” serves its purpose as a reentry point after Rita Ora’s time away from the spotlight under Warner Bros., now revitalized under Atlantic Records.

Certified double platinum in the UK and quintuple platinum in Australia, it demonstrates not only mass appeal but also the enduring allure of Sheeran’s midas influence paired with Ora’s exuberance.

Whether the track’s laid-back charm feels minimalist or rudimentary might depend on your appetite for streamlined pop, but its success is undeniable if quantified in units moved rather than risks taken.

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2 . Samantha Harvey . Galway Girl

At first glance, Samantha Harvey tackling “Galway Girl” might seem like a calculated nod to Ed Sheeran’s commercial juggernaut, but the result lands somewhere between homage and hesitation.

Originally featured on Sheeran’s 2017 album “÷” (“Divide”), “Galway Girl” leans into a folk-pop fusion, its lyrics crafted by an assembly of writers, including Sheeran himself, alongside Amy Wadge, and members of the Northern Irish trad-folk band Beoga. Charting at number 2 in the UK and earning Platinum certification, the song is rooted in a buoyant energy driven by its Celtic instrumentation and Sheeran’s narrative charm—a tall order for any artist attempting a reinterpretation.

Harvey, who first earned recognition in 2014 through YouTube covers and later entered the UK Singles Chart with 2017’s “Forgive Forget,” offers her take with adequate polish. Known for collaborations such as Nico Santos’s revised “Rooftop” and the “Dominos” track with Alex Adair and Delayers, her voice is far from anonymous. Yet her version of “Galway Girl” edges toward the safe side, prioritizing technical fidelity over reinterpretive flair. Some choices, though admirable in isolation, flatten the vivacious spirit that made the Sheeran original resonate globally—even climbing to chart-topping status in regions like Ireland and Iceland.

Sheeran’s narrative, inspired by Beoga fiddler Niamh Dunne, thrives on its balancing act: conversational lyrics offset by spirited arrangements. Harvey’s approach feels more session singer than storyteller, missing the localized texture that shapes the heart of the original. Her obvious musicianship, underscored by her prior success with original material and EPs like “Please,” isn’t in question. What’s absent is the kinetic charm—the sense that Harvey herself might have danced through a Galway night before entering the studio. Solid, but static. B-

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3 . Mackenzie Johnson . Eraser

“Eraser” introduces Ed Sheeran’s “÷ (Divide),” released in 2017, with an acoustic hip-hop canvas that balances melodic clarity against rhythmic assertiveness.

Written with Johnny McDaid in a treehouse studio, the track showcases Sheeran’s ability to merge his singer-songwriter roots with a dexterity for rap cadences, all underscored by acoustic guitar and a minimalist hip-hop beat.

Thematically, the song plunges into the contradictions of success, addressing fame as both aspiration and affliction. Lines like “I think that money is the root of all evil and fame is hell” lay bare Sheeran’s ambivalence, eschewing any glamorization for a bruised awareness of its costs.

Sheeran’s confessional tone amplifies the weight of his personal struggles. References to “pain erasers”—alcohol, drugs, relationships—cast a shadow over his narrative, suggesting that his climb to global stardom left an indelible toll.

His introspection deepens as he questions his own evolution: “I look in the mirror questioning what I’ve become.” This line sharpens the self-critique, grounding the song in a palpable vulnerability that prevents it from sliding into mere lamentation.

Moments of familial and career reflection color the track with fleeting warmth, as Sheeran mentions his father and nods to Damien Rice, who looms like a distant compass in his artistic journey.

Despite its emotional resonance, “Eraser” struggles under the weight of its ambition. The broad thematic sweep—fame, addiction, self-examination—sometimes feels condensed within its runtime, leaving the track slightly overburdened.

Still, the fusion of genres and Sheeran’s lyrical candor make it a fitting opener, if not the most cohesive track on the album.

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4 . Taylor Reed . Grade 8

“Grade 8,” a track from Ed Sheeran’s debut album “+” (2011), leans on a curious amalgamation of acoustic guitar textures and R&B-tinged rhythms, an audible nod to Sheeran’s creative range.

The production, steered by Charlie Hugall, is clean, almost too much so, lending the song a polished sheen that might appeal to fans of similar genre-blending artists, like Bruno Mars.

At its lyrical core, Sheeran navigates the unpredictable terrain of infatuation, using the evocative metaphor of “Grade 8” musical proficiency to frame the skillful emotional impact of his muse.

While the metaphor is inventive, lines such as “You’re strumming on my heartstrings like you were a grade 8” teeter dangerously on the edge of overwrought sentimentality.

The figurative language continues with mixed results, with lines like “My mind is a warrior” (resilience as strength) faring better than the imagery-heavy “My eyes are the color of red like the sunset,” which feels unremarkably literal despite its attempt at vividness.

Musically, “Grade 8” thrives on its staccato guitar lines and hip-hop-lite delivery, adding energy to an otherwise linear structure.

Yet the upbeat tempo, while engaging at first, borders on monotony when stripped of the lyrical depth to sustain it.

It’s a solid attempt at marrying acoustic sensibility with pop-inspired flair, but at times it feels more calculated than inspired, exemplary of Sheeran’s exploratory but uneven early foray into hybrid genres.

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5 . Demi Lovato . Give Me Love

In 2014, Demi Lovato took on the ambitious task of covering Ed Sheeran’s “Give Me Love” in the uniquely intimate setting of the Capital FM studio in London.

The stripped-down performance—recorded on May 30—placed Lovato’s vocal talent front and center, with minimal acoustic backing allowing her emotive delivery to fully occupy the spotlight.

This live session coverage, while not veering far from Sheeran’s framework, transcends imitation through Lovato’s raw and unembellished vocal interpretation, exposing a layer of vulnerability that veers toward understated yet effective theatricality.

The choice to include this rendition as a standout on the deluxe release of her 2013 album “Demi” seems like both a calculated move to align with Sheeran’s fanbase and a showcase of artistic range—though it might feel peripheral to the album’s largely pop identity.

Critics and fans alike deemed the performance one of the year’s finest Capital Live Session covers, a nod not only to Lovato’s vocal prowess but also her ability to inhabit Sheeran’s evocative lyrics with notable conviction.

Sheeran’s public approval of the cover lends a certain endorsement, though his ensuing duet with Lovato at the Hollywood Bowl on June 16, 2014, shifts the focus back to his original arrangement, suggesting she ultimately falls just short of making the song entirely her own.

Millions of YouTube views have ensured the performance remains a fan favorite, but it’s clearer than ever that Lovato excels when inhabiting her own material, where her full-throttle emoting feels less like borrowing someone else’s voice and more like carving out her own space.

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6 . Hailee Steinfeld . Shape Of You

Hailee Steinfeld’s 2017 cover of Ed Sheeran’s “Shape of You,” performed during an appearance on “Entertainment Tonight,” is less an outright reimagining and more an exercise in showcasing vocal adaptability.

Originally released as part of Sheeran’s “÷” (Divide) album, the song’s chart success—topping both the UK Singles Chart and the US Billboard Hot 100—sets a high bar. By contrast, Steinfeld’s version operates within the confines of a media performance, bypassing the slick polish of studio production found on her official releases like “Haiz” or “Half Written Story.”

What Steinfeld delivers here is a restrained yet focused rendition, distinguished by her ability to engage with the melody on her own terms. While Sheeran’s take leans heavily on rhythmic finesse, Steinfeld chooses instead to emphasize vocal clarity over percussive interplay. This departure reframes the track’s buoyant energy into something more introspective, if less dynamic.

That said, the performance highlights a certain versatility, allowing Steinfeld to demonstrate her capacity to interpret a global phenomenon without veering into mimicry—a skill not to be overlooked, even in a standalone media appearance. Still, this is not a version that redefines the song’s DNA. Where Sheeran’s “Shape of You” thrives on infectious immediacy, Steinfeld’s cover settles for a competent, albeit less memorable, showcase of craft.

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7 . Inger . Sunburn

“Sunburn,” pulled from Ed Sheeran’s 2011 debut studio album “+” (“Plus”), is a quietly raw exercise in the navigation of romantic wounds.

Musically, the track leans heavily into Sheeran’s trademark acoustic sound, with minimal instrumentation allowing the lyrics to occupy the foreground. The arrangement isn’t adventurous, but its sparseness provides a fitting canvas for Sheeran’s soft yet pained delivery.

Lyrically, the song wrestles with themes of loss and the pangs of nostalgia. The titular “sunburn” operates as an evocative metaphor, capturing the lingering sting of a relationship that refuses to fade completely, much like the ache of overexposed skin that hasn’t healed. Lines like “Don’t leave me like a sunburn, left to heal” encapsulate Sheeran’s lyrical strength, balancing vulnerability with poetic restraint. The imagery feels both intimate and universal, a reflection of Sheeran’s knack for finding emotional resonance in the everyday.

Yet, not all elements land seamlessly. The repetition of certain themes throughout the album risks “Sunburn” blending too comfortably into the broader sonic and emotional palette of “+.” While the track does showcase Sheeran’s introspective songwriting, moments veer toward predictability, particularly when juxtaposed with more narratively inventive works on the same album.

As a standalone, “Sunburn” does enough to highlight Sheeran’s ability to connect on a plainly human level, even if it occasionally falters under the weight of its emotional ambition.

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8 . Grace Vanderwaal . The . Team

Grace VanderWaal’s cover of Ed Sheeran’s “The A Team” finds her navigating the delicate territory of reinterpretation with the precociousness that defined her rise on “America’s Got Talent.”

In the Paste Studios recording from January 2017, VanderWaal, just 13 and fresh off her AGT victory, demonstrates a kind of audacious vulnerability, performing on a guitar she had picked up a mere week earlier. This detail alone speaks volumes about her adaptability, though it also raises questions about the balance between ambition and readiness. The rawness is both her charm and her limitation here, with her unique timbre offsetting the simplicity of her guitar playing. The performance teeters between amateurish and endearing—a glimpse into an artist caught mid-metamorphosis.

The second live performance from June 2017 smooths some of these edges. By then, VanderWaal appears more assured, leaning into the emotiveness of Sheeran’s ballad with a growing understanding of audience connection. There’s an undeniable sincerity in her delivery, a quality that has anchored her music since her EP “Perfectly Imperfect” debuted to commercial success in late 2016, climbing to number nine on the US Billboard 200 and becoming the best-selling EP of that year.

Where some might see her interpretation of “The A Team” as reverential, others could argue that it lacks risk. Her idiosyncratic voice—a blend of husky naivety and delicate strain—brings a faintly new texture to the song, but it doesn’t entirely reconfigure it. The performances give the sense of a young artist caught between honoring the original and finding her interpretive footing. As a piece of her artistic progression, the cover is more intriguing in hindsight than wholly captivating in the moment. “The A Team” comes through as neither a definitive statement nor a misstep, but rather a placeholder on the path to developing her own musical identity.

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9 . Kirsten Collins . Photograph

“Photograph” by Ed Sheeran delivers a formulaic yet earnest iteration of the sentimental balladry that has become his trademark since the release of his 2014 album “×” (Multiply).

Co-written with Johnny McDaid of Snow Patrol, the track leans heavily on nostalgia, employing the titular metaphor of a photograph as shorthand for love’s endurance amidst distance and memory’s occasional frailty. Sheeran’s acoustic guitar anchors the song, its unadorned strumming complemented sparingly by piano and programmed drums—tools that, while serviceable, add little beyond a veneer of polished melancholy.

The involvement of producer Jeff Bhasker ensures the overall sonic palette remains palatable, though not particularly bold. It tiptoes around emotional depth instead of confronting it, mirroring the song’s lyrics, which oscillate between universal platitudes and attempts at intimate confession. A typical line—“We keep this love in a photograph”—feels perfunctory rather than revelatory, content with surface-level musings on love’s longevity without challenging the listener to think beyond well-trodden themes.

While the track undeniably garners audience connection through its quiet sincerity, it risks veering into the trap of trying too hard to manufacture emotional resonance. Glimmers of authenticity do emerge from Sheeran’s vocal delivery, but the overall impression is one of gentle competency rather than artistic daring, leaving “Photograph” as a song that appeals primarily to the comfort of familiar sentiments rather than the courage of new explorations.

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10 . J.Fla . Supermarket Flowers

“Supermarket Flowers,” penned by Ed Sheeran, carries the weight of personal tragedy and familial tribute, positioning itself as the closing note on the standard edition of the 2017 album “÷.”

Written in the immediate aftermath of Sheeran’s maternal grandmother’s passing, the song’s context is both poignant and precise. A blend of personal catharsis and public expression, its elevation from a private funeral elegy to a global album cut feels tinged with both sentimentality and calculated vulnerability—one wonders if Sheeran’s grandfather’s encouragement to include it on the album was a nudge towards sharing genuine grief or simply good instincts about its broader resonance.

Musically, “Supermarket Flowers” thrives on simplicity, a stripped-back ballad that leans on piano and Sheeran’s familiar vocal timbre to deliver raw, albeit unadventurous, emotionality. The lyrics, while heartfelt, teeter on the edge of Hallmark card sentiment, occasionally veering into the comfortingly predictable. Lines like “You were an angel in the shape of my mum” resonate as earnest, yet their universality risks diluting the song’s specificity.

Commercially, its success is undeniable. Charting at #8 in the UK and making the top 20 in several other countries, including Ireland, New Zealand, and Australia, “Supermarket Flowers” clearly struck a chord. Even its slight #75 mark on the US Singles Top 100 speaks more to Sheeran’s global reach than the song’s stand-alone strength.

Notable for its posthumous function as both personal memorial and public performance art, including Sheeran’s 2018 Brit Awards rendition, the track treads an uneasy line between intimate reflection and mass-market appeal. At its best, it feels like a whispered prayer; at its most polished, it risks becoming a hallmark of the kind of emotive confection Sheeran’s critics love to deride. Whether that tension is a flaw or a testament to Sheeran’s artistry, the listener must decide.

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11 . Jade Novah . Perfect

Jade Novah, born Lindsay Fields in Cleveland, Ohio, traded her early YouTube cover fame for something more substantial with her track “Perfect.”

Of course, one might think this has some connection to Ed Sheeran’s “Perfect,” an emotional ballad from his 2017 album “÷” (Divide). But, given what’s provided here, Novah’s identity must remain disentangled from Sheeran’s storytelling—or, at least, that’s the task at hand.

Ed Sheeran’s “Perfect,” reportedly inspired by the rekindled relationship with Cherry Seaborn during a visit to James Blunt’s house in Ibiza, milks romance from the mundane. Lines like “Barefoot on the grass, dancing to our favorite song” channel both early-morning rapper Future playlists and late-night sentimental strolls. With Will Hicks assisting production and Matthew Sheeran weaving orchestrations, one could argue it’s a stitched-up scrapbook of professional intimacy and familial obligations, all under grandma’s approving gaze.

Yet, its narrative simplicity—Sheeran’s muse declared “perfect”—both gives the song its mass appeal and tethers it to predictability. By entrenching itself in the humdrum, it risks becoming a comfortable cushion that neither challenges nor surprises.

As for where Novah fits into all this: nowhere clear. But maybe that’s the irony—a song titled “Perfect” carries only imperfect connections across sounds, inspirations, and styles.

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12 . Nicole Cross . Castle On The Hill

Nicole Cross’s “Castle on the Hill (Acoustic Piano Cover)” offers a subdued reimagining of Ed Sheeran’s 2017 anthem steeped in nostalgia and bittersweet reflection.

Performed on January 13, 2017, and uploaded to YouTube just a week after the original’s release, the cover leans entirely on Cross’s vocal agility and piano arrangement to carry the weight of Sheeran and Benny Blanco’s production.

In contrast to the chart-topping original—which reached number two in territories like the UK, Australia, and Germany—this rendition strips the track of its anthemic rush, trading Sheeran’s arena-worthy harmonies for a more intimate presentation.

Cross’s performance, taped as a solo showcase, wisely avoids mimicking Sheeran’s distinctive vocal delivery while preserving the song’s evocative sense of yearning.

The decision to focus solely on piano accompaniment risks monotony but allows her vocal nuances to come forward, particularly during the peaks of the chorus where she flexes her range.

While the performance at Hamburg’s prestigious Elbphilharmonie ties her name to a venue of cultural significance, the video subtly nudges viewers to engage with algorithm-friendly prompts like subscribing and sharing, a reminder of the realities for independent artists juggling artistry with self-promotion.

With collaborations marking Cross’s broader portfolio, this solo effort underscores more than versatility; it seats her skillfully within the tradition of distilling blockbuster songs into quieter, hearthbound renditions, even if it falls short of reinventing them.

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