UPDATE: I spoke with a representative from Lee DeWyze’s former label, Wuli Records. They say they plan to release more of Lee’s older material, but will “talk with Lee about which material.”
Reports indicate that Wuli Records, the Chicago-based independent label that worked with Lee DeWyze before his American Idol victory, has made available a previously unreleased cover of Marilyn Manson’s “Beautiful People.” The track was recorded earlier in Lee’s career but had not been issued commercially until now.
Entertainment outlets first noted that the label uploaded a censored stream of the cover, and shortly after an unedited version of the acoustic rendition began circulating among fans. The performance strips the original industrial edge from Marilyn Manson’s version and reinterprets the song in a more acoustic, singer-songwriter style—emphasizing vocal nuance and guitar work rather than heavy production. Listeners familiar with Lee’s previous indie releases have described the cover as a solid, heartfelt interpretation that highlights his folk-influenced approach.
Before appearing on American Idol, Lee DeWyze released two albums through Wuli Records. As his profile rose on Idol, Wuli made both albums and an additional single—“Princess (Reprise)”—available on digital platforms like iTunes. With Lee transitioning to a major-label debut after his Idol success, ownership and control of older recordings remained with his former label, which explains how this material can surface independently of his current team.
Wuli Records has reportedly offered “Beautiful People” as a free download on their site, and the unedited version that surfaced online gives a clearer sense of the arrangement and Lee’s vocal choices than the initial censored stream did. The acoustic treatment removes much of the shock-rock intensity associated with Marilyn Manson’s original, recasting the lyrics in a more intimate, melodic context.
When asked about his pre-Idol catalog in interviews, Lee has typically kept his responses brief, noting his focus on forthcoming major-label work and new creative directions. That measured stance likely reflects an artist intent on moving forward while acknowledging the reality that earlier recordings remain part of his public footprint.
The release of this older material raises familiar questions about catalog ownership and artist control. Independent labels that finance and produce recordings usually retain rights to those masters, which allows them to reissue, stream, or otherwise distribute tracks even after an artist signs with a larger company. For artists who achieve sudden mainstream success, this can mean previously recorded songs will reappear without direct involvement from the current management team or new label.
Industry observers and fans alike may wonder how the artist’s new label and management feel about older tracks resurfacing. While those teams often try to manage an artist’s public image and rollout strategies carefully, they do not always control works they did not produce. In this case, Wuli’s owner-operator status over Lee’s early recordings explains how this cover was able to reach listeners independently.
Fan reaction to the acoustic cover has been mixed but generally favorable among listeners who appreciate Lee DeWyze’s stripped-down, singer-songwriter sensibility. Some longtime followers welcome any new exposure to the artist’s roots and earlier stylistic choices, while others prefer that promotion focus on his forthcoming major-label projects. The acoustic rendition of “Beautiful People” offers a fresh perspective for those curious about how rock and pop compositions translate into a more intimate, vocalist-forward arrangement.
Ultimately, the resurfacing of this track serves as a reminder that an artist’s back catalog can continue to play a role in their public narrative long after they move on to new contracts and creative phases. With Wuli Records indicating plans to consult Lee about future releases, fans may see additional archival material made available in ways that aim to respect the artist’s current career trajectory while preserving the independent label’s investments.