The Best 50 A Cappella Songs

In this list, we’re throwing the spotlight on 50 brilliant songs sung a cappella – that is, with the human voice and nothing else. The selections range from chart-topper classics to up-to-the-minute virals by vocal groups. I’ve listed them with the most familiar or pioneering at the top, but they all include remarkable harmonies sung by the voice alone. You can look forward to everything from doo-wop and oldies sung the barber shop way to the very latest pop reworkings by the like of Pentatonix. The songs all include some history and notable chart success or award information. Enjoy the musical tour where the magic is the sound of the voice itself!

Daft Punk by Pentatonix

Pentatonix’s hair-raising Daft Punk mashup stunned the a cappella world. This a cappella rendition of Daft Punk singles (like “Get Lucky” and “Harder, Better, Faster, Stronger”) is performed beatboxing and vocals alone, but it sounds just as complete and rich as any band. It went viral on the internet and even netted a Grammy Award for Pentatonix. The close harmonies and vocal textures within it blew audiences away and revealed just how cool a cappella can be.

Mary Did You Know? by Pentatonix

This haunting Christmas classic was treated to an all-vocal reimagining by Pentatonix for their 2014 appearance. Their “Mary Did You Know?” begins slowly and swells into an epic finish through the employment of vocal percussion and rich harmonies. It became a crossover hit – reaching around #26 on the Billboard Hot 100 – a fairly uncommon feat for an a cappella cut. Their heartfelt performance gave new life for the spiritual song on the mainstream charts.

Evolution of Music by Pentatonix

In this musical mashup, Pentatonix sings their way through ten centuries of music in the span of minutes. “Evolution of Music” starts with the Gregorian chants and proceeds through Mozart, Elvis, and into the latest pop hits – and it’s all a cappella. The arrangement is exceedingly brilliant, transitioning between each era’s classic song seamlessly. This video went up online and attracted millions of viewers. It’s a fun musical history and an example of vocal repertoire without the aid of instrumental support.

Take Me to Church by Peter Hollens

Peter Hollens performs Hozier’s “Take Me to Church” using just stacked vocal tracks, and it is stunning. He harmonizes all the vocals and actually the instrumental “backing” parts with his vocals. The soulful melody and the gospel harmonies shine through in the a cappella cut. Hollens’ solo choir sound gives it a haunting, cathedral sound — an honorable tribute that gained millions of views and showed just what solo a cappella could do.

Hallelujah by Pentatonix

Leonard Cohen’s “Hallelujah” was covered more times than can be counted, but Pentatonix elevated it higher than anyone else did, at least, in 2016. Their five-part a cappella version showcases the voice of every member, ranging from deep base to high tenor. The piece accumulates emotion with every verse. This version of the song touched hearts worldwide, reaching the top 10 on digital charts and going platinum. With more than half a billion video views on YouTube, Pentatonix’s “Hallelujah” became the iconic all-vocal version of the classic.

Don’t Worry, Be Happy by Bobby McFerrin

This cheerful song is famously instrument-free – every note is sung by Bobby McFerrin himself. “Don’t Worry, Be Happy” reached #1 on the Billboard Hot 100 chart for one week in 1988 and became the first a cappella song to top the chart in the United States. Whistling, “doo-doo-doo” bassline and upbeat message took home the prize for Song of the Year at the Grammys. Even decades after its first national fame, the song continues to evoke feelings of happiness and joy with its unique vocal layering.

The Lion Sleeps Tonight by The Tokens

An absolute classic, “The Lion Sleeps Tonight” boasts higher vocals and doo-wop harmonies that sound almost like jungle incantations. The Tokens took the tune up to #1 on the charts in 1961. Actually, it originally started life as a 1939 Zulu a cappella tune entitled “Mbube,” and the Tokens’ version maintained the character of that through its falsetto lead and choral chant. Widely sung a cappella by choruses, the perennial smash continues the standard of harmonies for the vocal generations that’ve followed.

Only You by The Flying Pickets

In 1983, the British vocal group The Flying Pickets shocked all by getting to #1 on the UK charts with an all-acapella version of “Only You” – and it was accomplished without synths, substituting the human voice for them instead. They employed a deep vocal bass and complete harmonies with the melody contained within them. The song became a seasonal UK #1 single. “Only You” proved the point that it was still feasible even within the synth-pop era for an unaccompanied vocal group to reach the masses and win them over.

The Longest Time by Billy Joel

Billy Joel (with tribute to doo-wop harmonies) released “The Longest Time” in 1984. This classic ballad uses primarily vocals and finger snapping (with sparse bass and snare supporting them in the background). Joel provides all the multi-vocal backup himself, creating an earthy, retro sound. “The Longest Time” went to #14 on the Billboard Hot 100 and became an ‘80s sing-along classic. In all-vocal form, it remains an audience favorite for a cappella groups even to this day.

If I Ever Fall in Love by Shai

This smooth R&B single by Shai is a lesson in ’90s harmonies. “If I Ever Fall in Love” first surfaced as an a cappella (save for a minimal percussion beat) single in 1992 and skyrocketed the Billboard Hot 100 chart to #2 within a week of its appearance. The lead vocal is sympathetically supported by rich chords formed by the four members’ vocals. That the clean harmonies could still reign atop the radio via the song’s success was especially crucial, given the era of new jack swing that was dominant at the time.

It’s So Hard to Say Goodbye to Yesterday by Boyz II Men

Boyz II Men rattled the soundwaves with this raw, soulful ballad back in 1991. Sung a cappella, the group’s version of “It’s So Hard to Say Goodbye to Yesterday” (the ‘70s teen anthem Cooley High) boasted the group’s flawless four-part harmonies. It peaked at #2 on the Billboard Hot 100 and became one of the group’s signature tunes. Lush lead vocals and tasteful doo-wop harmonies make this goodbye ballad one of the prettiest all-vocal cuts within the genre of R&B.

The Sounds of Silence by Pentatonix

Simon & Garfunkel’s folk classic is elevated into an astounding a cappella version by Pentatonix. In their version from 2019, Pentatonix progress from a mellow, creepy beginning (just harmonies singing unisonally) into a full-throated chorus of harmonies. Vocal percussion and belt lead bring drama throughout the arrangement, imbuing “The Sound of Silence” with a cinematic, spooky vibe. It topped the digital song charts and scored massive streams, unveiling the song’s strength to the younger generation — no band required.

Royals by Pentatonix

When sparsely producedzeitgemäss “Royals” ruled the airwaves, Pentatonix added an all-vocal twist when they sang their version of “Royals.” Their version relies on rhythmic mouth percussion and throat bass to get close to the sparse beat of the original version. The three-harmoneertrio within the chorus gives it a different texture. Uploading on YouTube in the year 2013, the version of Pentatonix went viral among enthusiasts. It showed that a cappella could flip a pop song upside down and retain its effortless cool vibe.

In the Still of the Nite (I’ll Remember) by Boyz II Men

A classic from the doo-wop period of the 1950s, “In the Still of the Nite” was updated by Boyz II Men in 1993 and reached the top 5. Their a cappella version (from the soundtrack of the TV movie the Jacksons: An American Dream) combines the quartet’s smooth harmonies together in an elegant tribute to the doo-wop sound. The finger-snapping rhythm and luscious “shooby-doo” harmonies translate into an otherworldly vibe. Boyz II Men’s retro sound reaped the rewards – the single peaked at #3 on the Hot 100 — proving timeless classics never really go out of fashion.

Bohemian Rhapsody by Pentatonix

It’s a tall order to adapt Queen’s epic behemoth “Bohemian Rhapsody,” but Pentatonix did it solely with vocals. Their version (from 2017) distills the complete opera and hard-rock epic into five voices. They respond to the record’s endlessly complicated layers — from the mellow opening through the “Galileo” harmonies and guitar-solo textures — with tight a cappella arrangements. It’s one of their fan favorites on their PTX Vol. IV: Classics album, which itself charted very high up the Billboard albums list. Nothing replaces Queen, but Pentatonix’s cheerful tribute unlocks the ingenuity possible through just vocals on an immortal song.

Little Drummer Boy by Pentatonix

This Christmas song became virally popular when it was covered by Pentatonix back in 2013. Their version of “Little Drummer Boy” uses beatboxing instead of the drum and thundering bass line. The group harmonies add up like a crescendo, building more excitement for each “pa-rum-pum-pum-pum.” Their beautiful performance was recorded via video and instantly attracted tens of millions of viewers. The single actually charted the Billboard Hot 100 and peaked within the top 20 or so. It still remains one of the most-loved Christmas songs done a cappella and played round and round by families at Christmas.

Hide and Seek by Imogen Heap

Ethereal and otherworldly, Imogen Heap’s “Hide and Seek” (2005) ranks among the rare a cappella chart-topping singles. Imogen’s voice is the only instrument, supported with a vocoder for the creation of thick chords under the lead voice. The result is an alien, multi-textured sound that captivated listeners – the single became a hit after it was featured on television programs and sampled for a Jason Derulo chart-topper. Peaking within the UK Top 10, “Hide and Seek” became the benchmark for the solo voice (multiplied into harmonies) being as effective as any synth for the creation of a contemporary classic.

Hard to Say I’m Sorry by Az Yet (with Peter Cetera)

Az Yet redefined the Chicago power ballad “Hard to Say I’m Sorry” with an astounding a cappella reimagining in 1997. Aided by their smooth harmonies (and the bonus vocal appearance of Chicago’s Peter Cetera himself), the song contains vocal runs and soulful bass where the instrumentation should be. Az Yet’s reinterpretation became a top 10 Billboard Hot 100 single. It’s an effortless marriage of ‘90s R&B style and retro pop, all forward-motivated by vocals – proof of the song’s raw emotional core coming through despite the absence of instrumentation.

I Thought She Knew by NSYNC

This pre-2000 album deep-cut is oftentimes mentioned by fans as the best vocal performance of *NSYNC. “I Thought She Knew” is a heartfelt ballad performed solely a cappella by the boy group. The five members’ vocals intertwine together in full-bodied chords, showing that behind the glossy pop singles, *NSYNC had serious vocal talent. It wasn’t released as an official single, thus it didn’t chart, but the song excels on their No Strings Attached album. Most were shocked and awed that a boy band could perform such beautiful harmonies without one instrument.

The 12 Days of Christmas (Medley) by Straight No Chaser

Straight No Chaser created a hilarious and witty version of the Christmas classic “The 12 Days of Christmas.” In their a cappella mashup (which became a YouTube sensation late in the 2000s), the group begins the classic hymn and then diverges into fragments of other tunes such as “Africa” by Toto – all through the use of only their vocals. The mashup garnered millions of giggles and even netted the group a record contract. It became a chart-topper for the Holiday season. This performance reveals that a cappella can be not just gorgeous but also heaps of humor and fun.

Shape Of You by Home Free

Country a cappella group Home Free produced an a cappella cover of Ed Sheeran’s pop hit “Shape Of You.” They preserved the rhythmic beat through beatboxing and an ultralow vocal bass, and their harmonies added a warm country zest. Uploaded to YouTube in 2017, the version by Home Free was one of the fan favorites that racked up millions of viewership figures. It upheld the rule that one can bob their head just as vigorously to an upbeat pop melody with just vocals, and it brought the world of country-flavored a cappella into the mainstream pop fan base’s radar screen.

Ring of Fire by Home Free (feat. Avi Kaplan)

Johnny Cash’s standard got an all-vocal reinterpretation when on NBC’s Sing-Off in 2013, Home Free sang “Ring of Fire.” With special guest bass singer Avi Kaplan (of Pentatonox), the group sang the song with anotherworldly low bass lead and harmonies that gave it a soulful new edge. The performance took the group all the way to the win for the season. Their studio version went all the way up the Country digital chart to #1. The arrangement holds the song’s core but illustrates that country standards can shine just as brightly with unaccompanied vocals.

Man of Constant Sorrow by Home Free

This country-folk tune (from O Brother, Where Art Thou?) gets a lively a cappella transformation by Home Free. Their “Man of Constant Sorrow” boasts twangy lead vocals, rich harmonies, and percussive vocals that emulate a stomping bluegrass beat. It’s the perfect marriage of country and a cappella. Their YouTube video of the song (with barnyard backdrop) has millions of views. Members of the fan club love the fact that the vocals of Home Free transport you back to the earthy, foot-stomping vibe of the song without the use of one banjo or guitar.

Africa by Perpetuum Jazzile

Slovenian vocal group Perpetuum Jazzile posted an amazing a cappella version of the Toto classic “Africa” back in 2009 and it went viral globally on YouTube. They even replicate the rainstorm sound just with hands and feet on the intro! The vocals build up into rich choir-like harmonies and rhythmic vocal groove that mirrors the instrumentation of the original version itself. Even the members of the band Toto praised the cover version. Although it didn’t make it as a single on the charts, the video itself has millions and millions of hits. “Africa” by Perpetuum Jazzile remains a perfect example of creative a cappella arranging for an old pop-rock classic.

Homeless by Paul Simon & Ladysmith Black Mambazo

“Homeless” is an historic a cappella recording from Paul Simon’s album Graceland, released in 1986. Simon gathered together South African vocal group Ladysmith Black Mambazo for the magnificent “Homeless.” The recording features rich Zulu choral harmonies and call-and-respond singing, and it features English and Zulu verses. Though it wasn’t released as a single on the radio, “Homeless” was critically acclaimed and brought millions of listeners the beauty of African a cappella singing worldwide. Simon’s album Graceland won the Grammy Award for Album of the Year, and the song “Homeless”’ spine-tingling harmonies are the album’s focal point — conveying raw emotion without the support of instrumental backup.

Chanson d’Amour by The Manhattan Transfer

This cheeky throwback tune became an unexpected one-hit record for The Manhattan Transfer in 1977 – it went all the way to #1 on the UK chart. “Chanson d’Amour” (“Love Song”) is rendered in a cappella close harmonies, like a 1940s jazz quartet number. The Singers snap their fingers and trade cute vocal lines (such as “ra-da-da-da”) making it an old-timer’s favorite. It was a crowd pleaser, especially throughout Europe, and it became the group’s benchmark number. Decades later, the cheerful, romantic harmonies still cinematically transport the listener back into the past and the extant world of the barbershop and jazz vocal groups.

Spread Love by Take 6

Take 6’s first appearance in 1988 introduced a cappella jazz and gospel into the mainstream for the first time. “Spread Love” is an effervescent track with the sextet’s rich six-part harmonies, syncopated beat, and vocal bass and percussion holding down the groove. Blending inspirational message and jazz sensibilities, the track allowed Take 6’s first album to take an array of Grammy Awards. Although it wasn’t a pop chart single, “Spread Love” became hugely influential within vocal music circles – showing remarkable chordal complexity and vocal integration. It’s an effervescent listen that lives up to its title, all through vocals working together in perfect unison.

So Much in Love by All-4-One

Before “I Swear” sent them into megastardom, R&B group All-4-One had a singles success with an a cappella version of “So Much in Love” back in 1994. This mellow doo-wop ballad (by The Tymes back in 1963) was re-created with the smooth 90s harmonies of All-4-One – and no instrumentation apart from the beat snapped on the fingers. “So Much in Love” reached #5 on the Billboard Hot 100 and brought old-school harmonies to younger ears. In romantic lead vocal and accompanying “shooby-doo” backup harmonies, “So Much in Love” is consistently cited as the wedding perennial and quintessence of pure vocal talent of the era of the R&B vocal group era.

Down to the River to Pray by Alison Krauss

Featured on the O Brother, Where Art Thou? soundtrack from the year 2000, the old gospel ballad is sung a cappella by Alison Krauss accompanied by back-up choristers. “Down to the River to Pray” is naught but a plain, hymnlike beauty with Krauss’ clear vocals center stage and the multi-level harmonies of the choristers providing soulful depth. The song garnered accolades and took the soundtrack of the film to Grammy-winning status. Although it wasn’t a pop “chart” cut, it became de rigueur and many loved the unaccompanied vocals downright spine-tingling (the good kind). It’s one example of the finest manner a cappella can complement great spiritual heft.

Where in the World Is Carmen Sandiego? by Rockapella

Every ’90s child remembers this one! Rockapella performed the ridiculously addictive title song for the PBS game program Where in the World Is Carmen Sandiego? in 1991. It’s an up-tempo a cappella number with pop and doo-wop flair, and the men of Rockapella provide all the instrument-sounding portions (like an indelible vocal bass line). The song never actually charted within the Top 40, but it became an object of pop culture — spawning albums and ads. Decades later, we still can’t help but snap our fingers along and sing ‘doo-wop-oo-wop’ when we hear the ditty mentioned, and it is one of the best-known TV theme songs performed a cappella.

Cups (When I’m Gone) by Anna Kendrick

A table cup was the only “instrument” accompanying Anna Kendrick’s singing on this quirky 2013 smash. “Cups,” the Pitch Perfect soundrack song, is actually just a solo a cappella tune where Anna creates the beat by clapping and striking a plastic cup. Endearing for its bare naked simplicity and clear vocals by Kendrick, the song became a chart-topper — reaching #6 on the Billboard Hot 100 chart. Before we could blink, just about everyone was busting the “cup song” move. The song showed you can make the simplest human-created percussion and a voice into a viral, tap-your-feet mega-hit.

Take On Me by Pentatonix

The 1980 classic of a-ha gets an all-vocal reworking by the Pentatonix. Featured on their PTX Presents: Top Pop album released in 2018, Pentatonix’s “Take On Me” sustains the song’s playful, bouncy atmosphere through synths and beatboxing on the vocals. That high-riff lead (those “doo-doo-doo-dos”) gets harmonically taken by the group, and the lead vocal takes the lead on that leadong chorus. Though it didn’t chart like the original did, the cover was the fan favorite, and the retro atmosphere of the official video left viewers agog. It’s a retro ride that proves what one pop anthem can do with just five voices hitting all the right notes.

Amazing Grace (My Chains Are Gone) by Pentatonix

Pentatonix provided their spiritual sanction for this “Amazing Grace” and Chris Tomlin infused refrain “My Chains Are Gone” mashup in the year 2020. The final outcome is an a cappella goosebumps-raising hymn. The group’s work starts with one single voice and gradually advances into a full-bodied choir-like harmonious sound. The beatbox and bass support the vocals softly as it nails the higher pitches. When it was first released, it became number one on the Christian charts and received tens of millions of views, because the raw emotion impacted the hearts of the listeners. This performance is brilliant for showcasing the versatility of Pentatonix – not just can they do pop, but they can equally deliver an ageless hymn with respect and class with only their vocals.

Jolene by Pentatonix and Dolly Parton

When an legend like Dolly teams up with an a cappella group, magic happens. In 2016, Pentatonix sang with Dolly Parton and reinterpreted her classic “Jolene” with only vocals. Dolly’s indelible voice is the star of the show with the close harmonies and vocal bass by Pentatonix adding new layers for the song. Their duet took the Grammy Award for Country Duo/Group Performance. It’s lively, soulful, and proof that an amazing song can withstand the trial of style makeovers. Enjoying Dolly’s storytelling vocals intertwining with the modern a cappella sound of Pentatonix is a treat that brought together generations of music lovers.

Teenage Dream by The Warblers (Glee Cast)

Mainstream audiences were introduced to a cappella in 2010 when The Warblers sang Katy Perry’s “Teenage Dream.” Darren Criss (as Blaine) sang it, and the actual Tufts Beelzebubs collegiate group sang along with him; the version is an all-vocal one that’s pitch-perfect and poppy. It had bouncy “bah-bah” harmonies going on quietly in the background and a cute lead, and it captures the song’s confettisque quality. In the historic crossover breakthrough, the a cappella single reached #8 on the Billboard Hot 100. It also sent the Glee: The Music Presents The Warblers album into the stratosphere and high into the album charts. “Teenage Dream” established the point unequivocally: a cappella could top the charts and steal the show even on prime-time shows on the tube.

Bad Romance by On The Rocks (University of Oregon)

One of the first collegiate a cappella tunes to really go viral was On The Rocks’ cover of Lady Gaga’s “Bad Romance.” In 2010, the all-male University of Oregon group uploaded their upbeat a cappella version, complete with choreography and Gaga-esque drama. The video was a hit, receiving millions of views and even a spot on NBC’s Today Show. In musical terms, it’s both sidesplitting and awe-inspiring – the men fill the song’s dance beat with vocal percussion and nail the signature “rah-rah-ah-ah-ah” hook together in unison. “Bad Romance” by On The Rocks proved collegiate a cappella could break the campus bubble and reach an international crowd through sheer creativity and humor.

Let It Go by Peter Hollens

When the Frozen tune “Let It Go” seemed ubiquiuous, Peter Hollens added his own special flair: performing the entire track a cappella solo. Dozens of layers of his voice were sung by him for the replication of the ascending instrumentals and choir accompaniment. The final output is an epic solo vocal performance worthy of the song’s great feelings. Uploaed on YouTube back in 2014, Hollens’ “Let It Go” garnered tens of millions of hits, as viewers were stunned by the full-bodied sound he created without the aid of instruments. This cover summarizes all the magic of Disney – the strength, the harmonies, the spine-tingling conclusion – through the creativity of the human voice alone.

Feel It (In the Air Tonight) by Naturally 7

Naturally 7 became globally known for this clever cover of Phil Collins’ “In the Air Tonight.” Redone as “Feel It,” their 2007 cover isn’t just a simplistic cover — they add their own original rap lines and re-imagine the song’s dark instrumentation all through their vocals (a method they describe as “vocal play”). That classic drum break? They beatbox it. Guitar riffs and synths? Human-voice too. The single became a European chart-topper, reaching the Top 3 in France and Belgium and beyond. A video of the group performing it on a subway also went viral and gave shocked commuters a visual of just what they were hearing the “band” actually sound like — seven men a cappella. Cool factor on this song? Off the scale and solidified Naturally 7 as the creators of contemporary vocal music.

Moon River by Jacob Collier

In 2019, musical genius Jacob Collier blindsided listeners with an epic a cappella rendering of “Moon River.” Collier sang over one hundred separate vocal parts for the song and crafted rich, otherworldly harmonies that flow and recede like a fantasy. The Henry Mancini song you know appears, but Jacob reharmonizes it unpredictably and uses his voice like an instrumental ensemble. Experimenting thus proved worthwhile — “Moon River” took him home a Grammy Award for its gorgeous arrangement. It’s not your typical sing-along; it’s more like an enveloping vocal soundscapes. Collier’s creativity expanded the parameters of a cappella and proved the voice can create a rich, nearly cosmic musical sound world.

Gaudete by Steeleye

A cappella isn’t just modern pop — it can stretch back for generations. “Gaudete” is an ancient medieval Latin carol that British folk-rock band Steeleye Span brought into the charts back in 1973. Without musical instrumentation (other than a drum beat), the single contains choral, church-type vocals singing an upbeat Christmas message. Miraculously, the unconventional song became the UK Top 20 single. Listeners were captivated with its pure, ethereal harmonies and the ancient melody. To our day, “Gaudete” is an isolated example where an older a cappella hymn had mainstream success and uncovered the timeless beauty of harmonies for the voice alone.

Caravan of Love by The Housemartins

In 1986, British group The Housemartins caught everyone off guard with an a cappella #1 single when their version of “Caravan of Love” (the original by Isley-Jasper-Isley) consists of the four members of the group singing four-part harmonies gospel-style, unaccompanied by any instrumentation whatsoever. It starts off as a solo and builds into a sort of soulful campfire singalong chorale. The Housemartins were an indie pop group, so the bare, spiritual song sounded especially unexpected – and the British public loved it. Around Christmas of 1986, it reached number one on the UK Singles Chart. “Caravan of Love” remains a nostalgic example of a pop group throwing their arms down and delivering a passionate performance a cappella.

Can’t Help Falling in Love by Pentatonix

Elvis Presley’s classic ballad was treated to a soft a cappella reworking by Pentatonix back in 2017. Their cover version of “Can’t Help Falling in Love” is romantic and gentle, an excellent example of the group’s one-voice sound. They accompany an expressive lead vocal and full harmonies with an unassuming beatbox rhythm and low bass. Their cover version went mainstream on streaming and went Platinum, a classic of both weddings and proposals. It shows that the simplest arrangements – clear vocals singing a beautiful melody — can be the most expressive of them all.

(Na Na Hey Hey) Kiss Him Goodbye by The Nylons

A cappella group The Nylons put some life into this sing-in-the-stands anthem back in 1987. Their a cappella-take on “Kiss Him Goodbye” – renowned for the “na na na na, hey hey, goodbye”chorus – was sung a cappella, from the beaty “do-do-do” bassline through the lead anthemic one. The Nylons’ upbeat version was a Top 20 Adult Contemporary chart single and got lots of playing at sporting events (anyone who hasn’t experienced the crowd singing their hearts out for an underperforming team?). It’s an awesomely cheesy example of 80s a cappella going crossover into mainstream ears. The group’s harmonies and doo-wopery ad-libs make the oft-familiar anthem all the more catchy with no band to accompany them.

Imagine by Pentatonix

Pentatonix sang John Lennon’s historic peace ballad “Imagine” back in 2017 and gave it a brand-new a cappella arrangement. They commence simply, just one voice, and layer harmonies slowly, highlighting the song’s message as one of optimism. Each of the vocalists sings some of the lyrics, reinforcing the message of unity – they even signed the lyrics within the video performance in some sign languages. Even though the cover didn’t make the charts, it impacted the fans, amassing millions of views. The bare vocal arrangement really just emphasizes the great simplicity of “Imagine.” In the capable hands of Pentatonix, the song sounds like a gentle, harmonious prayer for a better world and reminds one that one can oftentimes reach the heart with just the vocals.

Shallow by Pentatonix

“Shallow,” in its original version by Lady Gaga and Bradley Cooper, receives a remarkable five-voice reimagining by Pentatonix. In their 2019 a cappella version, the group divide the duet vocals amongst their male and female group members, investing every note with emotion. You barely miss the guitar and piano of the original version – the rich harmonies and vocal fortitude of Pentatonix support the leaping chorus. The arrangement peaks at the “I’m off the deep end…” finale, sending shivers down the spines of listeners, just as the cinema version did. Music fans enjoyed the performance hugely, because it revealed the raw vocal potency and dedication an artist like Pentatonix can bring. It’s a prime example of a contemporary pop ballad flourishing under solely vocal arrangements.

How Great Thou Art by Home Free

A cappella becomes country gospel with the heartfelt cover of “How Great Thou Art” by Home Free. In 2016, the country harmonies group released their cover of the hymn accompanying the video of them singing on a mountainside. Their singing is sublime – starting off reverently quietly and escalating into a powerhouse last chorus. Lead tenor Austin Brown’s vocals soar on the high notes with the support of deep bass harmonies and subtle vocal percussion. Their version went all the way up the Billboard Christian charts to #1 and amassed millions of YouTube views. Listeners were awed by the goose bumps it left them with. In their version of “How Great Thou Art,” Home Free pays tribute to the spiritual ability vocals alone can evoke, moving the heart without the necessity of instrumentation.

Wellerman by VoicePlay (feat. Jose Rosario Jr.)

When sea shanties became a viral sensation on the web, a cappella group VoicePlay caught the wave with a swinging version of “Wellerman” in 2021. With special guest singer Jose Rosario Jr., the group created a full-bodied choral effect – you can almost imagine sailors harmonizing at sea. The arrangement starts off with one solitary voice and suddenly breaks into a full-bodied wall of sound complete with throaty bass notes reminiscent of dropping an anchor. VoicePlay even gets a little modern with beatboxed beat going along under latter verses. Their version of “Wellerman” went viral during the shanty craze, introducing the masses on TikTok and YouTube to a cappella. It’s a catchy sing-along that exposes the social, exuberant quality of unaccompanied singing.

Yesterday by Boyz II Men

In their 1994 album II, Boyz II Men paid tribute to The Beatles with an astounding a cappella performance of “Yesterday.” Their version whittles the composition down to four voices for impeccable harmonies. Each of the members takes turns with the melody as the others provide silky harmonies, reimagining the string section with their voices alone. “Yesterday” itself wasn’t released as a commercial single in America, but it attracted critical acclaim (most famously a Grammy for Best R&B Vocal by a Duo or Group) and became one of the fan favorites among the group’s enthusiasts. The Boyz’s cover version of the standard is executed with delicacy and exposes the pure sound and combination that catapulted them into stardom – proof that a great melody and great vocals are a timeless combination.

Valhalla Calling by VoicePlay (feat. J. None)

Who would have thought an a cappella version of a Viking-themed song was possible? VoicePlay did! In 2021, they reimagined “Valhalla Calling” – an epic folk ballad by Miracle of Sound – into an epic vocal odyssey. With special guest J. None, the group uses throaty bass, full-throated harmonies, and vocal percussion to reach cinematic proportions. Even the song arrangement mirrors the pounding drumbeats and North European incantations of the version, all with vocals as their only instrument. This cover went viral among gamers and folk-rock fans on YouTube, because VoicePlay’s creativity opened ears to the world of a cappella through an unfamiliar genre. It’s big, it’s fierce, and it’s all vocals – showing there are no limits for what songs can be vanquished a cappella.

Candlelight by The Maccabeats

In 2010, the Jewish a cappella group The Maccabeats brought the internet to a standstill with “Candlelight,” Hanukkah-flavored spoofing of Taio Cruz’s hit “Dynamite.” They reworked the lyrics and sang the story of the Festival of Lights with upbeat harmonies, complete with beatboxed dance beats. The video — the group, all of them dressed alike, breaking their moves and executing choreography together — went viral and notched up millions of hits, reaching even national TV. “Candlelight” isn’t a chart single of the mainstream, but it became one for the holidays. Its success proved an a cappella can crossover with pop culture and get the masses together for the holidays. Added perk: it’s obscenely catchy — once you get their “eight nights” refrain stuck in your head, you can’t help but sing along.