It is the riff that launched a million garage bands. That three-chord stomp—E, D, A—is essentially the DNA of hard rock. When AC/DC released Back in Black in 1980, they weren't just making an album; they were surviving the death of their iconic frontman, Bon Scott. It was a tribute. It was a funeral march that happened to have a groove so heavy it could shift tectonic plates. Because the song is such a monolith, every musician with an electric guitar (or a cello, or a bluegrass banjo) eventually thinks they can tackle a back in black cover. Most of them fail miserably.
Why? Because you can’t out-Angus Angus Young. You can’t out-scream Brian Johnson. If you try to do a carbon copy, you just sound like a wedding band on a Tuesday night in Poughkeepsie. The only way to make a back in black cover work is to either bring a terrifying amount of soul or to dismantle the song entirely and rebuild it in a different genre.
Why Most AC/DC Covers Fall Flat
Honestly, it’s about the "swing." People think AC/DC is just "loud." That is a massive mistake. Phil Rudd’s drumming on the original track has this subtle, behind-the-beat pocket that is incredibly hard to replicate. If you play it too "straight," it feels robotic. If you play it too fast, you lose the menace.
When you hear a local band attempt a back in black cover, the singer usually shreds their vocal cords trying to hit that high-frequency Brian Johnson rasp. Johnson isn’t just screaming; he’s singing at the absolute limit of human lung capacity while maintaining a rhythmic cadence that is almost like rap. It’s percussive. If you don't have that internal metronome, the cover is dead on arrival.
The Time Shakira Took a Swing at It
Perhaps the most famous—and most debated—back in black cover came from pop royalty Shakira. During her Live & Off the Record tour in the early 2000s, she decided to pivot from "Whenever, Wherever" to pure Australian rock.
It shouldn't work. On paper, it sounds like a disaster. But Shakira understood something that many rock purists missed: the song is incredibly sexy. By leaning into the hip-swiveling groove and using her signature vibrato, she turned the song into a stadium-pop anthem. She didn't try to be a schoolboy in shorts. She was Shakira, playing a rock star. While some AC/DC diehards hated it, you have to respect the audacity. It brought the song to a demographic that might never have listened to Powerage or Highway to Hell.
🔗 Read more: The Reality of Sex Movies From Africa: Censorship, Nollywood, and the Digital Underground
The Bluegrass Transformation: Hayseed Dixie
If you want to talk about a back in black cover that actually changes the conversation, you have to talk about Hayseed Dixie. These guys basically invented "Rockgrass."
They took the menacing electric riff and moved it over to the banjo and fiddle. The result? It sounds like it was written in a cabin in the Appalachians. It highlights the brilliant songwriting structure of the Young brothers. When you strip away the Marshall stacks and the wall of sound, you realize the melody is surprisingly catchy. The "Back in Black" rhythm translates perfectly to a high-speed bluegrass shuffle. It’s frantic, it’s funny, and it’s technically proficient.
The Weird World of Soft Rock and Jazz Reinventions
There is a version of this song by The 69 Cats that leans into a Goth-Rockabilly vibe. It’s dark. It’s moody. It sounds like something that would play in a Tarantino movie if the protagonist was walking into a bar filled with vampires.
Then you have the more "sophisticated" takes. Some jazz ensembles have tried to turn that staccato riff into a swing rhythm. Usually, this feels like a novelty act. However, when a musician like Carlos Santana or Living Colour’s Vernon Reid touches AC/DC material, they find the "blues" hidden in the distortion. AC/DC has always been a blues band at heart, just played through very, very loud amplifiers.
The Muse Connection
Muse has been known to tease the "Back in Black" riff during their live sets, often as an outro to "Hysteria" or "Map of the Problematique." While they haven't released a full-blown studio back in black cover, Matt Bellamy’s ability to manipulate feedback makes you wish they would. The power-trio format of Muse mirrors the lean efficiency of AC/DC. There is no fat on this song. Every note has a job to do.
💡 You might also like: Alfonso Cuarón: Why the Harry Potter 3 Director Changed the Wizarding World Forever
Why We Keep Coming Back to This Song
It’s about resilience. "Back in Black" was the first track AC/DC recorded after Bon Scott drank himself to death in London. The band was nearly finished. They thought about quitting. Instead, they found Brian Johnson, wore black, and recorded an album that has sold over 50 million copies.
When a new artist performs a back in black cover, they are tapping into that theme of defiance. "I've been hit, but I'm back." It’s a universal sentiment.
The Pitfalls of the "Metal" Cover
You’d think heavy metal bands would be the best at covering AC/DC. You’d be wrong. Often, metal bands add too much double-kick drumming and too much gain to the guitars. They make it "heavy," but they lose the "rock and roll." AC/DC is about the space between the notes. The silence in that main riff—that tiny fraction of a second where everything stops—is where the power lives. Metal covers often fill that silence with noise, and the song loses its "breath."
Breaking Down the Technical Difficulty
If you’re a guitarist trying to record your own back in black cover, you need to look at the gear. Angus Young famously used a Gibson SG through a Marshall JMP or Plexi with very little preamp distortion. Most of that "crunch" comes from the power tubes being pushed to their limit.
- The Riff: It’s not just hitting the chords. It’s the vibrato on the high E string during the turnaround. If your vibrato is weak, the riff sounds "thin."
- The Tone: Turn the gain down. Seriously. Most people use way too much distortion. AC/DC’s tone is remarkably clean for how heavy it sounds.
- The Solo: Angus plays with a "blues-on-steroids" feel. It’s pentatonic, sure, but it’s the phrasing that kills.
Notable Mentions and Oddities
- Anastacia: She did a version that leaned heavily into her "sprock" (soul-pop-rock) sound. It’s polarizing, but her voice has the grit required.
- The Hives: They haven't officially covered it on an album, but their stage presence is the closest thing we have to the energy of 1970s AC/DC.
- Vitamin String Quartet: Their tribute is actually quite haunting. Hearing the riff on a cello gives it a neoclassical weight that is surprisingly effective.
What to Look for in a Great Cover
A great back in black cover shouldn't try to compete with the original. It should be a reimagining. If you want to hear the "best" version, you just listen to the 1980 original. It’s perfect. It cannot be improved upon.
📖 Related: Why the Cast of Hold Your Breath 2024 Makes This Dust Bowl Horror Actually Work
Instead, look for the covers that change the mood. Look for the artists who find the sadness in the lyrics—"Forget the hearse 'cause I never die"—or the artists who lean into the sheer arrogance of the groove.
Actionable Insights for Musicians and Fans
If you're planning on recording or performing a cover of this legendary track, keep these points in mind:
- Respect the Space: Don't overplay. The power of "Back in Black" is in its simplicity. Let the drums breathe.
- Find Your Own Key: Don't force your voice into a Brian Johnson impression. If you’re a baritone, sing it like a baritone. Make it sound like Leonard Cohen fronting a rock band if you have to.
- Watch the Tempo: It’s slower than you think. Most bands rush it. Use a metronome and set it to about 90 BPM.
- Invest in a Good EQ: If you’re mixing a cover, the "clank" of the bass guitar is essential. Malcolm Young’s rhythm guitar work was the secret weapon; it was thick, percussive, and locked in with the bass.
The enduring legacy of the back in black cover is proof that great songwriting transcends its original packaging. Whether it’s played on a ukelele or a synth, that riff remains one of the greatest achievements in the history of music.
Next Steps for Music Enthusiasts:
Search for the "Hayseed Dixie" version on your preferred streaming platform to understand how rhythm can change a song's entire identity. If you're a guitar player, practice the main riff without any distortion at all; if it doesn't sound "heavy" clean, you aren't hitting the strings hard enough. Finally, compare the Shakira live version with the original to see how different vocal phrasing can alter the "feel" of the same lyric.