Cover Story: A Folk and Eighties Crossover That’s “Just Like Heaven”
The Lumineers prove that folk has no borders with a painstaking cover of The Cure’s 1987 hit, “Just Like Heaven.” (They’re just missing the synthesizer and red lipstick).
Written by Claire Hookstra
Photos courtesy of Big Hassle and Andy Vella
The Cure is the epitome of musical transcendence. Beginning in the United Kingdom in the late 1970s and continuing into the present day, the British punk band has crafted a wide discography with 13 studio albums. With beginnings in post-punk, the band, led by Robert Smith, gained a reputation for their experimental and hauntingly captivating releases. Throughout their career, The Cure has produced timeless songs that explore the genres of new wave, gothic rock, and inventive pop that have aided in defining their permanent success in the global music industry.
In October 1987, The Cure released one of their most successful songs, “Just Like Heaven.” The third single on their seventh studio album Kiss Me Kiss Me Kiss Me spread the band’s fame overseas to the United States. Their first international hit, “Just Like Heaven” relays the spiraling emotions of being infatuated with someone.
The nostalgia of a summer romance that was “just like a dream” radiates through the song as Smith retells the sensations he experienced during a beach getaway with his then-girlfriend. “The song is about hyperventilating — kissing and fainting to the floor,” Smith told Blender after the track’s release. The struggle of feeling detached and isolated even in the most riveting of relationships hides behind the overall upbeat pace of the ballad.
A sharp contrast to the goth aura of The Cure, the indie-Americana band, The Lumineers, is known for their banjo-based tunes. Originally released on the 2022 Record Store Day exclusive Brightside: Bonus Tracks EP, The Lumineers recorded their cover, “just like heaven.” With a jarring change of tone to the sensuous synth and inviting beat of The Cure’s “Just Like Heaven,” The Lumineers strip the tune down to fit the mold of a solemn indie-folk ode.
The distinct difference between these tracks is immediately indicated through the all-lowercase title used by The Lumineers. Without the heavy percussion and jittery guitar found in the original, the song transforms into a meek self-reflection of isolation and detachment in an otherwise exhilarating romance. The Lumineers strip back the production to simply piano and Wesley Schutlz’s raw vocals. If the pop-hit by The Cure is uppercase, it just makes sense that the somber folk release be lowercase.
The syncopated banging of drums starts off The Cure track, immediately pumping up the listener before cymbals, electric guitar, and synthesizers further create a cheery symphony. The Lumineers, however, open with solidly spaced piano notes, dully keeping time until the lyrics begin. This contrast in production plays a vital role in the difference in tone of these two renditions. While The Cure applies a jovial beat with slightly unnerving lyrics, The Lumineers create an atmosphere of sheer melancholia.
Smith and Schultz’s vocals emote fragility and power in unique yet contrasting ways. The only difference in their lyrics is found in the opening line. While Smith earnestly pleads, “Show me, show me, show me, how you do that trick,” Schultz only repeats “show me” once. Whereas Smith’s way makes it seem as if his partner is begging him to impress her, Schultz’s delivery creates the narrative that the partner is sweetly asking him to love her. As the rest of the lyrics are identical, the key contrasts lie in the tone and pace of the artists’ singing.
Smith belts the lyrics, “‘Why are you so far away?’ she said / ‘Why won’t you ever know I’m in love with you?’” With the thunderous production behind these words, it is easy to overlook their meaning. Wesley Schultz of the Lumineers delivers this line with a melodic croon, drawing out “I’m in love with you.” The exaggeration of this verse hones in on the singer’s detachment and isolation from the partner he loves so dearly. The entirety of the song speaks to the intense love between the couple, yet this one lyric reveals the narrator’s self-deprecating flaws when it comes to romance.
Both the original and cover heavily emphasize the word “you” as the song nears its end. While Smith draws out the end of the word, Schultz vocally emphasizes the beginning of the pronoun. The subtle variation in tone truly defines the creative difference between the two renditions of the song. “You, soft and only / You, lost and lonely / You, just like heaven,” the song concludes. While Smith seems to be confirming to his lover that she is heavenly and the one for him, Schultz’s more lamenting delivery shifts the narrative to as if he is reminiscing on this romance. He relays his thoughts quietly in a whisper as if he were looking back fondly on memories. Rather than trying to convince his partner to love him, Schultz solemnly longs for the love he once experienced. The words following “you” are quiet and soft, while Smith’s are still forceful. The substantial difference of exuding excitement about a captivating romance versus pining over the past is prevalent here, simply with the single word “you.”
The Lumineers continued the experimental notion that The Cure established by taking their ’80s ballad and transforming it into a folk serenade. However, The Cure’s “Just Like Heaven” can never be succeeded. With a riveting cadence accompanied by Robert Smith’s uniquely empowering vocal range, the song is a quintessential example of an ’80s romantic pop ballad. The Lumineers’ version, however, is a strong player in the wide scope of The Cure covers. Altering the song into a gloomy ode to a lost love, the gentle piano and vulnerable vocals paint a picture of a once beautiful romance. “Just Like Heaven” is a song that withstands the test of time, honoring the whirlwind relationships and romance that we all long for.