By Lane Lannan

When Brian Wilson passed away earlier this year, the loss resonated far beyond the borders of pop music. Wilson was more than just the creative engine of the Beach Boys; he was a true visionary. His influence remains so vast that entire generations of musicians have found themselves building careers on the sonic blueprints he left behind. In that context, Brian Wilsongs, a new tribute album released on Bandcamp, feels less like a standard covers project and more like a collective love letter to Brian and the work that he did.

Released on August 17, 2025, Brian Wilsongs brings together a wide roster of independent artists who each reimagine Wilson’s classics in their own voices. The result is a heartfelt and varied 10-track collection that highlights just how enduring and malleable Wilson’s music truly is.

Unlike some tribute projects that sometimes dilute their source material with star power, Brian Wilsongs is intimate. The contributing artists, ranging from singer-songwriters to small indie outfits, perform not as celebrities, but as admirers channeling their personal relationships with Wilson’s work. This creates a sense of community and sincerity throughout the record.

From the opening track, David Miller’s rendition of “Here Today,” it’s clear the aim isn’t mimicry. Instead, Miller softens the track’s bite, turning it into a meditative reflection rather than a sharp-edged pop experiment. It sets the tone for the album: these covers honor Wilson’s genius without trying to replicate it.

One of my personal favorites comes in the form of Pocket Symphony’s take on “All I Wanna Do,” from the Sunflower album. Their version leans into dreamlike textures, stretching Wilson’s quiet yearning into something shimmering and modern. It’s a reminder that Wilson was experimenting with atmospheric sounds long before the term “dream pop” existed, and it showcases how perfectly “All I Wanna Do” fits into the current indie-pop landscape. 

Mark Thorby’s “The Warmth of the Sun” cover stands out as one of the album’s emotional anchors. Thorby doesn’t try to reinvent it; instead, he lets the song breathe, his vocals emphasizing the tenderness that made the original timeless. Of the covers that I have heard of this song, this ended up being one of my favorite versions. There is a calming melancholy about this version that perfectly matches the original. 

Following those songs, we get two SMiLE compositions back-to-back, and both are distinct from the originals. Starting out is “Heroes and Villains,” performed by Camille Davila. This version of the song is more eerie than many fans would be used to, but I absolutely love it. It is an ethereal, and somewhat weird, composition that perfectly pays homage not only to the original song, but the vibe of the original SMiLE sessions. 

After that is James Eliot Taylor and his version of “VEGE-TABLES.” Admittedly, this was one that made me nervous when I saw it on the track list, but Taylor does a great job with the song. It is bouncy, wacky, and absurd in all the right ways, just like the original song. Plus, the very beginning has a nice reference to The Radiant Radish, something that is always a treat to hear mentioned. 

From there, the album goes into a more somber direction, starting with Christopher Cooper’s “Don’t Talk (Put Your Head on My Shoulder).” This captures the aching intimacy of one of Wilson’s finest ballads perfectly, mixing in some modern production that doesn’t feel too out of place.

After that is one of my favorite Beach Boys songs of all time, “A Day in the Life of a Tree.” Iain Lowery performs this version, and he delivers a hushed, reverent take on the song. It is hard to beat the original, and I would say that I still prefer the original over this version. However, don’t let that diminish just how good this version is. The message and emotion of the original are perfectly preserved, and Lowery’s vocals are perfect, I would argue very similar to the original vocals done by Jack Rieley.

The final three songs are comprised of “I Just Wasn’t Made for These Times,” “Surfer Girl” and “‘Til I Die.” The songs are performed by Jr Eon, Tin Man and Owen Morgan respectively, and all do an amazing job modernizing the original songs without disrespecting them. “Surfer Girl” in particular was very interesting, as it was so different from what I am used to when it comes to that song. Additionally, “‘Til I Die” serves as the perfect conclusion for this project. Morgan’s understated delivery makes “’Til I Die” feel like a communal moment of mourning, a way for artists and listeners alike to process the loss of a musical giant.

Brian Wilsongs is not a definitive statement on Brian Wilson’s legacy. Instead, it’s something arguably more important: a reminder that Wilson’s songs continue to live and breathe in the hands of those who love them. The album feels like a grassroots gathering around a bonfire, each artist stepping forward to play a song that mattered to them, sharing their gratitude and grief in equal measure.

For longtime fans, the record offers a chance to hear beloved songs refracted through fresh perspectives. For newcomers, it’s an invitation to explore Wilson’s vast catalog, guided by artists who clearly hold the material close to their hearts.

Ultimately, Brian Wilsongs succeeds because it isn’t about perfection; it’s about devotion. In celebrating Brian Wilson, the album captures the spirit of generosity and vulnerability that made him such a singular figure in the first place. Wilson gave the world music that continues to comfort, challenge and inspire. This tribute tries to give a little of that love back, and I think it succeeds in a beautiful way.

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