ALBUM REVIEW: TESLA ‘Homage’

It’s funny how time sneaks up on you. When Tesla released the Real To Reel albums almost twenty years ago now, they immediately became two of my favourite covers records. Reading that sentence back makes me feel ancient, but those albums were proof that covers albums didn’t have to be cynical label fillers. They were celebrations of the music that shaped the band, and Jeff Keith and company had both the taste and talent to make those songs their own.

Fast forward to 2026 and Tesla find themselves in a rather enviable position. They’re currently out on the road as part of the Return Of The Carnival Of Sins Tour alongside Motley Crue and Extreme – a pretty tasty triple bill by anyone’s standards – while simultaneously releasing Homage, a collection of songs that pays tribute to the artists that inspired them.

Do we need another Tesla covers album?

Probably not.

If I’m being completely honest I’d much rather have a new album of original material. But equally, there are very few bands I’d rather hear tackle a covers record than Tesla. Their track record speaks for itself and, unlike many bands who approach covers albums as karaoke exercises, Tesla always seem to understand the spirit of the songs they’re interpreting.

Homage is an interesting mixture of the obvious and the slightly more obscure. Some choices are exactly what you’d expect from a band raised on classic rock radio, while others are pleasingly left field.

The album opens with the only original composition, “Never Alone.” Jeff Keith sounds wonderfully raw here, his weathered voice carrying all the grit and emotion that has always made him one of rock’s most distinctive vocalists. There’s something about the song that reminds me of BAR 7; it has that same honest, rootsy quality and instantly feels like it belongs in Tesla’s catalogue.

From there the band dive into Sam Cooke’s “Bring It On Home.” You don’t mess with one of the greatest voices ever recorded, and wisely Tesla don’t try. It’s faithful, respectful and beautifully played.

Then comes one of the album’s most intriguing choices, Queen’s “Spread Your Wings.” Originally chosen as the second single from News Of The World, Freddie Mercury reportedly considered it the finest song John Deacon had written at that point. Tesla do a very good job with it, but the song inevitably misses some of the unique phrasing and magic that Freddie brought to the original. That’s hardly a criticism—few singers on earth could replicate that. What it does do is remind us what an astonishing catalogue Queen possessed beyond the obvious hits.

“I Wish It Would Rain” follows, and while nobody tops Little Caesar’s deeply soulful version in my book, Tesla wisely avoid trying to compete. Instead they strip things back, delivering a gentler, less hard rock interpretation. It’s tasteful and understated. Interestingly, The Temptations become the only artist Tesla have covered twice, having previously tackled “Ball Of Confusion” on Real To Reel.

The first truly obvious selection arrives with Bob Seger’s “Night Moves.” It’s probably Seger’s best-known song and remains one of the great reflections on youth, romance and looking back with equal measures of nostalgia and regret. Tesla handle it well, though perhaps a little more restraint might have allowed the storytelling to breathe even further.

Then we arrive at “If I Can Dream.” I’ll admit something that may get me thrown out of a few rock clubs: I’ve never been a huge Elvis fan. I understand entirely why others are. I recognise the cultural significance and influence. It just doesn’t connect with me personally. Elvis wrote very little of the material associated with him, and Walter Earl Brown’s song has never been one I’ve particularly gravitated towards. Tesla give it everything they’ve got, but it’s one of the few moments on the record that leaves me relatively cold.

Thankfully they bounce straight back with Badfinger’s “Come And Get It.” What a song. One of the absolute great singles of the seventies, gifted to Badfinger by Paul McCartney for The Magic Christian soundtrack. Tesla absolutely nail the warmth and melodic brilliance of the original while adding their own character. It’s one of the album’s standout moments.

“I Got You (I Feel Good)” finds Jeff Keith firmly in his comfort zone. There’s always been something earthy and bluesy about his voice and it works brilliantly with James Brown’s classic. Rather than trying to out-funk the Godfather Of Soul, Tesla inject it with swagger and grit.

One of the album’s biggest surprises comes courtesy of Supertramp’s “Give A Little Bit.” Going in, this was one of the tracks I expected to work least well. Instead it becomes one of my favourites. Beginning in an almost acoustic fashion before gradually building layer upon layer, it captures the spirit of the original while sounding unmistakably Tesla.

The lead single, “I Love You (2026 Version),” tackles Climax Blues Band’s timeless classic. I’ve always loved Climax Blues Band and this is perhaps the closest Homage comes to the spirit of Real To Reel. It’s warm, melodic and radio friendly without becoming saccharine, and it’s easy to see why the band chose it as the album’s calling card.

The emotional heart of the record may well be “The Ballad Of Curtis Loew.” Tesla have always excelled when tackling Southern-flavoured material and this Lynyrd Skynyrd classic is beautifully realised. In fact, it’s probably the closest they’ve come since their magnificent version of Led Zeppelin’s “Thank You” on Real To Reel. A genuinely lovely performance.

Following that is “Have You Ever Seen The Rain,” a song that seems tailor-made for Jeff Keith’s voice. Of all the obvious choices on the album this might be the most obvious, yet it’s also one of the most successful. Warm, heartfelt and beautifully delivered, it’s one of my personal favourites.

The penultimate track, “I’d Rather Go Blind,” keeps the album’s soul and blues influence front and centre. Etta James recorded the song during a difficult period in her life and the heartbreak in the original remains almost impossible to match. Tesla don’t try to out-sing Etta; instead they focus on the emotion at the song’s core. The result is superb. In fact, I’d happily take this over the polished pop interpretations from the likes of Dua Lipa or Beyoncé any day of the week. It’s not quite Rod Stewart territory, but it’s not far off either.

Finally, “Mind Your Own Business” closes proceedings. Like Elvis, Hank Williams Sr. has never been a favourite of mine, but I absolutely appreciate the roots that connect artists like Williams to everything that would eventually become rock and roll. Originally released in 1949, this proto-rockabilly country blues tune is hardly essential, but Tesla attack it with enthusiasm and enough charm to ensure the album finishes with a smile.

What ultimately makes Homage work is the same thing that made Real To Reel work all those years ago. Tesla aren’t interested in impersonation. They’re interested in appreciation.

This isn’t a band trying to improve on classics. It’s a band saying thank you.

Some tracks work better than others, and I’d still rather be talking about a brand new Tesla studio album filled with original material. But if you’re going to release a covers album, this is exactly how you do it—with respect, taste, great song choices and performances from musicians who genuinely love the material.

Twenty years after Real To Reel, Tesla prove once again that nobody does a covers album quite like they do.

Now let’s have that next album of originals.