Singing (Ladies only) Justin Timberlake

1 . Sofia Karlberg . Can’t Stop The Feeling!

Sofia Karlberg’s rendition of *Can’t Stop the Feeling!* taps into a universal urge for uninhibited movement, reviving Justin Timberlake’s 2016 anthem with a distinct vocal precision that drifts between soulful smoothness and restrained fervor.

As part of her broader repertoire of covers, Karlberg trades in bombastic production for a pared-down soundscape, allowing her voice to remain the focal point while sidestepping the exuberance of Timberlake’s original.

Contextually, her version exists outside the maddening neon swirl of the *Trolls* soundtrack, sitting comfortably on streaming platforms as a quieter but undeniably catchy offering.

There’s a calculated contrast here: where Timberlake insisted on communal euphoria, Karlberg flirts with a sense of personal introspection, revealing subtle dynamics within the song’s framework.

This cover also nods to her savvy in reinterpreting mainstream hits, a strategy that has proven effective in amassing an online following without straying into overt imitation.

Intriguingly, Karlberg’s style threads a line between commercially digestible and emotionally resonant, bypassing theatrical highs for a connection that feels tailored.

Her career trajectory, marked by both viral success and original releases like *Spotless Mind*, highlights her navigation of platforms like Spotify and iTunes, underscoring an artist keenly aware of the digital music economy’s demands.

While this rendition might lack the original’s immediate spark, it compensates with an understated charm that rewards repeat listens—a testament to rearranging familiar tunes with lighter artistic brushstrokes.

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2 . Chlöe Howl . Señorita

Chlöe Howl’s “Señorita” sprints into the limelight with a brash confidence that’s difficult to ignore.

Unlike Justin Timberlake’s smoother and jazz-touched “Señorita” from *Justified,* Howl’s take spins with an unpolished edge, channeling the grit of indie-pop rather than glossy R&B.

The track leans on piercing synths and punchy percussion, evoking the restless energy of a late-night drive through a city that doesn’t sleep.

Her vocal delivery, unmistakably British and undeniably snarky, walks the tightrope between cool nonchalance and raw confrontation, offering more bite than Timberlake’s laid-back charm.

While Timberlake’s version courts listeners with suave charm and flirtation, Howl’s “Señorita” is more about stomping through heartbreak and defiance, dragging a defunct relationship into the neon-soaked spotlight.

It’s a brassy contrast, daring yet devoid of pretension, thriving on its imperfections rather than smoothing them over.

The result is a sharp, kinetic burst of audacity that doesn’t try to please but ends up commanding attention anyway.

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3 . Romy Madley Croft . My Love (w/ The xx)

In The xx’s rendition of Justin Timberlake’s “My Love,” the trio proves their knack for dismantling pop structure and reassembling it into something painstakingly sparse and provocative.

Timberlake’s 2006 hit, steeped in slick production and opulent R&B rhythms courtesy of Timbaland, undergoes a dramatic transformation under The xx’s lens.

Jamie xx, armed with his real-time production agility, strips the original’s pulse down to a skeletal beat, trading grandeur for moody restraint.

Romy Madley Croft and Oliver Sim’s vocals don’t merely reinterpret Timberlake’s words; they reconstruct them, trading verses with aching introspection that renders the lyrics nearly unrecognizable in their delivery.

The real twist—a subtle nod to “LoveStoned,” another Timberlake track—signals the group’s penchant for subverting expectations, embedding layers within layers.

The performance takes place in the BBC Radio 1 Live Lounge, an established arena for creative reimaginations, but The xx’s version stands out for its audacious minimalism.

The mashup isn’t an act of indulgence but a calculated exercise in atmosphere, showcasing the band’s ability to eliminate the superfluous and lean entirely into tension and space.

The xx also performed “Dangerous” and “Angels,” their own work known for weaving sparse synthesis with brooding emotional weight, strengthening the set’s thematic cohesion.

What results is less a cover and more a deconstruction, a riveting example of how The xx make the familiar feel alien.

Their historical tendency to reinterpret—from Wham! to Kings of Tomorrow—is not a moment of homage but an assertion of creative ownership, morphing pop songs into quiet, handheld mirrors of their melancholy aesthetic.

More by the same : The xx Official Site

4 . Alessia Cara . Mirrors

“Mirrors” by Alessia Cara attempts to weave themes of self-perception and introspection into a pop framework with layered vocals and contemplative lyrics.

Unlike Justin Timberlake’s more grandiose take on the same title, Cara’s effort strips the metaphor down to its essentials, aiming for relatability without overloading the production.

Its sparse instrumental backing creates an intimate atmosphere, a choice that aligns with the song’s personal subject matter but risks feeling monotonous over repeat listens.

Her voice carries an unpolished sincerity, which works in favor of the track’s premise, even if it occasionally lacks the dynamic punch to hold attention over its runtime.

Lyrically, the song underscores an inner dialogue, but some phrases teeter close to cliché, softening the impact of what could have been sharper commentary on self-acceptance.

While it doesn’t aim to reinvent the wheel, “Mirrors” does shine brightest in its quieter moments, where the introspection feels less forced and more genuine.

Cara’s take may not ascend to anthem status, but it carves out its modest niche, a track less about sonic fireworks and more about the flickering glow of personal reflection.

More by the same : Official Site

5 . Tori Kelly . Suit . Tie

Tori Kelly’s rendition of “Suit & Tie” feels less like a cover and more like a reimagining—a kind of sonic patchwork where Timberlake’s smooth swagger meets Kelly’s unmistakable vocal gymnastics.

Her performance at the FGI Awards on November 23, 2015, offers a fascinating glimpse into her ability to thread delicate falsettos into an otherwise groove-heavy track, as if trying to balance a power suit on a tightrope.

Earlier, on May 8 of the same year, the audio of her studio version crept online, stripping away the visual allure and challenging the listener to focus solely on her inventive phrasing and tonal textures.

Yet, for all its charm, the absence of Timberlake’s signature falsetto and Jay-Z’s verses leaves the cover feeling simultaneously intimate and incomplete—an echo of the original rather than its twin.

While the track distances itself from Timberlake’s chart-topping fame, it opens the door to an intriguing juxtaposition: a stripped-down yet intricate version that nods at its origins while defiantly standing apart.

What makes this interpretation tick is not chart dominance or critical acclaim, but Kelly’s push to reclaim a radio-friendly groove and shift it into her own acoustic universe.

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6 . Preetaxyz . That Girl

“That Girl,” performed by preetaxyz during the finals of the JYP x Soompi Rising Legends competition, echoes the nostalgic charm of Justin Timberlake’s 2013 original.

The track hails from Timberlake’s “The 20/20 Experience” and pays homage to classic vocal groups like The Temptations and The Four Tops, blending a vintage-inspired groove with modern production.

In the hands of preetaxyz, the song shifts from Timberlake’s polished studio execution to something rawer, stripped of glossy layers, and bathed in the vulnerability of a live audition setting.

The Rising Legends competition itself—organized by Soompi alongside powerhouse JYP Entertainment—seeks to unearth global talent outside the insular K-pop industry bubble.

Preetaxyz’s interpretation balances respect for the original’s melodic construction with a personal spin shaped by the contest’s high-stakes intensity.

While fidelity to the source material is clear, the performance introduces an understated tension that speaks to the pressure of stepping into Timberlake’s well-worn shoes.

It’s an audacious choice for a competition where contestants must hover between honoring the familiar and daring to disrupt it.

By channeling the essence of a throwback anthem into an audition context, preetaxyz navigates the precarious line between imitation and reinvention with a sincerity that lingers after the final note.

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7 . Olivia Escuyos . Until The End Of Time

Olivia Escuyos delivers her cover of “Until The End of Time” with a voice that feels like a warm conversation rather than a polished pop event. Originally a duet between Justin Timberlake and Beyoncé, this version travels down a quieter, stripped-back path. Escuyos trades in the grandiose for an intimate, almost voyeuristic experience, as if the song were meant for a smaller, candlelit room rather than a stadium.

The choice to rework a track from Timberlake’s 2006 *FutureSex/LoveSounds* era—one steeped in futuristic production and sleek R&B bravado—might raise eyebrows. Yet, Escuyos manages to skirt direct imitation, opting instead to use space and restraint. The SoundCloud audience, where this cover first surfaced in 2014, likely encountered a moment of pause rather than awe, drawn into the smoky, unhurried phrasing in her delivery.

While the original rode on the strength of two music giants weaving between soulful interplay, Escuyos owns her solo territory without any pretense of replicating the same dynamics. Still, there’s an interesting sense of nostalgia tied to this, reminiscent of the mid-2000s shift in pop towards more genre-melding experiments.

The minimalist production on this cover might feel too sparse for those accustomed to the lush layering of the original. But therein lies its charm or, depending on your opinion, its limitation. There is no attempt to overwhelm or stun—only to reimagine. Alongside some of her other covers, like “Location” by Khalid, Escuyos builds her portfolio less as a showstopper and more as someone quietly carving a lane of reinterpretation through reined-in performances.

It doesn’t chart new territory nor does it pretend to. Instead, it’s a moment of quiet audacity, asking listeners to recalibrate their ears for something a little slower, a little less adorned, and a little more human.

More by the same : Official Site

8 . Talia Martinez . Say Something

“Say Something” by Justin Timberlake with Chris Stapleton straddles the space between introspection and grandiosity, wrapped in a guitar-driven, folk-meets-soul arrangement that feels as organic as it does calculated.

Drawing from Timberlake’s “Man of the Woods” era, the track leans into a minimalist groove, punctuated by a gospel-like choral swell that suggests depth without overplaying its hand.

The lyrics shuffle around themes of miscommunication and societal noise, but they’re just open-ended enough to invite interpretation without committing to any concrete stance—neither revolutionary nor cliché.

What stands out most is Stapleton’s presence, whose earthy, unpolished vocals counterbalance Timberlake’s slick delivery, adding a sense of gravity to the otherwise polished production.

A global chart-climber, its success feels less like a pop coup and more like a quiet nod from audiences worldwide, resonating with its blend of familiarity and restraint.

The accompanying video, a one-take performance spectacle, almost upstages the song itself, thanks to its dizzying choreography and immersive visuals that create an illusion of spontaneity in what is clearly a well-rehearsed feat.

Covered by artists like Talia Martinez, the song proves malleable, transcending Timberlake’s signature style to become a stylistic chameleon in the hands of others.

While its polished sheen may alienate fans of rawer expressions, “Say Something” secures its place more as a snapshot of Timberlake’s transitional phase rather than a definitive statement.

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9 . Kaleigh Baker . Drink You Away

Kaleigh Baker’s rendition of “Drink You Away” serves as an earthy and stripped-down take on Justin Timberlake’s original, a track buried deep within his sprawling *The 20/20 Experience – 2 of 2* album.

The cover sheds the gloss Timberlake is known for, opting instead for raw, smoky vocals that navigate the song’s plea for solace with grit rather than polish.

The original song, blending blues influences with pop-R&B production, always felt like a bit of an outlier amidst Timberlake’s other tracks, which leaned more heavily on futurist beats and slick arrangements.

Where Timberlake’s version revels in its stylistic contradictions, Baker’s cover pulls the song closer to its blues bar roots, as though dragging it home after a night that lasted too long.

The instrumentation is reined in, highlighting her vocal texture while allowing the emotional desperation of the lyrics to seep through with greater intimacy.

The result plays less like a grand statement and more like overhearing someone confessing their defeat at the end of a long, whiskey-soaked evening.

Strangely, the song’s overtly American themes of self-destruction and resilience feel more resonant in Baker’s hands, even as her interpretation avoids the glossy hooks of Timberlake’s larger-than-life persona.

It’s a cover that doesn’t so much reinterpret the song as scrape off its glitter, leaving behind a rawness that feels lived-in, even if it occasionally risks veering into predictability.

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10 . Mamamoo . Sexy Back

Solar’s rendition of Justin Timberlake’s “SexyBack” occupies a fascinating and unexpected niche in MAMAMOO’s expansive performance history.

It isn’t every day you see a K-pop idol tackling a mid-2000s American pop juggernaut, let alone one layered with heavy electronic beats and a swagger typically unassociated with MAMAMOO’s more vocally driven repertoire.

Performed during their 2017 “MAMAMOO Moosical Curtain Call” concert, the cover feels like an audacious flex—Solar taking a moment to sideline the group’s trademark harmonies and instead embracing Timberlake’s cool detachment wrapped in terse, robotic rhythms.

What sets this apart is how Solar managed to thread her own charisma into the performance without diluting the song’s original brashness.

There’s no slavish imitation here; it feels equally irreverent and reverent and succeeds in re-contextualizing “SexyBack” for a K-pop audience that may or may not have engaged with its original release.

Her vocal interpretation leaned slightly outside the group’s comfort zone, less focused on technical melodicism and more on embodying the assertive vibe that the track demands.

If MAMAMOO concerts are a showcase of individual artistry within a collective dynamic, this performance was its Exhibit A.

The cultural dissonance of seeing a Korean vocalist inject her stage persona into an iconic Western pop track only adds layers to the experience.

It’s bold, somewhat absurd, but undeniably memorable—and that, perhaps, is the point.

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11 . Red . Filthy

Justin Timberlake’s “Filthy” lands you in a world where the future feels just a touch grimy, pairing its electronic backbone with gritty energy that offsets its glossy production polish.

The dynamic between Timberlake and Timbaland remains a sturdy one, as mechanical beats and buzzing synths frame Timberlake’s falsetto in a way that feels both sleek and strangely detached, almost daring you not to groove along.

Mark Romanek’s accompanying music video leans into the uncanny, casting Timberlake as a Steve Jobs-esque figure controlling a robotic showstopper, blending spectacle with subtle unease to mirror the song’s futuristic textures.

Chart-wise, “Filthy” breaks some ground without quite conquering it, claiming a respectable spot in the Billboard Hot 100 top 10 and gaining similar traction internationally, though its reach doesn’t scream universal appeal.

The live performances, especially on “Saturday Night Live” and during the “Man of the Woods” tour, add a human layer to a track that often feels more machine than man, highlighting a tension between Timberlake’s organic charisma and the track’s synthetic heart.

As an opening salvo from the polarizing *Man of the Woods* album, “Filthy” dials in a bold risk, a calculated move that walks the tightrope between ambition and alienation.

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12 . Ida Corr . What Goes Around Comes Around

Ida Corr’s “What Goes Around Comes Around” sidesteps expectations that it might play off Justin Timberlake’s track of the same name, carving out its own identity instead.

Released in 2011, this English-language single fits neatly into Corr’s body of international work, showcasing her commitment to crafting music that transcends cultural boundaries.

The track was accompanied by a music video, a customary nod to the era’s visual-heavy approach to pop promotion, but its performance didn’t quite rival the electrifying heights of “Let Me Think About It,” her 2007 dancefloor juggernaut remixed by Fedde le Grand.

Part of Corr’s charm lies in her versatility, a characteristic underscored by the simultaneous release of her Danish-language track “Musen Efter Katten.”

This dual output highlights a rare agility: the ability to glide between mainstream English pop and local Danish nuances without appearing overly curated or inauthentic.

While “What Goes Around Comes Around” may not top charts, its presence is indicative of Corr’s willingness to span artistic and linguistic bridges, even if the end result operates more as a footnote in her career rather than a standout chapter.

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