Category Archives: Random Stuff
In news that will shock no one, it’s Saturday. It’s almost like it comes around every seven days or something! Wild.
On this particular Saturday, ESC NF traffic is pretty high. If you don’t believe me, take a look at tonight’s event list:
- Denmark Dansk Melodi Grand Prix, final
- Hungary A Dal, final
- Lithuania Eurovizijos Atranka, final
- Portugal Festival da Canção, semi final 2
- Sweden Melodifestivalen, semi final 4
- Ukraine Vidbir, final
Not too shabby, is it? DMGP is shockingly mediocre this year (and so is Melodifestivalen, if I’m honest…what’s up Scandinavia?) but a final is always exciting, and the likes of Hungary and Ukraine are on hand to rescue us from the Scandi-crisis. I’m going to cover a bit of both today – a high and a not-so-high via A Dal and Melfest.
What can I say? I’m always going to make Sweden one of my priorities. But first, Hungary!
This is it! A Dal is at its most anticipated point, now that 30 songs have become eight with one disqualification along the way (for which Gergő Oláh must be very grateful). Here are the lucky last songs standing:
- Nyári Zápor Acoustic Planet
- Szótlanság Bence Vavra
- Holnap Bogi Nagy
- Kulcs Fatal Error
- Hozzád Bújnék Gergő Oláh
- Madár, Repülj! Gergő Szekér
- Az Én Apám Joci Pápai
- Roses The Middletonz
It’s a great final lineup, even if it is missing a few of my favourites (on the other hand, the few songs I disliked have also been disposed of). Before I take a stab at guessing the winner and Hungary’s representative at Eurovision 2019, I want to review what’s left while I still have the chance. From my least-loved songs all the way up to my FTW faves, this is my top eight.
Kulcs kicks off my list…at the bottom. Don’t get me wrong, I don’t mind it. I’d just file it away under ‘Songs That Are A Lot Like Viszlat Nyár But Not As Good’, and to me that’s not the sort of song Hungary should send to Tel Aviv (particularly so soon after Viszlat). Fatal Error are a little too frantic and noisy for me to rank them any higher.
Next up I’ve got Nyári Zápor, which has surprised me by a) getting this far in the comp, and b) scoring so well with the jury. It’s a nice, feel-good song that I’m happy to listen to in the car or while I’m housecleaning (I vacuum 47% faster accompanied by music, FYI) but I don’t get the hype coming from A Dal’s panel of music pros. Am I continuing to underestimate Acoustic Planet when I say that if they make the “super final” stage tonight I’ll be surprised? Probably.
Szótlanság is another song I thought would have been eliminated by now, but I have to give props to its (performance) props and Bence’s solid vocals. Apart from that I feel like it’s pretty anonymous compared to most of the other songs – Madár, Repülj! and Roses, for instance, are way more distinctive. But it’s still a decent track.
Heading into my top five and the songs I wouldn’t mind seeing in Israel, here’s Holnap. This flew under the radar pre-performance, only to impress a lot of us once brought to life by Bogi. I’m keeping a close eye on it and wouldn’t count it out of winning contention. It’s a simplistic but beautiful ballad, and the fragility of Bogi’s voice is captivating. She doesn’t need to swing from a hoop suspended six feet off the ground to grab attention…but that actually adds value and interest without cheapening a classy song.
Gergő Oláh is lucky to be in the final at all after Hozzád Bújnék replaced Petruska’s Help Me Out of Here earlier this week. I wanted him there all along, so I can’t help being happy that he’s making up the numbers. Of the two traditional ballads in this eight, Hozzád is the more dynamic and powerful one, and Gergő belts it out without breaking a sweat. He won’t win with it, but that’s okay because until he tops Gyóz A Jő I don’t really want him to.
It’s top three time now, and my (hypothetical) bronze medal goes to Gergő No. 2 with Madár, Repülj!. I was confused by this song at first because it’s all over the place structurally and stylistically, but those are the same things I’ve come to appreciate about it. If it goes to Eurovision, it’s sure to be a standout no matter what else is it’s up against. Side note: Gergő is super cute and I want to fly to Hungary expressly to run my fingers through his hair. Is that weird?
Funnily enough, I’ve ranked what I think is the best song in this final 2nd overall (you’ll get an explanation in a minute). I’m talking about Roses, easily the best effort from András Kalláy-Saunders in A Dal since Running. This song is contemporary, radio-friendly, original and has more hooks than a fishing supplies superstore. To top it off, I thought it might be disastrous when The Middletonz performed it live, but they NAILED it. Sadly it hasn’t had a heap of jury support, but the public vote has been strong – so if they manage to make the top four tonight a win isn’t out of the question.
Last but obviously not least is Az Én Apám. This is a sentimental favourite of mine because it’s Joci Pápai and I could not adore this guy more. His song might be more understated than Roses – and basically everything else left in the comp besides Holnap – but there’s something spellbinding about Joci’s musical style, vocals and authenticity on stage that makes my heart beat faster. And if you Google the lyrical translation of Az Én Apám (non-Hungarian speakers) and don’t experience some feels, why the heck not?!? To sum up, Joci’s sequel to Origo in terms of A Dal entries was always bound to be my most-loved track of the NF.
So there you have it. Unfortunately, I have no say in the actual results tonight. All I can do is predict them, which is the logical next step, so here goes.
Being methodical and looking at the scores from the heats helped me guess last week’s qualifiers pretty accurately, so I’ve done the same this time with the semi scores. If you do it too you’ll end up with these guys as your frontrunners:
- Joci Pápai 36 jury, 9 televote = 45
- Acoustic Planet 37 jury, 8 televote = 45
- Gergő Szekér 34 jury, 9 televote = 43
- Bence Vavra 34 jury, 8 televote = 42
- Bogi Nagy 34 jury, 8 televote = 42
Joci is in prime position despite receiving a slightly lower jury score than Acoustic Planet. Because his public vote score was higher, if both acts make it into the final four with 100% televote deciding the winner, Joci will have the edge. Gergő is a safe bet to accompany Joci and/or Acoustic Planet to that last decider, having had jury AND televote appeal at each point of the process.
This is where it gets tricky. Bence and Bogi can’t be separated based on their semi results, except to say that Bence placed equal 2nd in his semi while Bogi placed 3rd (but that just speaks to a more competitive second semi). And we shouldn’t assume that another act entirely – and I’m thinking of The Middletonz when I say this – won’t rise in the jury’s eyes on this occasion and score themselves a spot in that all-important four. If Roses does do it, the public backing is there (with a 9 on the televote in its semi) to potentially win. As annoying as it is, however, the jury is more likely to roadblock it while paving the way for something they’ve liked better previously.
Let’s get down to business. I’ve made my decision (after way too much INdecision) and this is the top four I’m going with:
- Joci Pápai
- Acoustic Planet
- Gergő Szekér
- Bogi Nagy
Once the A Dal jury input becomes irrelevant and it’s all about that public vote, there’ll probably be a battle between the male soloists. My heart wants Joci to win again and take his magical self to Tel Aviv, but my head is saying it’s Gergő who’s going. And you know what? I won’t have any complaints about that. In fact, if Hungary chooses a song that isn’t Kulcs/Nyári Zápor/Szótlanság, I’ll have the opposite of resting bitch face – and if they choose Roses/Az Én Apám/Madár, Repülj!, I’ll have a new no. 1 in my Eurovision 2019 ranking so far.
But yes, I’m officially predicting victory for Gergő Szekér. How about you?
Moving on to the last straightforward Melfest semi now, and…well, it’s been an underwhelming edition of the show to say the least. I’m easily pleased as Eurofans go and have liked most of the entries. But at the same time, there’s been hardly anything to love with a passion and literally nothing that has made me sit up, take notice and proclaim it The One for 2019.
I’m actually concerned that Sweden could be looking at a 2013-esque result off the back of last year’s televoting disaster. The upper right side of the ESC scoreboard would be a win for some countries, but not for a country that has only finished outside of the top 10 once and won twice in the last eight contests. But I might just be getting ahead of myself.
Let’s look at tonight’s seven. For all I know, The One is right here:
- Stormbringer Pagan Fury
- Känner Dig Anton Hagman
- Torn Lisa Ajax
- I Do Arvingarna
- On My Own Bishara
- Kärleken Finns Kvar Ann-Louise Hanson
- Too Late For Love John Lundvik
It’s a deltävling full of familiar faces, with Anton and Lisa already having competed against each other in the 2017 final. Lisa came out on top then, and I’ll tell you if I think she’ll do the same now or not after I’ve mentioned my personal favourites from this semi.
My top four Too Late for Love, Torn, On My Own and Känner Dig. I knew John Lundvik and Bishara (with Benjamin Ingrosso backing him as a songwriter) would be my 4th semi highlights as soon as their names were announced. That’s because I loved Lundvik last year; and because Bishara is adorable in every way, and as an Ingrosso fangirl from way back their collab was made for me. Lundvik going uptempo and Bishara sticking with what works for his voice/image is working for me so far.
Lisa Ajax is another artist I’ve cheered for previously in Melfest, and though I prefer I Don’t Give A to this latest entry (which you can tell was originally meant for Loreen), I think Torn could be more successful for her. It’s a moody ballad with sparse verses and a belter of a chorus, and I’m curious to see how she handles it live. There won’t be any toilet paper hanging from the roof or useless but pretty raincoats this time, that’s for sure!
And yes, I enjoy a bit of Anton Hagman even if nobody else does. I mean, if he butchers Känner Dig tonight we can just hit mute and look at him, right?
So, who’s going direkt? John Lundvik and Bishara. But take this with a grain of salt because I actually have NO IDEA. Turning to either the odds or the rehearsal poll (which was topped by these two) isn’t helpful when you consider how wrong those indicators have been for the last few shows. I think this prediction is more of what I want than what I’ll get – but Lundvik is a safe bet and the most likely to go DTF. Bishara could be too JESC, or could score well with tweens, teens, mums and grandparents all over Sweden. Based on rehearsal reports I’m not convinced Lisa will have more mass appeal than he does.
Who’s getting a second chance? Arvingarna and Lisa Ajax with the possibility of a Pagan Fury curveball. Arvingarna has their Melfest/ESC history and nostalgic brand of musical Prozac to stand on, and I think they could actually squeeze straight in to the final…but I’ll leave them with AC. Lisa could blow everyone’s minds or underwhelm, and that’s the kind of risky business that deserves a compromise (though I’d happily have her in the final in a way that Wiktoria would not). If one of these guys only gets as far as 5th place, I wouldn’t be shocked to see Stormbringer slip in to Andra Chansen instead.
And that concludes this monster of a prediction post in which I didn’t actually do much predicting. It’s not always the fun part, to be honest.
Let me know what YOU think will happen tonight, anywhere and everywhere in Europe. And don’t forget to follow me on Twitter/Facebook/Instagram @EurovisionByJaz, for catty selection show comments and first impressions of the songs for Tel Aviv as they come along. I’ll follow back if you like to talk about Eurovision and send me some freshly-baked cookies!
Hey you…it’s me again. Yes, that’s a Kate Miller-Heidke reference – it seemed like the perfect way to introduce this post, one that’s coming to you from Past Jaz. She recently arrived back from her trip to the Gold Coast for Australia’s first-ever national final, and she kept a diary while she was there that she wants to share with you now. Present Jaz figures you won’t mind reading about something that’s already happened, since it’s Eurovision-related. And so, without further ado – because this is a loooooooong read and you guys are going to need stamina to get through it – let’s rewind a week to the day I got to the GC and the magic started to happen.
Thursday February 7, 6.15pm
Somewhere between Sydney and the Gold Coast
Okay, so that was the worst opening for an Australian-themed post ever. I apologise. I just couldn’t bring myself to say ‘G’day, mate!’ – it’s not in my nature to go Full Australian™.
I will be doing my best to be Miss Patriotic for the next two nights though, as I scream hysterically in the audience of the Australia Decides jury show and televised final. I’m on the last leg of my cross-country trip as we speak (because even attending an Aussie NF requires me to travel a minimum of seven hours) and at the moment, things feel pretty surreal…and not just due to my altitude-induced air-headedness. Sure, I’ve made the pilgrimage to Stockholm for Eurovision and for Melodifestivalen (not-so-humble brag alert). But an Aussie NF is a different story. If you’d told me a year ago that Australia would be selecting their entry for Eurovision 2019 via a national final — and that I’d be there in person to see it happen — I’d probably have laughed in your face.
But here we are. And since it’s a special occasion, I thought I’d document it with this diary-style post so that those of you outside of Australia/unable to attend this weekend’s shows can live vicariously through me (or get bored by my ramblings, one of the two). There’s not much to say right now except something about the competing songs, considering I haven’t actually done that yet. I want to give you guys my first impressions before I give you a rundown of who nailed it/failed it in the jury show, and prior to me predicting a winner.
So, The Songs…*insert dramatic Law and Order DUM DUM here*. Well, if you follow me on Twitter – which you should, I’m hilarious – you’ll know that I am happier than Nathan Trent on Christmas morning with the line-up for this NF. I always thought that if we had one, it would have the cringe factor of its almost-namesake You Decide (sorry, UK). But SBS has come through and delivered some serious musical goods. As people born after 2000 and who don’t have dark circles under their eyes yet would say, it snaps and I stan.
Friday February 8, 11.15am
No Name Lane Café, Broadbeach
Sorry for that short break that lasted an entire night, but I had to stop typing so my plane could land. How inconvenient. To pick up where I left off, it’s time to review the Australia Decides songs in as few words as possible, and in terms of song quality/any artist biases that I may or may not have.
In alphabetical order by performer, let’s do this thing.
To Myself I didn’t watch Alfie’s season of The Voice, so listening to this song for the first time was also the first time I’d heard him sing. Clearly, he’s pretty good at it. And suitably, this song sounds like it could have been a winning TV talent show song, only it’s got more edge and less cringe than a typical track of that variety. It’s anthemic, goosebumpy in parts, and underrated, I reckon.
Dust I did watch Aydan’s season of The Voice, and my inner 14–year-old totally voted for him (and would have had a poster of him on her bedroom wall if she wasn’t actually 27). I LOVE his voice, and this song suits his smooth tones and Benjamin Ingrosso-esque falsetto perfectly. Great lyrics, slick production and a kickass chorus = excellence, IMO.
Fight For Love Frivolous? Yes. But fun and fabulous at the same time? Absolutely. Courtney is a pro with the perfect amount of theatricality, personality and actual talent, and this song is so her. I don’t really want it to go to Eurovision on Australia’s behalf, but I am dying to dance to it in the mosh pit (such as it is) on Saturday night.
2000 and Whatever Cards on the table, this is my favourite Aus Decides entry and exactly what I want to see in Tel Aviv. It’s everything I’d hoped we’d send to the ESC since our story started, but never thought we would. It ticks box after box despite being outside of the box, if you know what I mean: it’s original, high-energy, dynamic, hook-laden and features an Indigenous-language bridge that’s uniquely Aussie. Electric Fields, you have yourself a new and very devoted fangirl!
Data Dust In the battle of the dusts, Aydan is my pick by far. Still, Ella’s song fills a genre spot in this line-up, and gives us all the chance to have a mild headbang while watching the show. It’s catchy, got a good beat and seems like something she’ll enjoy performing, and that enjoyment should transmit to viewers at home. The chorus is pretty sticky too. It’s a good one to shampoo your hair to in the shower, trust me.
Zero Gravity KMH is a big favourite, and after an adjustment period I can see why. My first listen of this song ended with a WTF face because it was such an assault on the senses. But after a few more run-throughs, I realised what’s special about this – everything. It grabs your attention from the beginning whether you like it or not, and doesn’t let go. Reminiscent of Alenka Gotar’s Cvet Z Juga but with a stronger pop sensibility, it combines Kate’s classical and contemporary talents into one distinctive package. No wonder it’s a contender.
Set Me Free Anyone who predicted that an unknown 16–year-old would produce a song as killer as this must have super-psychic powers. I sure didn’t see it coming, but I’m glad it did. Leea’s moody, Scandinavian NF-worthy pop ballad is right up my street (I’ve saved her a space in my garage with an engraved plaque). The verses set up a beautiful, fragile atmosphere that flows into a punch-packing chorus, taking Leea from a place of vulnerability to a place where she’s not going to take crap from this mystery jerk of a guy any more. You go, girlfriend.
This Is Not The End We were spoilt by Il Volo back in 2015, because no male operatic song will ever measure up to Grande Amore (including Il Volo’s own song in SanRemo this year). I don’t mind this one, and there’s nothing that would have shown off Mark’s amazing vocals better. I just prefer almost every other song competing.
On My Way This has Sheppard written all over it with a big fat Sharpie. It’s anthemic, danceable and light-hearted without being cheesy (just) and as always, the O’G3NE-ish camaraderie between the siblings is appealing and sure to give them brotherly and sisterly chemistry on stage. I won’t lie, this song doesn’t blow my mind…but it’s what I expected from the band, and it’s a solid effort.
Piece of Me This was the last AD song to be released and sadly, it wasn’t a case of leaving the best until last. For someone who’s spent a decade living in Sweden, the home of successful songwriters of cutting-edge pop, Tania has thrown it back with this 2000s example of elevator music. Granted, it’s GOOD elevator music, but a little uninspired and dated. Also, the verses are stronger than the choruses which is a worry. Can’t she just perform Bachelor Girl’s Buses and Trains instead?
Friday February 8, 6.30pm
Casa de Jaz (a.k.a. My Air BnB)
That was another abrupt ending – maybe get used to those, guys. And now you know who I will and won’t be backing FTW, I’ve got to say goodbye already. It’s for a legit reason – it’s time to head down the road (literally…I can see the Convention Centre from my apartment) and see what the Australia Decides jury show has to offer. I’m meeting up with Anita from Eurovision Union (if you missed our recent Melfest collab, you can check it out here) and we’ll keep you informed on our socials as the show unfolds. Of course, you’ll be reading this after the fact, so if you weren’t following us on Twitter etc then, do it now and see what we thought in the past. Be overcome by our incredible observations and precise foresight and bitchy comments because sometimes they’re just called for. I’ll see you on the other side!
Friday February 8, 10.55pm
My Air BnB again
And I’m back, after one seriously impressive jury show – albeit one that could do with some trimming to make it less of a marathon. Still, SBS has done an incredible job transforming the Gold Coast Convention and Exhibition Centre into an ESC-worthy space, complete with a stage that looks stunning on and off camera.
I can’t say the entire run-through was as flawless tonight, but the performances aside – which were obviously being judged – it didn’t matter that there were some technical difficulties. That basically extended to Aydan having to restart his performance after his mic failed á la Estonia at Eurovision 2017, and hosts Myf and Joel visiting Struggletown for a few seconds when the autocue decided to have a breakdown. Fingers crossed these are kinks that will be ironed out before we go live.
Regardless, Australia Decides looks like it’s going to be an awesome debut NF, with (lots of) great interval acts – including two songs from Dami Im – plus Eurovision vignettes and host scripting that’s closer to Petra and Måns than the Portuguese quartet on the humour scale. To touch on the most important stuff, here’s my quick take on the 10 acts’ jury performances:
Who impressed Electric Fields, Mark Vincent, Aydan, Courtney Act and Kate Miller-Heidke. EF raised the roof and Zaachariaha’s flamboyance filled the room. Mark’s vocal power was undeniable. Aydan’s vocals were more understated but smooth as silk, and there was an intimate stage setup at the start that made him stand out. Courtney delivered the exact level of pizzazz feat. props we all hoped for, and Kate? Well, more on her in a minute.
Who disappointed Sheppard and Tania Doko. Sheppard might have suffered from expectations being too high – they were okay, but rough around the edges and looked messy on stage. Tania’s vocals were on point but her choreography was so bizarre I couldn’t take it seriously. Trying to make Piece of Me more interesting backfired a bit.
Who did neither Ella, Leea Nanos and Alfie Arcuri. They all turned out good but not great performances. Ella provided an energetic opener and an eye-wateringly tight jumpsuit, Leea showed maturity and sophistication beyond her years and Alfie sang like the champion he is (and flashed some welcome flesh in a shirt open enough to appeal to Sakis Rouvas). But none of them went above and beyond to come forward as contenders.
In terms of who would have scored big with the jury tonight, there’s one person who stood head and shoulders above everyone else…literally. Kate Miller-Heidke was in another league, and between her world-class vocals, elaborate costume and action-packed staging (it looked like there was more money thrown at her than at the other nine artists combined) it was a winning package. As much as I love Electric Fields and will be praying for a 2000 and Whatever win instead, I suspect KMH has just booked herself a ticket to Tel Aviv. If so, that might shock a lot of ESC fans who’ve accused Australia of playing it too safe recently (something I haven’t been able to argue with). At this point, I’m all for divisive – it’s much better than dull.
If there is a challenger to Kate apart from Electric Fields, I’d say it was Sheppard despite an underwhelming performance. And if I was taking a major punt, I’d say don’t rule out Courtney completely. Not only did she give her all to an intense three minutes in a latex outfit without breaking a sweat, she also did things in stilettos that I couldn’t do in sneakers.
My tip for the final top 3 based on the jury show is:
- Electric Fields
- Courtney/Sheppard (Australia might be about to decide, but I can’t.)
As I said, my personal favourite is Electric Fields. I think if I hated 2000 and Whatever it would actually stand a better shot at winning, so that’s a shame.
Anyway, that’s enough rambling from me (for now, MWAHAHAHAHAHA) because based on the length of tonight’s show and the energy I know I’ll need to get through it – and dance through it – in the “mosh pit” tomorrow night, I’ve got to get a good night’s sleep. It will probably involve dreams of giant silver caterpillar cocoons, fire-engine-red latex and Joel Creasey dressed as Dami Im. You know, the usual. Good night!
Saturday February 9, 5.43pm
My Air BnB yet again
This is it, guys! The day Australia’s entire Eurovision-obsessed population – and a lot of non-Aussies – have been waiting for. I’ve just eaten a bowl of cereal as my pre-show fuel, which is pathetic but I’m way too excited to eat something substantial. I’ve also just spent 20 minutes writing ‘2000 and’ on one cheek and ‘Whatever’ on the other cheek in eyeliner, and it was time well spent.
I’ve been thinking about the likely outcome of this inaugural NF since last night, and I stand by what I said then – if Kate Miller-Heidke doesn’t have it in the bag, I’ll be SHOCKED TO MY VERY CORE. That wouldn’t be my ideal result, but I think I’ll be so grateful for Australia to have chosen something non-vanilla, I will happily stand behind Kate as our representative (not that you’ll be able to see me). After four years of mostly-successful but always safe entries, it’s time for us to be daring and show Europe that we’re more creative than we get credit for.
Speaking of time to do stuff, it’s time for me to get going. Hysterical screaming, awkward white girl dancing and other typical Saturday night activities await. Let’s do this!
Sunday February 10, 12.10pm
Between the sheets (in a very non-sexy way, believe me)
Okay, so I may have just woken up…but if a super late night followed by a 5am wakeup to watch Melodifestivalen (makes a nice change from 3am) isn’t a good excuse to sleep in until midday, then I don’t know what is.
I didn’t party after the show last night, unless you consider stumbling back to my apartment complex in the rain and falling face down on the bed to lie in wait for the midnight snack (a.k.a. pizza) I’d just ordered a party…which I definitely do. I did have an event invitation courtesy of OGAE Australia, but to be honest I was in PAIN after all that standing. Sounding more like a 77-year-old than a 27-year-old, my groans of ‘My back! My feet!’ were heard across the Gold Coast, and the concept of bed was too desirable to resist. I did pull an all-nighter after the Eurovision final in 2016, so there is a party animal inside me somewhere.
Anyway, on to more important info: we have an Australia Decides winner, and as predicted by moi and most other people with functioning eyes who watched the jury show, it’s Kate Miller-Heidke with Zero Gravity. Topping the jury and public vote meant a win you can’t really argue with (though I have tried a few times in my head) and her performance tonight was breathtaking.
But…AAGH, Electric Fields came so close! They were just 4 points behind KMH after the jury scores had come in, and not much further away after all was said and done. I almost wish they’d finished lower so that all the ‘What if?’ scenarios in my head were useless. On the other hand, 2000 and Whatever being the banger that it is = a probable OGAE Second Chance Contest entry and possible winner. I just hope we didn’t throw away a Eurovision winner, that’s all.
You could have predicted last night’s results by audience volume, which made it quite clear that the original three-horse race (between Kate, Electric Fields and Sheppard) had become a two-horse race between the quirkiest songs/acts on offer. That makes me proud to be an Aussie Eurofan, since clearly we’re not scared to take a risk. A risk I don’t think I want us to take is keeping Kate’s performance so similar to a bunch of Eurovision stage setups that have come before her (which I don’t think I need to mention). There are many ways to get her up off the ground that won’t cause cries of ‘copycat!’ come May – think trapezes, floating platforms or mechanical swings. Just not all three at once please…this isn’t Cirque Du Soleil, SBS, and we want Kate to live to a ripe old age.
All 10 acts upped their game tonight, and though somebody had to come last nobody deserved to. This has been such a strong start for us in NF terms, and Australia Decides has made a great addition to selection season. There were mistakes we can learn from – mainly re: show length and unnecessary padding – but the pros outweighed the cons by far. I don’t have to, but if I did need to wake up at 3am to tune into an NF like this, I’d do it in a heartbeat.
All in all, I’d call Australian NF no. 1 a big success that definitely warrants a sequel in 2020. And if that is the case, you can guarantee I’ll be there.
Monday February 11, 9.30am
Gold Coast Airport
And just like that, my whirlwind trip to the other side of Australia is over. I’m sitting in a café at the airport waiting on a flight that’s been delayed, and feeling that inevitable comedown that we call PED in May and I’m calling PADD at the moment. The niggling feeling I have that Electric Fields would have been a better way to go is actually getting more insistent rather than less so, but I think it’s being fuelled by some super critical Twitter types who think they know exactly what’s going to go down in Tel Aviv even though it’s February and we have 8 songs out of 42. Oh, and they’ve all got hate to spare for Kate, BTW. Hopefully she’ll prove them wrong in a few months’ time on a bigger stage, but if she doesn’t, I’m still happy that Australia opted for something adventurous given the chance.
I caught the show on TV last night on replay, and obviously it was my first time seeing it on screen. The first thing I noticed was my back popping up four times in the first 30 seconds, so it is now more famous than my face will ever be. I expect it to have its own Wikipedia page any day now.
Something else I noticed was that the bulk of vocals didn’t sound as good on TV as they did from inside the Convention Centre, but I found that at Eurovision too. It was still an excellent show feat. great songs, and an event I’ll be reliving a lot in the lead-up to Eurovision. I hope you guys enjoyed it too from wherever you are in the world (and if you were in the live audience, how RUDE of you to not come and say hi! JK, you can do it next year).
At the end of the day this NF was called Australia Decides, and you know what? Australia decided. Now it’s entirely up to Europe to choose our fate. In the meantime, Down Under we’ll be bowing down to our newly-crowned queen of Eurovision: Glinda the Good Witch, a.k.a. Kate Miller-Heidke.
I’m off to start winging my way home (finally). I’ll be back in a few days to resume normal NF reviews and predictions, as the season continues and we wonder which song will be The One for 2019. Who knows…we might have heard it already.
A DAL, YOU’VE DONE IT AGAIN | A love letter to Hungary’s Eurovision 2019 song selection feat. my top 30!
In case you didn’t know, Sweden is my all-time favourite Eurovision country and the one I support unconditionally every year (2009 aside…La Voix was a moment of insanity on their part). But I have to say, there’s another nation nipping at their stylishly-shod heels.
Hungary has gifted three minutes of greatness (in every genre imaginable) to the ESC almost every time they’ve participated, and while I’ve been waiting for them to finally win I’ve kept a close eye on their national final A Dal. And this year, the competition is seriously wow. I mean, if I had to sum up how I feel about it in just a few words, ‘VISZLAT NYASSS!!!’ would do it.
Thankfully I don’t have to limit myself to just a few words, so instead I’m going to devote an entire blog post to how awesome it is. The upcoming A Dal is too good NOT to discuss in detail to the point where you guys are snoring and drooling – so maybe grab some coffee (triple shot) before you check out my thoughts on all 30 entries as we wait for the comp to start on Saturday night. And as always, share your agreements and disagreements in the comments. I’m desperate to know if you’re as impressed by Hungary this year as I am!
My A Dal douze pointers
Working from best to worst, this is my top 10 in a comp that’s setting the standard for song quality this NF season. If the Eurovision gods are smiling down on me when the A Dal final rolls around, one of these tracks will win it. If not, I may cry a little.
Lighthouse, Olivér Berkes This song does to me what I think Amar Pelos Dois did to a lot of people (but NOT me): it makes me feel feelings that manifest in the form of goosebumps, spine tingles and moist eyes that I may or may not blame on allergies. It’s one of the prettiest piano ballads my ears have ever been exposed to, and Olivér – competing in A Dal for the first time as a soloist and the third time overall – delivers it emotively and with the perfect mix of flawless and rough-edged vocals. I do think the Hungarian version Világítótorony is extra special, so I’m hoping Olivér opts to sing that during A Dal. Either way though, it will be stunning.
Wasted, Barni Hamar Barni might look like he should be competing in a JESC NF, but his song is totally ready for adult Eurovision. Wasted – composed and written Mikolas Josef style by Barni himself – is exactly the kind of cutting-edge, catchy as heck radio pop I always gravitate towards when the A Dal songs are unveiled. I’ve had it stuck in my head for days and I’m not complaining about it. This song is the bomb, and if you love it too, check out Barni’s EP Different on Spotify – the whole thing is in the same musical and lyrical neighbourhood.
Incomplete, yesyes Truth time: I didn’t get the yesyes hype last year, when they finished just behind AWS with I Let You Run Away. With this comeback track, they’ve taken the skeleton of that song and fleshed it out, bringing something to life I can definitely say yesyes to. Incomplete has every box on my douze-point checklist ticked – it’s current, dynamic, edgy, atmospheric and catchy. Plus, the potential for a kick-ass light show to accompany it is sky high, and that tends to make me happy. Watch out for this one, because it could run away (see what I did there) with the win very easily.
Roses, The Middletonz This is the fifth time András Kállay-Saunders has attempted to represent Hungary at Eurovision (with a 1/5 success rate, obviously). This latest try is giving him a pretty good shot at victory in my opinion (as someone whose own success rate at predicting the outcomes of national finals is laughable). Roses is a love it or hate it sort of song, but clearly I love it. What I love most about it is how it’s ever-evolving, shapeshifting in sound constantly throughout the three minutes but in a pattern that you can follow. I’ve never heard a song quite like it before, and neither has Eurovision. Just saying…
Az Én Apám, Joci Pápai My boy is back! I nearly passed out when I heard that Joci, the man behind one of my all-time favourite ESC entries and a string of other amazing songs, was giving A Dal another go. Given Hungary’s tendency to bounce from genre to genre and never send the same act twice, I don’t think we’ll see him at Eurovision 2019 – but they could do a lot worse than sending this heartfelt ethno-folk ballad. It might not be as dramatic as Origo (topping that is impossible) but it’s just as beautiful and arresting in its own way.
Posztolj, USNK As soon as I found out that ByeAlex co-wrote this, I knew I’d soon be professing my love for it on this blog. And here we are! That songwriter credit is the only thing Posztolj has in common with Kedvesem (another favourite ESC entry of mine), but I’m a fan regardless. It serves swag, attitude and grit, and makes me feel cooler than I actually am just by listening to it. USNK, fresh from winning Hungary’s X Factor, obviously have public vote-pulling power too. I don’t think Hungary would be afraid to send this to the A Dal final.
Százszor Visszajátszot, Konyha I’m strangely bummed that I like this so much because it means I have to type out that crazy long title more often (JK…I’ll be copying and pasting). But it’s too good to resist. Hungarian is one of my most beloved musical languages, and this song is a great example of why. It’s slick, it’s neat, and that chorus is infectious times infinity. I also think it works as chill party background music, a song you’d sing along to on the radio in the car AND one that can compete in a contest. That’s no mean feat.
Maradj Még, Kyra Here’s the powerhouse female pop I knew would be in A Dal somewhere, since this NF leaves no genre stone unturned. Again, because this is Hungary, it’s not straightforward, middle-of-the-road cookie cutter pop we’re talking about here. Maradj Még has bite. It moves from solid verses to an awesome bridge, then on to an epic chorus feat. big vocals and a little EDM influence. I hope to heck that Kyra can deliver this live – if not it will be a mess, but if she can, HECK YES.
Hozzád Bújnék, Gergő Oláh Another returnee, Gergő is in it to win it for the fourth time, and while Hozzád Bújnék is no Győz A Jó (a song that deserved Eurovision and so much more) it’s still top notch stuff. Soaring, powerful and all class, it’s like a talent show winner’s single but actually decent. Gergő will want to be at his vocal best performing this, since it showcases his voice without spotlighting much else (i.e. there’s no bells and whistles to distract from a dodgy vocal). I’m pretty confident he can handle it.
Csak 1 Perc, Gotthy You might see this as a wildcard in my top 10, or at least as a song that wouldn’t be so highly thought of by many other people. But there’s always an underdog in with my favourites, and congrats Gotthy – it’s you this time! I don’t expect Csak 1 Perc to progress too far in A Dal. Unlike Százszor Visszajátszot (copied and pasted) it’s a definite radio song rather than a radio song AND a competition song. But that just means I will be streaming the shiz out of it on Spotify and enjoying every minute.
The rest of the best
I’ve listed all my absolute favourites from A Dal 2019 now, but I wouldn’t be devastated if any of these next entries won instead.
Hazavágyom, Leander Kills This is something a bit different from Leander Kills – and it’s damn good different. I prefer epic Élet from 2017, but this ethnic, unique and folksy creation is a song I wouldn’t mind winning the whole thing.
La Mama Hotel, Dávid Heatlie I love the intensity and energy of this one. It passed me by a little when I was first running through the 30, but I’m glad I gave it the attention it deserves.
Ide Várnak Vissza, DENIZ I’m a sucker for a rap/vocal combo (it’s one of the billion reasons I love Origo so much) so what DENIZ is bringing to A Dal is A+. How similar does the vocalist sound to Medina though? Listen to 100 Dage, her collab with Thomas Helmig, and you’ll know what I mean.
Holnap, Bogi Nagy If you’re looking for a female equivalent of Olivér Berkes – or a female-led song that’s simple, pretty and emotive like Lighthouse – here’s your girl and here’s your song. It’s far from being in Lighthouse’s league, but it’s a really nice ballad and Bogi’s vocals are practically angelic.
Help Me Out of Here, Petruska I loved Petruska’s last entry Trouble In My Mind, and for me this one doesn’t quite measure up to that. But the Paul Simon Graceland vibes put me in a good mood.
Barát, Salvus The early 2000s called, but they can’t have this Christian rock-esque number back because I want and need it here in 2019.
A Remény Hídjai, Nomad Mid-tempo soft rock is on the vanilla side of things for me, and this is no exception. But vanilla is still appealing! Hungarian sounds boss in this genre like it does in EVERY GENRE IN EXISTENCE.
Ő, The Sign This is a weird song, and most of it is taken up by ‘Őőőőőőőőőőőőőő.’ But, even though it may not maximise the 180 seconds it has to work with, I find it so soothing and pleasant to listen to that I still like it a lot.
Frida, Rozina Pátkai ’Ethereal’ is a word I don’t use very often when I’m talking music, but it’s fitting for this track. I wish it had more x-factor to take it to the next level, but that’s a small pet peeve and I’m still impressed by it.
Nyári Zápor, Acoustic Planet I didn’t like this much based on the teaser, and I still think the guitar parts are way too throwback. But the rest is easy-listening enjoyment all the way, and it puts a smile on my resting bitchface.
Little Bird, Diana There’s one thing stopping me from ranking this way higher, and it’s Diana’s voice – it just grates on me. That aside, Little Bird is an awesome addition to A Dal this year. I’m hoping I’ll find the vocals more agreeable live.
I need some more alone time with these songs to see how I really feel about them, but there’s something appealing about them all.
Madár, Repülj!, Gergő Szekér I think I like this. It’s original and dramatic, no doubt, but a bit messy. Chaotic messy, not artfully messy like Gergő’s hair.
Szótlanság, Bence Vavra I’ve listened to this as often as I’ve listened to everything else, and I cannot remember how it goes. Yet when I do press play, I always think ‘Yeah, this isn’t bad!’. Go figure.
Egyszer, Mocsok 1 Kölyök I don’t feel any fire from this in terms of competing FTW, however I wouldn’t skip it on a shuffling playlist. The 90s grunge feels are strong.
You’re Gonna Rise, Klára Hajdu There’s usually a carbon copy of this song in A Dal (it reminds me particularly of Fall Like Rain from a few years back) and I’m never a big fan. This time it’s a guilty pleasure for me, though. The lyrics are beyond cliché, but the melody is nice and overall I find it a relaxing listen.
Kulcs, Fatal Error I have to be in the right mood to listen to this, otherwise the noisiness and frantic pace send me into meltdown mode. If I am in the right mood, I will headbang until I need a chiropractor.
Someone Who Lives Like This, László Váray Would I miss this if it wasn’t invited to the party? No, but I don’t mind it being on the guest list.
Kedves Világ!, Timi Antal feat. Gergő Demko Okay, nothing special. I welcome every song that’s in Hungarian though.
Thank u, next
Loving or liking 28 out of 30 in this lineup is what made me want to write this ramble in the first place – but yes, there are a few songs I don’t like.
Forró, Ruby Harlem The style of this is not my bowl of goulash at all, and I find the chorus super irritating.
Run Baby Run, Monyo Project The verses aren’t bad but the chorus (another song-ruining one) is so repetitive and monotonous, it gives me a headache.
And that’s every single song on offer in A Dal this year from my perspective. I love so many that I’m guaranteed to get heartbroken during the heat and/or semi stages, but I’m confident we’ll get a great winner and Eurovision entry from Hungary in the end. Stay tuned to EBJ for my predictions when the time is right…
Which potential Hungarian ESC entries are you excited about at the moment? Is A Dal 2019 as dal-ightful in your opinion as I think it is? Let me know below!
Have you been trapped in a basement for the past month or so? Maybe you just don’t follow Swedish darling and Eurovision 2018 wonder boy/televote non-magnet Benjamin Ingrosso on social media (the less dramatic option). Either way, you might’ve missed the build up to and eventual release on Friday of Benjamin’s first proper album: a.k.a. Identification.
I, as a tragic Ingrosso fangirl from way back, missed nothing. I’d been clinging on to the pre-release song teasers on Instagram like Salvador Sobral clinging on to the hope that he wouldn’t have to hand the ESC winner trophy to a fast-food-and-fireworks song like Toy (i.e. desperately). I dropped everything to read Scandipop’s comprehensive preview (luckily I wasn’t holding anything fragile, expensive or living at the time), and shook my fist super threateningly at Central European Time for dictating that the album would be released while I was at work. No prizes for guessing what I did the second I got home on Friday…
It’s now been a few days since Identification dropped, and since then I’ve played it more or less nonstop. As a result, I’m beyond ready to review it for anyone who’s interested – but rather than rambling on endlessly about all 12 tracks (which I could, because every single one is DOPE) I’ve decided to pick out my favourite six songs from the album and ramble on about those, and only those.
Behind the naturally cool-as-heck cover art of Identification is Benjamin’s latest single I Wouldn’t Know, Melodifestivalen winner/Eurovision entry/greatest song ever Dance You Off, and ten other slickly-produced pop songs – all co-written by the man himself – ranging from emotional ballads and hazy dream-pop to dancefloor bangers. And here, ladies and gentlemen, is the best of that brilliant bunch according to Jaz. You wouldn’t be here reading this if you didn’t want my opinions, right?
In album tracklist order…
It would have been easy to make Dance You Off the Identification opener, but I’m glad Benjamin didn’t – not when this absolute BANGER was waiting in the wings, equipped to get things started in style. Ingrosso’s trademark falsetto leads to a chorus so infectious, you’ll feel like wearing a surgical face mask and bathing in antibacterial sanitiser after hearing it. Subject-wise the song is almost like a Dance You Off prequel, with Benjamin taking us to the club where he’ll eventually dance this girl off the floor because she’s become a bitch (his side of the story) – only on this occasion, they’re meeting for the first time and she’s looking mighty fine…hence why he can’t make his eyes behave. Honestly, he could have based this song’s lyrics on his desire to judo chop Big Bird from Sesame Street and I’d still rate it. As it is, I’m placing a mental bet on Behave being the follow-up single to I Wouldn’t Know.
I Wouldn’t Know
Speaking of which, here’s I Wouldn’t Know in all its summer-soaked glory – track no. 2 of the album and one of my highlights without a doubt. If this song seems to sound like LA (which it totally does) that’s Benjamin’s excessive time spent in the city creeping in to his music. It’s a pretty upbeat song considering it’s about someone who’s just not that into him (are all these songs about the same person? If so, she must be seriously high-maintenance). Every time I hear the retro, sun-bleached intro, I feel like I’ve been transported to the land of palm trees and shopping streets where Julia Roberts is not welcome until she’s made the full transition from hooker with a heart of gold to Richard Gere’s sophisticated arm candy (and yes, that is a compliment). Cruisy vibes and overall catchiness make this a perfect addition to any holiday roadtrip playlist. Also, ‘Tell me what it’s like to love someone who gives a damn about you, ‘cause I wouldn’t know’? Sick burn, Benjamin.
I’ll Be Fine Somehow
This breakup ballad has none of the danceable qualities of Behave or the ironic happy feels of I Wouldn’t Know, but it’s equally awesome in its own way. It reminds me a little of Benjamin’s first grown-up single Fall In Love, only it’s slower and sounds more like it was influenced by R&B. It tells a typical story that we can all identify with (album title pun not intended, but I’ll roll with it). That includes a little list of the pros and cons of the relationship split in question, summed up in the chorus with this lyric: ‘I miss the way that you feel but I won’t miss the way I felt’. Excuse me while I melt into a puddle of feelings on the floor! My only complaint about this song is that it’s too short. As we Eurovision fans are well aware, three minutes isn’t always sufficient song-wise, and I’ll Be Fine Somehow is over before I’ve had the chance to reflect on all of the horrendous aspects of my love life. I suppose I could just play it ten times in a row…
So Good So Fine When You’re Messing With My Mind
This is what happens when you put Benjamin’s late 80s/early 90s influences in a blender with a bunch of top-tier pop songs and a big scoop of protein powder. Oh, and a profanity bleep for every chorus that only draws more attention to the d-word. There’s no kale or chia seeds in there, but that just makes for a more appetising smoothie. If Dance You Off didn’t do anything for you but you’re still hoping for an Ingrosso track that will make you move, this would be my suggestion – the chorus alone is impossible to sit still to. Coming a close second in the ‘Best of SGSFWYMWMM’ stakes is the fact that every part of the song is interesting and has a unique selling point, but all parts compliment each other like it ain’t no thang (or, to use normal person words, effortlessly). Like Behave, this song would make a great follow-up single to I Wouldn’t Know. HINT HINT.
You can hear the Los Angeles in this one too. Spotlights is basically Benjamin justifying his place in the music industry – and in the spotlight, obviously – in the face of haters who think he’s only where he is in his career thanks to the Wahlgren-Ingrosso legacy (this is something the Kardashians should consider doing if they can gather enough material). And this justification is boxed up in jazz-pop package that Bruno Mars would be proud of. My highlight within-a-highlight here has to be the second verse, because the rhymes are so, so satisfyingly neat. ‘See I was only fifteen, labels didn’t want me, they saw me on the TV, said I didn’t have a story, so I had to prove it, did it with my music, when I become a star they’re gonna say they always knew it’ = bomb wording if ever I’ve seen it. I don’t mind if Benjy’s career did get a boost from that hyphenated family name, because it eventually led to this song’s existence in my life and presence on all of my summer party soundtracks.
Dance You Off
Well, duh! I like to think of Dance You Off as the last official track of Identification, with Happiness being an acoustic tack-on that makes for a nice encore rather than a great grand finale. Fortunately, this song helps Benjamin go out with a bang. You guys know what it sounds like – I don’t need to describe it to you. Will that stop me though? Um, no. The late 80s/early 90s atmosphere is thick, the Michael Jackson influences are clear, and no matter how many times I listen to this track (or watch the mind-blowing performance) I will NEVER understand why the voting Eurovision public responded to it so negatively. It goes without saying that I exclude myself from that narrative, since I voted for Sweden and only Sweden back in May (well, there may have been a few messages sent for Mikolas Josef, but you get my drift). Ultimately it doesn’t really matter. Dance You Off is the gift that keeps on giving, televoting points or *sniff* hardly any televoting points.
Okay – that’s my top six tracks covered, so I’ll press pause on the ramble. But I do want to say one more thing: if you’re yet to give this album a go, get on it ASAP (wherever you usually listen to music digitally). It’s far from being a collection of Dance You Off clones, so if that wasn’t your cup of cocoa but you are a pop lover, you’re still likely to find something Benjamin Ingrosso-branded to enjoy.
I’m going to cheat and recommend two more tracks in addition to my favourite six: No Sleep (which sounds like it was recorded under water with the supervision of The Weeknd, and the result is glorious) and Good Intentions (another one to make you feel like you’re in sunny LA drinking cocktails at a beach party). But, in case you hadn’t guessed, I love this entire album and wouldn’t tell you to avoid any of it.
If you have given Identification a run-through, tell me which tracks floated your boat in the comments. How many stars would you give it? It’s pretty obvious that I’d give it the full five.
Now I’ve got to go play it again, because it’s been several hours and I’m having withdrawals.
Until next time (when I’ll write about something in a less sickeningly complimentary way),
SHOULD’VE KNOWN BETTER: Six 2018 OGAE Second Chance songs that probably should have been ESC entries…
Hey there! Remember me? It’s embarrassing the amount of times I’ve had to reintroduce myself on my own blog due to an accidental vacation, but I’m Jaz – still living, breathing and thinking about Eurovision 24/7 (or 25 hours a day, if Le Freak’s skewed concept of time works better for you). Yet again, “other stuff” has cut short my ESC rambling time lately (so annoying), but I’m back now and ready to try and keep it that way. Did you miss me?
I’m going to assume the answer was HELL YEAH and move on to today’s post. Now, if you’re a Eurofan who has a hard time letting go of songs you wish had won their respective NFs, then the annual OGAE Second Chance Song Contest is for you. I’m definitely the type to fall in love with music from Melodifestivalen, MGP, MESC etc, only to fall to pieces when something else wins. So naturally I jump at the chance to see some of those songs get a second chance at competing in and winning an international contest…even if it’s not quite on the same level as actual Eurovision.
The 2018 OGAE SCC is packed with excellent almosts from the most recent NF season, as well as a few glaring omissions (no Tayanna for Ukraine? Seriously?). If you’re not already familiar with the line-up, check it out here. The winner of this year’s contest – succeeding Sweden who won in 2017 with Mariette’s A Million Years – will be revealed in October. To help pass the time until then, I present to you guys my little list of competing songs that, in hindsight, really shouldn’t need a second chance in the first place. Basically, they should – or at least, could – have made it to Lisbon so they could end up losing to Netta.
Remember, this is a subjective subject. The likelihood of us agreeing on more than one or two songs is lower than Max Jason Mai’s pants by the end of his performance in Baku, but I’m happy to hear your opinions in the comments if you’re nice about mine!
Who We Are by Rebecca, Norway
Looking Rybak on Melodi Grand Prix 2018 (see what I did there?), it’s obvious that no one could have stopped Eurovision’s most spectacular point-scorer from making his comeback. Rebecca, with this magical power ballad penned by Mørland, came closest – and for all the guilty pleasure I get out of That’s How You Write A Song, I did have my fingers crossed for her at the time. I don’t want to say outright that Norway choosing Rybak over Rebecca was a mistake; after all, he did win his semi final and finish a respectable (for anyone other than a landslide former winner) 15th. But…I can’t help feeling like Who We Are (a song that shared only a title with San Marino’s entry, THANK THE LORDI) could have gone further, at least in the final. In a contest that wasn’t overrun with big belter female ballads, the song’s mix of mournful Scandipop and soaring anthem (with a hint of schlager, a whole bunch of magnetic moments and a kick-ass money note) would have had a parking spot on the scoreboard all of its own, one that meant it wasn’t competing directly with the likes of Fuego or Toy. What I’m saying is that I think Norway could have scored a similar result to 2017 with this one. As it stands, they have a decent shot of winning the OGAE SCC instead, so that’s something.
Royalty by Feli, Romania
This pick has more to do with Goodbye being the wrong choice than with Royalty being an absolutely amazing song that Romania let go – which is hard for me to say because I am a fan of Goodbye. The thing is, though, it takes an eternity to get going and when it does, it’s not exactly fun – which, in the wake of Yodel It, seemed kind of uncharacteristic for Romania. That ultra slow burn plus a creepy, nonsensical stage show (which I’ve discussed before here) led to Romania losing their 100% qualification record in Portugal. Feli’s Royalty, I’m pretty positive, would not have suffered the same fate. This track is tropical-tinged cocktail of fun from the second it starts, and it doesn’t waste time building up to anything because that’s not what it’s there for. It’s there to create a party atmosphere with a touch of empowerment for all my ladies out there (if we can’t strut out onto the dance floor to this song while kicking all thoughts of our ex-boyfriends to the kerb, then when can we?). Okay, so the staging and costuming would have needed an overhaul to make Feli’s package fit for the ESC, but that’s what the end of March and all of April is for. Vocally it was great, and the potential for greatness in everything else was there too. Missed opportunity alert!
Out of the Twilight by Sara de Blue, San Marino
Eurovision wouldn’t be the same without the plucky little microstate of San Marino making questionable musical choices every year – but even so, I think most of us wish they’d made the decent choice that was presented to them on a silver platter during 1in360. Dropping in via Austria, Sara de Blue was head and shoulders above all of her competition, even if it was mainly in terms of her FLAWLESS vocals that turned average ballad Out of the Twilight into an above average combo of all things hauntingly beautiful and powerful. It might have sounded a little passé on the Eurovision stage next to stuff like Lie To Me and Dance You Off – but presented in the right way, as an old-school lady ballad performed to perfection, there’s no way it wouldn’t have improved on the result achieved by the infinitely more dated (read: stale as a month-old loaf of sourdough) Who We Are. This is one of those NF winner VS runner-up situations that makes you wonder how on earth the final decision was made, and how sane the people were who made it. But don’t get me started on how the winner was decided at 1in360 (we’d be here all damn day). This isn’t the case with every song on this list, but for Sara’s sake I have to say that Out of the Twilight should have been sent to Lisbon, no question.
Lo Malo by Aitana & Ana Guerra, Spain
Speaking of countries that make dodgy decisions time and time again…I can think of at least three recent occasions when Spain has had us all shaking out heads in disbelief at what they opted to send to Eurovision – despite a pre-packaged success story being ready and waiting in their NF (which always ends up 2nd or 3rd). 2018 was no exception, with Spaniards so caught up in Amaia and Alfred’s amor that they overlooked an absolute banger Eurovision would have welcomed with open arms. Lo Malo could have been the latest Camila Cabello smash hit, but instead it was sitting pretty at the Operacion Triunfo gala and begging in Spanish to be crowned The One for Portugal. I guess it didn’t beg loud enough to drag attention away from the lovebirds making puppy dog eyes at each other. Don’t get me wrong, I’m not anti-romance (in fact, I read it almost exclusively). But when an ESC NF presents you with a) a sappy ballad and b) a modern pop masterpiece, and asks you to choose one, YOU’RE SUPPOSED TO GO FOR THE SECOND OPTION. Aitana and Ana were the duo we all deserved from Spain this year, and the pair who could have propelled the country out of the bottom five in the final. If there’s ever a time for the EBU to bend the September 1st rule, it’s when the upcoming ESC season arrives so we can have Lo Malo in Israel.
Compass by Alejandro Reyes, Switzerland
If you guys saw my list of NF favourites from the 2018 season, you’ll already know that I love this track, and in spite of being a Zibbz supporter I was hoping for the adorable Alejandro to represent Switzerland. In hindsight especially, this may not have been a bad idea. I’m still reeling from Stones’ failure to qualify, and when it comes to considering whether or not Compass could have done things differently…well, maybe, maybe not. In terms of the type of song I personally would kill to see Switzerland send to the ESC though (not literally, but give it a few years and I just might) this song is peak YASSS. Fresh, catchy, lyrically as unique as what JOWST comes out with and well performed, Compass might have lacked the attitude of the actual winner, but it made up for that with slick production – and a sense of being, to quote Mugatu from Zoolander (which I can’t say I’ve done on EBJ before) ‘so hot right now’. What I mean by that is, Shawn Mendes could have recorded it and teenage girls worldwide would have lapped that shiz up. Not everything at Eurovision needs to have Spotify streaming potential, but my ears prick up when something does…even if it doesn’t make it all the way to the big show.
Legends by Asanda, United Kingdom
I know, I know…Asanda needed to up her cardio fitness like crazy before trying to sing and dance her way through Legends live (a problem not shared by SuRie). Had she gone to Eurovision, she also would have been in direct competition with Eleni Foureira and probably lost (another problem not shared by SuRie). Still, if we’re talking about a song that would have made more of a statement in Lisbon than Storm did – stage crasher aside – hers was the one to opt for out of the You Decide line-up. Sky-high on energy, dynamic and radio-friendly, it was pretty much in the middle of the Venn diagram between what the UK should send to Eurovision and what they actually do. I totally understand how SuRie (bless her and her awesome personality + social media game) won through instead, and I’m not saying she didn’t deserve to get the golden ticket. But in a parallel universe, Asanda nailed her vocals at the NF and headed off to join her fellow fierce, dancefloor-owning females in Portugal. Just think – if her stage show had been crashed, her version of ‘the show must go on’ might have involved punching the offending individual in the face, and that would have made great TV.
So, do we agree on anything? Which OGAE Second Chance songs for 2018 do YOU think should have made it to Eurovision back in May? Don’t leave me hanging!
Well, this might be the most ridiculous post I’ve ever published (apart from this one). Clearly, nine years (!!!) of blogging have not transformed me into a generator of sophisticated content. But having fun is better than being sophisticated, unless you’re meeting the Queen (I am referring to Conchita Wurst of course, though the same applies to the one who’s pretty well-known in Commonwealth countries).
The general gist is that Koit Toome was a gift to us all at Eurovision 2017, at least from the neck up. When performing Verona with Laura by his side – albeit about ten metres away most of the time – he brought constant drama (drama that used to be romance, obviously) via his pliable face, and it proved he hasn’t overdone it with the Botox despite somehow looking as fresh-faced as he did at Eurovision 1998.
Even though Koit’s OTT soap-opera-style expressions didn’t help Estonia to qualify in Kyiv, he and Laura’s performance wouldn’t have been the same without them, and I think that deserves acknowledgement. I also think they (unintentionally) managed to convey a lot of the feels we everyday people have experienced at one time or another, making Mr. Toome everybody’s personal spirit animal (but not affiliated with the song that lost to Verona in Eesti Laul 2017). You want proof? Don’t worry, I’ve got it!
When you’ve done something bad and you’re not sure whether your parents are about to find out about it or not
When you read through an exam paper and literally nothing makes any sense
When another one of your friends gets engaged/promoted/announces their pregnancy/buys a house, and you have to pretend to be happy for them even though your biggest life achievement to date is eating two pizzas in one sitting
When someone you’re talking to says something really stupid, and you can’t figure out if they were being sarcastic or they’re actually THAT stupid
When you overhear an epic piece of trash talk about someone you hate
When you’ve been stalking someone on Instagram and accidentally liked one of their ancient photos, and you’re currently weighing up the pros and cons of entering the Witness Protection Program
When you see a dog in the street but circumstances will not allow you to go over and declare undying love for it (or even just pat it)
When it dawns on you that there’s a 99% chance you left the iron on this morning, and that you may arrive home to a smouldering pile of what used to be your house
When your boss publicly bitches out your really annoying coworker
When you’ve just had a group discussion and contributed a great idea, only to have someone else swoop in and take the credit for it
When you realise you have to make an appointment over the phone, and no one else is going to do it for you because you’re (supposedly) a grown-ass adult
When someone claims something is true with an arrogant air of authority, but you know better and you’re about to prove it
And, of course, when someone claims to love Eurovision but can only come up with Waterloo or Euphoria when you ask what their all-time favourite entry is
Which Koit face is your favourite? Can you believe I just asked such a ridiculous question? Do you think Estonia might have made it through to the final if he’d stayed a little more serious? If you’re as fascinated by this topic as I am and you’ve got something to say about it, say it in the comments (or on social media accompanied by #koitface…that hashtag could totally catch on if it didn’t back in May).
Until next time, when I’ll probably post something that restores your faith in me as a mature Eurovision professional…
Happy Halloween, Eurofreaks!
If you’re an ESC fan who doesn’t mind a good scare, then this is your lucky day…if you scare super easily, because all I’ve done is prepare a playlist of contest entries that evoke the most frightening time of the year. In comparison to the most blood-curdling, heart-pounding experience I’ve had today (waiting in the online queue for Melodifestivalen tickets, which I scored two of with surprising ease *screams like a banshee*) the following is pretty tame. Still, whether you’re celebrating Halloween with a group of guys and ghouls, or by yourself with a scary movie on your screen, here’s some Eurovision music to set the mood switch of your evening to ‘Suitably Macabre’. Enjoy, or a zombie will eat your brains.
A Monster Like Me, Mørland & Debrah Scarlett (Norway 2015)
Brujería, Son de Sol (Spain 2005)
Taken By A Stranger, Lena (Germany 2011) You can’t tell me you’ve never had a nightmare that either faintly resembled this performance, or was a carbon copy of it. Happy-clappy ESC of yore it is not.
When Spirits Are Calling My Name, Roger Pontare (Sweden 2000)
L’Enfer Et Moi, Amandine Bourgeois (France 2013)
Minn Hinsti Dans, Paul Oscar (Iceland 1997)
Hour of the Wolf, Elnur Huseynov (Azerbaijan 2015)
Hard Rock Hallelujah, Lordi (Finland 2006) Use the words ‘scary’ and ‘Eurovision’ in the same sentence, and even an anti-fan will think of Lordi…though I personally think the scariest thing about the band must be the smell when they remove all of that latex after a show.
Nocturne, Secret Garden (Norway 1995)
Takes 2 To Tango, Jari Sillanpää (Finland 2004)
Nomads In The Night, Jeronimas Milius (Lithuania 2008)
Work Your Magic, Koldun (Belarus 2007)
Birds, Anouk (The Netherlands 2013)
Day After Day, Elnur & Samir (Azerbaijan 2008) Angels, devils, the spillage of an ambiguous red liquid…Azerbaijan went all out for Halloween in ’08. I’m assuming that was the event they thought they’d been invited to, anyway.
One Last Breath, Maria Elena Kyriakou (Greece 2015)
Running Scared, Ell & Nikki (Azerbaijan 2011)
Better The Devil You Know, Sonia (United Kingdom 1993)
Suus, Rona Nishliu (Albania 2012)
Black Smoke, Ann Sophie (Germany 2015)
Ghost, Jamie-Lee Kriewitz (Germany 2016) Singing about a spooky staple and looking like a long-lost member of Dolly Style – while surrounded by a fake but somewhat eerie forest – Jamie-Lee practically personified Halloween in Stockholm. She could easily have attended a costume party this weekend as herself.
Deli, Mor ve Ötesi (Turkey 2008)
Hope Never Dies, Marta Jandová & Václav Noid Bárta (Czech Republic 2015)
I Feed You My Love, Margaret Berger (Norway 2013)
Wild Soul, Cristina Scarlat (Moldova 2014)
Vampires Are Alive, DJ Bobo (Switzerland 2007) Did you think I’d forgotten this? As if! It’s integral to celebrating Boo-rovision. If you can only force your party guests to listen to one creepy contest classic before they run screaming into the night, make it this masterpiece.
Well, that’s about all I’ve got in my brain box until next Halloween, with regards to the scary side of our favourite song contest. Also, my Jamie-Lee costume for 2017 is going to take an entire year to put together, so I’ve got to stop doing this and get on to gluing that.
I’m hoping (though not expecting) that this playlist was terrifically terrifying, so let me know below if you peed your pants with fear at all while you were checking it out. Just a simple yes or no will do – I don’t need any more info than that.
Plus, to reduce the chance of me haunting you dressed in a bed sheet with eye holes cut out of it, comment me your answer to this question: if you were off to a Boo-rovision Halloween party, which ESC act would you dress up as?
Until next time *coffin creaking closed just because*…
From one krazy Kyiv kontest to another? 10 things that happened at Eurovision 2005 that should (or really shouldn’t) happen at Eurovision 2017
* Despite what the excessive use of the letter ‘K’ in the title above might suggest, this post has not been sponsored by the Kardashians. Although, if any of them happen to be reading, a little financial help wouldn’t go astray, Kim/Kourtney/Khloé/Kendall/Kylie/somebody stop me because I’ve klearly gone krazy ~kough~.
Aaaaaaand I’m back from an unintentionally long blogging vacation. Say yay yay yay!
Yes, I’m still making that joke. No, you don’t have to like it. Blame Barei for its existence and everybody’s continued use of the damn thing.
To quickly explain my absence, before I move on to the topic of today’s comeback Euro-ramble (in case anyone out there missed me): you know how sometimes you just lose your mojo and don’t really feel like doing anything unless it’s something that you’re not supposed to be doing? And other times you’re so overwhelmed by the general hectic-ness of life, you barely have the energy to keep your eyes open when you fall through your front door let alone create something coherent that other people could/would want to read? Feel free to alter that writer-specific problem to make it identifiable for you, so you can actually say ‘YES!’ to that ‘you know how…’.
Well, I’ve been dragged down by an unfortunate combo of both of those things during the past month or so. It’s like being stuck in a rut that you’re too lethargic to claw your way out of, and it sucks harder than the City of Stockholm’s realisation that a certain Romanian flagpole had to come down.
But, THANK THE LORDI, those feelings of uselessness and non-productivity have (almost completely) passed – so I guess neither are the feelings Justin Timberlake can’t stop. As such, I’m not going to bore you about them any longer. Just remember: if you’re ever feeling crappy in the same or in a different way, Eurovision will always be there for you, and have your back once you rise like a phoenix out of the ashes seeking rather than vengeance, retribution. To quote a certain and very wise Miss Wurst (a.k.a. her songwriters).
Now, in the interest of making up for lost time + acknowledging a host city announcement that totally passed me by, I’m going to get cracking on the content I had planned before The Dark Days of Non-Blogging commenced. And I’m starting with a nostalgic nod back to the last adult ESC to take place in Kyiv, the capital of Ukraine and the “recently” revealed location of Eurovision 2017. Yes, for the fourth time in a row, everybody’s favourite song contest that doesn’t start with an ‘M’ and end with ‘elodifestivalen’ is off to a European capital!
Specifically, the ESC will be hitting up Kyiv on the 9th, 11th and 13th of May next year, as we’re all aware. By then, it will have been twelve years since the contest was last hosted by the city (Junior Eurovision popped up there in 2009 and 2013, but we’re sticking with the senior show as our subject matter right now). As a result, we can expect to see a contest that, by comparison to the 2005 edition, has evolved in a big way. I look forward to assembling sets of screenshots that amusingly illustrate this (which you’ll be able to see here or on Instagram. Follow me @eurovisionbyjaz for guaranteed LOLs).
It’ll certainly be interesting comparing Kyiv 2005 to Kyiv 2017, just as it would be comparing Stockholm 2000 to Stockholm 2016 (come to think of it, why haven’t I done that yet?). After all, Eurovision ain’t the same creature now that it was five years ago, let alone over a decade ago. Still, for every little thing I’ll be happy to see has changed between Ukrainian hostings, there’s something else that will or should make a comeback. For example…
As many countries as possible bringing something traditional to the buffet table – or at least something that fuses an ethnic sound with cutting-edge pop or urban sounds. Many of us have fond memories of the likes of Hungary’s Forogj Világ (I still aspire to nailing that choreography while wearing a super glam one-legged outfit), Serbia & Montenegro’s Zauvijek Moja and Albania’s Tomorrow I Go contributing to the cultural diversity of the 2005 line-up. And that was in the wake of two traditionally-tinged winners in a row. If we had a random repeat of that in a time when the majority of entries don’t even whisper (let alone scream) ‘I was born and bred in *Insert Country of Your Choice Here*’, I wouldn’t mind at all. It’s more likely, though, that there’ll be a flood of songs attempting to emulate the reigning champion instead (I can foresee Ireland entering an avant-garde song called 1996 which tearfully recounts the last time they managed to come out on top).
Helena Paparizou. Speaking of traditionally-tinged winners…I don’t care whether she represents Greece, Sweden (though I do have Oscar Zia at the top of my wish-list for this year’s hosts) or San Marino (My Numero Uno has a nice ring to it) – she’s still got it, and Eurovision needs it! We know Helena is open to giving the show a third shot, and as Kyiv blessed her with such good fortune back in the day, it could be fate for her to make it back to the ESC stage, in the same city. Emphasis on ‘could’. Remember, I’m so far from psychic I only predicted 6/10 qualifiers of Stockholm’s first semi despite being on location and witnessing every single rehearsal *immediately regrets bringing that up again*.
Moldova recruiting a grandmamma to beat on her own personal drumma – i.e. Moldova making the same kind of splash they made with their debut entry Boonika Bate Doba. That might involve bringing Zdob și Zdub back once more or finding a fresh face to fly their flag. Either way, Moldova needs to rethink their Eurovision approach if they want to get out of the semis and shoot up the Saturday scoreboard next year, and taking some cues from when they’d just started out could work wonders in that department. If nothing else, they should remember that ZșZ didn’t debut by literally tearing their (fake) hair out, or accidentally leaving their delegation lanyards on during the broadcast.
Andorra and Monaco. Okay, so we’ve already had word that neither of these ’05 competitors will be showing up in Kyiv, and that’s not surprising. But let’s branch out by saying that ANYONE who joined the party back then but has since elected to stay home watching Netflix in their pajamas – i.e. Turkey – should put some fancy clothes on and come the heck back to the contest.
Finally, a fashion-oriented hope from someone who can’t help devoting a large chunk of time to critiquing costume choices: can we please see evidence of evening gown game that matches 2005 in terms of sheer (not literally…or maybe literally) lustworthiness? I’m guessing I wasn’t the only one who salivated over Shiri Maimon’s ‘grandma’s sofa meets glamorous soiree’ getup back in the day. Malta’s Chiara, Monaco’s Lise Darly and The Netherlands’ Glennis Grace also deserved A-grades in the evening-style stakes (by 2005 standards). 2016, by contrast, was more about flesh-flashing, jumpsuits and whatever it was that Nina Krajlić was wearing (does ANYONE have an explanation for that?). Okay, so there were a handful of red carpet-worthy dresses to swoon over in Stockholm – Dami Im’s and Ira Losco’s being my personal favourites. But there can always be more, in my opinion., as long as a greater number of evening gowns doesn’t equate to a greater number of lame lady ballads.
And now *turns table draped in crystal-encrusted fabric*…
The reigning champion taking to the stage with an industrial-sized blowtorch and singeing the eyebrows off a few dozen audience members in the process. As comical as it would be to see Jamala work that into a reprise of 1944, I love her winning entry because it isn’t a laughing matter. An oversized flaming gun would detract from the sentiment and seriousness of the song just a teensy bit, don’t you think?
Bulgaria sending a track that could be the theme of a soft porn movie centred on the ESC (something that should NEVER exist…though if it did, you can guarantee that Serhat would play a starring role). Especially one that oh-so-inventively rhymes ‘Lorraine’ with ‘rain’, ‘pain’ and ‘again’. After their criminally good – best ever, in fact – result with Poli this year, I think they’ve got the power to pull a Belgium and bring us two excellent entries on the trot. They 110% have the power to not be accused of plagiarism, á la 2005.
Portugal (because at this point, they’ve said they’ll be in Kyiv) suffering from an extreme case of ‘FOR THE LOVE OF MR. GOD, WOULD SOMEBODY PLEASE FIX THOSE DAMN MICS!’. A performance free of technical hitches was not to be for 2B in 2005, but with all the extravagant futuristic stuff we saw on stage in Stockholm, supplying the artists with fully functioning microphones shouldn’t be an issue in this day and age. Should it? Perhaps I’ve jinxed Portugal just by musing about this.
Serbia & Montenegro, obviously. Replace the ampersand with an actual ‘and’, and that gives us two countries who’ll most likely set foot on Ukrainian soil next May. But we’re definitely not going to see them hooking back up and giving Bosnia & Herzegovina a run for their money in the excessive-syllable stakes. Is that a shame? Were they better together? Not necessarily. And hey, the likelihood of an extra Balkan ballad in the ESC field has increased since 2006. Montenegro has been the weakest link since the split, with a few semi qualifications being the closest they’ve come to matching Serbia’s win and their various other successes. But when Montenegro is on point, they are a force to be reckoned with (Moj Svijet and Adio are masterpieces, no question). So while we won’t see them skipping around the 2017 stage hand-in-hand with Serbia, there’s the potential of both countries sending epic songs to the competition. Of course, whoever takes Željko Joksimović captive and demands he compose for them will have the upper hand.
Sweden sending a song that includes the lyrics ‘Fred the limo driver’s asking polite: “Leaving Las Vegas tonight?”’. It’s not that I don’t care about Fred the limo driver’s thoughts and feelings (and despite Las Vegas being one of Sweden’s less successful entries of the 2000s, I still get a kick out of it) – it’s just that he won’t crack a mention in 2017. Sweden has moved past that kind of lyrical content. Basically, Christer Björkman will be on the hunt for another Eurovision winner after two whole years between trophy acquisitions (oh, the pain!), and name-dropping hired help does not a winning song make.
So those are the things, off the top of my head, that I’m hoping/I know we will and won’t witness when Eurovision descends on Kyiv next May. More will come to me between now and then, I’m guessing. I apologise in advance.
What’s off the top, in the middle or at the bottom of your brain when it comes to your hopes for the 2017 contest? How would you like the upcoming Ukrainian show to differ from the last, and what are you praying happens again? If your answer to the latter is ‘Ruslana’s blowtorch routine!’, then I suppose I can get on board with that, even if Jamala DOES incorporate it into a new and “improved” presentation of 1944. I mean, she is an utter queen who can do no wrong, so I’m sure she’d pull it off.
Until next time (which will be in the not-too-distant future, I promise)…
Unless you’ve been living in an underground bunker for quite a while (which is fine if that’s what you’re into; not so fine if you’re being held captive down there), you’ll know that the 2016 Summer Olympics kicked off the weekend before last, in Rio de Janeiro. I’m not ashamed to admit that I la la love the Olympics, and have done for as long as I can remember – and I think part of that has to do with the parallels one can draw between the Games and Eurovision, if one can be bothered.
I won’t ramble on about all the similarities right now, but you can imagine the kind of stuff I’m referring to: different countries competing against each other in a way that’s friendly enough, but definitely involves tension and prayers that someone else will be the loser…more flags than you can poke a flagpole at…et cetera. On top of that, there are plenty of Eurovision entries, past and present, that remind me of the Olympics á la Chariots of Fire. Songs that pump me up and inspire me to do the impossible by getting myself moving when I feel like doing the opposite.
Because I’m awesome, and because I never let the Olympics slip by without celebrating them here on EBJ*, I’ve gathered together the very songs I’m talking about in one place for your listening pleasure. From dance bangers through to slightly cheesy ballads, here are the tracks of recent contest history that are as perfect for backing ‘moment of triumph’ montages this Olympiad as they were for the Eurovision stage.
Oh, BTW – I may have thrown some NF songs from the 2016 season into this mix too. As Rihanna would say, they just workworkworkworkwork.
* I bet you thought I was going to, since we’re over halfway through this Olympics. There’s a slight chance this post was supposed to go live before the opening ceremony, but didn’t because reasons. You know what I’m like.
Say Yay! by Barei (Spain 2016)
If you wouldn’t say yay when you’ve just won an Olympic medal, then when would you? In between shoe-shuffling and faux-falling, Barei references the stuff that this sporting spectacle is made of – climbing over hills, following your dreams, and doing lots of running. Basically, this is the anthem for hurdlers everywhere.
Sound of Our Hearts by Compact Disco (Hungary 2012)
Invincible by Carola (Sweden 2006)
To The Sky by Tijana (FYR Macedonia 2014)
Be My Guest by Gaitana (Ukraine 2012)
What Eurovision does on a musical level, the Olympics do on a sporting level: bring people from all over the planet together, making us all (in theory) discard our differences while cattily criticising what the participants are wearing. It’s a beautiful thing, and Ukraine’s four-year-old ESC entry encapsulates that very well.
Molitva by Maria Serifović (Serbia 2007)
Rise Up by Freaky Fortune & RiskyKidd (Greece 2014)
Gravity by Zlata Ognevich (Ukraine 2013)
Victorious by Xuso Jones (Spain NF 2016)
I’ll be honest: this was the song that convinced me to include a few national finalists in this playlist, rather than Eurovision entries exclusively. Up-tempo and centred around triumphing over adversity, it totally deserves to be an honorary Olympic anthem.
Butterflies by 3+2 (Belarus 2010)
Amazing by Tanja (Estonia 2014)
Pioneer by Freddie (Hungary 2016)
Na Inat by Poli Genova (Bulgaria 2011)
Believe by Dima Bilan (Russia 2008)
As sugary as it is, a ballad about believing that you can do heaps of difficult shit without giving up (or something similarly poignant) is Olympic gold. If that’s not reason enough for you to pop Dima in your own playlist, remember that Russia’s winning performance in Belgrade featured the multiple medal-nabbing figure skater Evgeni Plushenko. Surely that’s a sign?
Miracle by Paula Seling & Ovi (Romania 2014)
A Million Voices by Polina Gagarina (Russia 2015)
Deli by Mor ve Ötesi (Turkey 2008)
Keine Grenzen by Ich Troje (Poland 2003)
I’ve Been Waiting For This Night by Donny Montell (Lithuania 2016)
Any momentous event, musical or sporting (or getting out of bed on a particularly cold winter’s morning), tends to be the culmination of a heap of hard work for the people involved. I think Donny Montell totally understands that, even if he was referring to hooking up with someone he’s had the hots for since forever *pretends he’s not married for three minutes*. For a thousand years, through a million tears, etc…just like the path leading to a synchronised swimming podium placement. Obviously.
Jas Ja Imam Silata by Gjoko Taneski (FYR Macedonia 2010)
Playing With Fire by Paula Seling & Ovi (Romania 2010)
Warrior by Amber (Malta 2015)
Falling Stars by Lidia Isac (Moldova 2016)
It may not have had the steam to make it out of its semi final, but Falling Stars has the energy and up-tempo goods to get anyone remotely Olympically-inclined pumped up for competition. That’s as long as you can ignore Lidia’s half-hearted “money note”, which is worth about two Euros, and was partially responsible for her downfall.
Verjamem by Eva Boto (Slovenia 2012)
Higher by NuAngels (Ukraine NF 2016)
You’re Not Alone by Joe & Jake (United Kingdom 2016)
Euphoria by Loreen (Sweden 2012)
Come on…do I really need to explain this one? I know I feel like I could successfully complete a decathlon whenever I listen to Loreen’s winning entry (although I’m more likely to be found eating a donut, tbh).
Help You Fly by IVAN (Belarus 2016)
Cvet z Juga by Alenka Gotar (Slovenia 2007)
Dziesma Par Laimi by Fomins & Kleins (Latvia 2004)
Glorious by Cascada (Germany 2013)
Cool Me Down by Margaret (Poland NF 2016)
It’s going to be a while before hardcore, NF-following ESC fans stop mentioning Margaret, even though Poland proved anti-Michał peeps wrong by smashing Eurovision 2016 without her. So why not bring her up in this conversation? After all, I can confirm that many of the athletes competing in Brazil are hotter than fire, and that nothing could cool them down.
Unbreakable by Sinplus (Switzerland 2012)
Walk On Water by Ira Losco (Malta 2016)
We Are The Heroes by Litesound (Belarus 2012)
Dime by Beth (Spain 2003)
Based on how psyched the Spanish team were during the opening ceremony’s parade of nations, I don’t think they need one of their fellow countrywomen to pump them up. But the rest of the world could use a little Latin flavour courtesy of Beth – it’s perfect for getting us in the mood given that the Rio games are the first to be held in South America. Olé!
Time To Shine by Melanie Réne (Switzerland 2015)
Sunlight by Nicky Byrne (Ireland 2016)
I Can by Blue (2011)
Heroes by Måns Zelmerlöw (Sweden 2015)
I bet you thought I’d left the most obvious song of all out of the running (pun intended). As if! Last year’s winner is so suited to becoming an Olympic anthem, I’d bet my not-completely-pathetic bank balance on Sweden having used it to back their coverage at least ten times already. MZW performed Heroes at the Australian Open earlier this year, so we already know it works in a sporting context. Put on some Lycra and blast it as loud as possible, and I can guarantee you’ll be feeling like an Olympian (if not an idiot) in no time.
And voila! That’s my personal soundtrack of the 2016 Olympics, Eurovision-style (my favourite style). Because I’m down with the kids, y’all, I could have put together a convenient Spotify playlist to insert here at the end of this post…but due to a technical error, you’re getting a good old-fashioned YouTube playlist instead. That’s better than nothing, right?
What do you think of this collection of tracks? Would you be happy to sprint for the finish line (possibly in slow-mo) to these tunes, or do you have a playlist of your own that makes you feel like an elite athlete…or just less like a couch potato? Let me know below.
Now, if you’ll excuse me, I’ve got to get back to feasting my eyes on anything and everything Rio has to offer. If it involves countries competing against each other while flags obscure the majority of camera shots, then I’m on board!
I hope you enjoy the rest of the Olympics. Remember, they’re just like Eurovision, only sweatier. Or, in Sergey Lazarev’s case, just like Eurovision.
For most people, today is Tuesday. For some people, it may still be Monday. For other people – the really slack ones who didn’t get the memo that I’d posted this and just happened to stumble across it belatedly (subscribe or stop by my social media to avoid such disasters by receiving new post alerts *SHAMELESS PLUG*) – it could be any old day of the week. But for me, it’s June 28, and that’s kind of a big deal.
Why? Because seven years ago today (!) I decided to inflict my obsession with/ability to talk constantly about Eurovision upon the world, via a blog that would become known as Eurovision By Jaz…since that’s what I decided to call it that day, duh. Back then in 2009, I couldn’t have foreseen that I’d still be running the blog in my own haphazard manner after so much time had passed – let alone off the back of an ACTUAL TRIP to the contest after ten years of frenzied fangirling (I still have to pinch myself on the hour every hour to remind myself that I was in Stockholm). The reason I’m still around is simple, though: I do it for the love. I mean, if I did for popularity and adoration I would’ve lost the will years ago.
Here and now, in case you were wondering, I’m certain that as long as I enjoy chatting all things ESC with you guys, and as long as at least one person out there seems to be a fan of my material (besides me), I’ll be here doing what I do. I.e. criticising contestants’ costume choices and objectifying whoever happens to be the hottest guy of the latest contest line-up (in 2016, I’ve moved on from Måns to Freddie, FYI). If you’re willing to come along for the ride, I can guarantee a safe, yet entertaining and occasionally controversial journey through the years to come.
Before I let loose and blow my own kazoo (not a euphemism), I want to thank anyone who’s reading this intro. If you are, it means you’ve taken the time to drop by EBJ, probably out of habit or to see if it’s your cup of kaffe. You might have been with me from the beginning, be a recent reader, or be someone who’s sick of me already and plans to stick with Wiwi Bloggs exclusively from now on – I don’t mind whichever way. I’m just grateful for your visit and confident that you must be a pretty cool person since you’re attracted to rather than repulsed by the word ‘Eurovision’.
Now, to kick off my 7th birthday (blogday?) celebrations, here’s a substandard graphic I prepared earlier!
I’ve decided to celebrate this milestone with a countdown that’s not your usual countdown. It’s not a Top 10, for starters – it’s actually a Top 7, and (brace yourselves for a theme to emerge here) it will feature my personal top 7 songs that have placed seventh in the ESC since EBJ began. In other words, I’m about to rank, from my least loved to my most loved, the seventh placers of 2010-2016. Given that I started blogging just after Eurovision 2009, Sakis Rouvas Vol. 2 will not be included in this list. But, as I know he’d be devastated to be un-invited so unceremoniously from this partay (and be likely to release a song entitledThis Is (Not) Our Night), I’m going to use him to rate each of the seven entries using a system I like to call ‘The Sakis Head Scale’.
You can see why.
If you’re keen to rate any of the following tracks – or ANY seventh-placed song from Eurovision history, for that matter – using the Sakis Head Scale/conventional 0-12 points (ugh, how normal), head to the comments section below. Alternatively, tweet me @EurovisionByJaz using the hashtag #shareyour7, and tell me which sixth runner-up is your favourite…or least favourite.
Without further ado (you know how I love ado, but I’ll restrain myself on this occasion), let’s kick off the countdown!
#7 | ‘May the winter stay away from my harvest night and day…’
Apricot Stone by Eva Rivas (Armenia 2010)
I fully expect to be pelted with apricot stones and verbal abuse over this one. I wasn’t surprised by Armenia’s lower-end-of-the-top-ten finish in Oslo, but that doesn’t mean I ‘got’ Apricot Stone. It’s not a bad song, per se – but push my buttons, it does not. It reminded me a bit of the Dutch entry two years previously, and that (Hind’s Your Heart Belongs To Me, for anyone having a brain-blank) was dated in 2008. Based on that, I never found the Armenian version very fresh – especially its chorus. And I hate to say this, because I’m totally pro-Rapunzel letting down her hair…but Eva’s super lengthy locks kind of freaked me out.
#6 | ‘Watch my dance, head up high, hands like wings and I’ll fly…’
Watch My Dance by Loukas Giorkas feat. Stereo Mike (Greece 2011)
Ah, Greece and their love of fusing rap with…not rap. There has to be some irony in the fact that they blended rap and ethnic sounds better in 2016 than in 2011, yet lost their 100% qualification record this year and finished seventh five years ago. If I remember correctly, a lot of us fans were convinced that Loukas and Stereo Mike (now known as Spotify Mike, most likely) would be Greece’s downfall, and that included me at the time. Nowadays, I like this song more than I did then, but it’s still too intense and too melodramatic for me to play that often – not to mention jarring enough to resemble an edit of a movie put together by a monkey. All in all, I prefer it when Greece takes a lighter approach to their rap fusion entries, á la Rise Up (#ROBBED). Though I’m not unwilling to watch Loukas’ dance, if he’s still after an audience and will be shirtless.
#5 | ‘My life is on a string when I see you smile, our love will last a thousand miles…’
Shine by the Tolmachevy Sisters (Russia 2014)
Here’s a song that I hated when I first heard it, only to find myself humming along shortly thereafter. I guess there’s no shortage of wonders an oversized see-saw can work, particularly when combined with twins who temporarily become conjoined via their ponytails. To be honest, I still don’t think Shine is a great song – it certainly has nothing on the duo’s Junior Eurovision winner Vesinniy Jazz – but there’s something nice about the melody and the way the girls harmonise (as only identical twins can) that had it growing on me even before the giant papier mâché sun was unfolded by a Portuguese national finalist (naturally). In fact, I have it stuck in my head right now.
#4 | ‘I didn’t want to wake you up, my love was never gonna be enough…’
Goodbye To Yesterday by Elina Born & Stig Rästa (Estonia 2015)
The song that won Eesti Laul by a landslide last year couldn’t do the same at Eurovision, but 7th? Totally respectable, especially given the unfortunate and unjust outcome of Estonia’s entry in Stockholm. Goodbye To Yesterday is one of many fine feathers in Stig Rästa’s compositional cap, and while it wasn’t up there with my personal douze-pointers in 2015, I can’t deny that it has something special. The dynamic between the two characters in the song’s story makes for a perfect duet, and the song itself is one that feels both retro and fresh. And who could resist a lyric like ‘As I got outside, I smiled to the dog’? Not me, that’s for sure. Or the dog, I’m guessing.
#3 | ‘You shook my life like an earthquake, now I’m waking up…’
LoveWave by Iveta Mukuchyan (Armenia 2016)
And here we have the latest track to reach the seventh rung of Eurovision’s top 10 ladder – one that makes me hopeful for a future in which cutting-edge, experimental music outnumbers stale cookie-cutter-type stuff in the contest. When a song doesn’t grab me straight away, but intrigues (rather than horrifies) me, I’m happy, because I know I’m going to love it eventually. LoveWave is initially disarming with its spoken-word start, but it makes you wonder where it’s headed and what kind of ground it’s about to break (so to speak). Ultimately, it’s a powerful punch-packer of a track, fronted by the femme fatale figure of Iveta who sells it vocally and visually. You can’t tell me this doesn’t kick Apricot Stone’s ass.
#2 | ‘I am a lonely sailor drinking the night away, my ship is made from hope, she’s searching for your bay…’
Love Me Back by Can Bonomo (Turkey 2012)
The last time we saw Turkey compete in the ESC, they gave me everything I want in my ethno-pop. That includes a) a generous dollop of traditional sounds that set the song apart from its rivals; b) three minutes of fun and frivolity without any ‘this is a novelty act and it can’t be taken seriously’ vibes; and c) back-up dancers who can transform their costumes into a sailboat at a second’s notice. Basically, it’s the whole package. Catchy, unique and easy to sing along to (or yell drunkenly over in the midst of an enthusiastic round of the Eurovision Drinking Game), Love Me Back is also a masterclass in how to make a cultural mark on the contest without alienating anyone…besides people prone to seasickness.
#1 | ‘While the world breaks into pieces, I compose new places and desires which also belong to you…’
L’Essenziale by Marco Mengoni (Italy 2013)
If you hadn’t guessed already, given that only one 2010-2016 7th-placer is yet to be mentioned, Italy takes out the top spot with one of my favourite Eurovision songs of ALL TIME (if your name is Kanye West, don’t bother trying to dispute that). An entry that truly puts the ‘song’ into Eurovision Song Contest, L’Essenziale is lyrically and melodically magic, and comes equipped with a message that doesn’t make your skin crawl thanks to its cheesiness (yes, Russia, it CAN be done without resorting to love love, peace peace). I would marry this song if that were at all possible, I’m so crazy about it. Although, if Marco is available, I’d rather marry him instead. Then he could serenade me with the song whenever I wanted. That’s not too much to ask, is it?
Well, I’ve shared my seven – a song for every year I’ve been blogging here at EBJ. Holy Hard Rock Hallelujah! Remember, if you want to do the same, I’d consider it a birthday gift and therefore wouldn’t be offended by the lack of fruit baskets being delivered to my door. You should also feel free to tell me what you thought of my ranking. How would you rearrange it? Was seventh place too good or not good enough for these tracks? Exactly how offended are you right now?
While you’re letting me know, I’ll be off raising a glass to myself…and, of course, planning seven more years’ worth of Eurovisual entertainment for anyone who currently reads or will someday stumble upon this site. I hope you enjoy what’s to come as much as I’m going to enjoy creating it for you (if the Sakis heads are any indication, I’ll have an epic time).