Recording The Beatles at Abbey Road Studios might sound like musical tourist behavior, but Lainey Wilson‘s new “Apple Music Sessions” EP proves some tributes transcend gimmickry. The country superstar’s three-track collection, released June 24th exclusively through Apple Music, finds her tackling “Come Together,” Lewis Capaldi‘s “Someone You Loved,” and a stripped-down version of her own “Devil Don’t Go There.” Your country playlist just got more interesting.
When Genre Boundaries Become Suggestions
Wilson‘s song choices reveal an artist comfortable with creative risks, especially considering how divisive Beatles covers can be among purists who prefer certain tracks more fiercely than others. The Beatles cover makes perfect sense once you hear her reasoning:
“I felt the energy in the building,” she explained about recording at Abbey Road. “The Beatles influenced every single genre.”
That’s not hyperbole—it’s musical education delivered through Wilson‘s Louisiana drawl. The Lewis Capaldi selection feels more surprising until you consider Wilson‘s emotional intelligence as a songwriter. After watching Capaldi’s documentary, she connected with his creative perseverance and vulnerability. Sometimes the best covers come from unexpected emotional parallels, not obvious musical ones.
The Sound of Success Breaking Rules
Wilson‘s current trajectory—16 ACM awards, 9 CMA awards, and a Grammy as of 2025—provides the creative capital for experiments like this. Her “bell bottom country” aesthetic already suggested someone unafraid of blending eras and influences. This EP confirms it.
The reimagined “Devil Don’t Go There” might be the most revealing track. Stripping away the original’s production layers, Wilson delivers something more emotionally raw. It’s the kind of artistic choice that separates career artists from hit-makers.
Country music’s relationship with covers has always been complicated—too respectful and you’re karaoke, too radical and you lose the song’s essence. Wilson navigates this tension like someone who understands both reverence and reinvention, much like how Megan Moroney’s “Heartbreaker” demonstrates that emotional authenticity matters more than genre purity.
This EP positions Wilson alongside artists like Kacey Musgraves and Chris Stapleton, proving country’s creative boundaries are more suggestions than rules. Your streaming algorithm might be confused, but your ears won’t be.
