THE 2018 EBJ EUROVISION EXCELLENCE AWARDS | The Performances
Hello there. Remember me? After the longest ad break in history (and after breaking my vow to finish these awards by the time the Eurovision 2018 DVD was released, OOPS), I’m finally back with the second EBJEE presentation segment.
This time, the trophies re: all things performance-wise will be presented, including three more People’s Choice Awards. That means everything from drama levels to dance moves, money notes and costume choices is about to be honoured by yours truly (and by you truly…I had no part in deciding the People’s Choice winners, obviously). So without any more ado than I’ve already adone, let’s get this party started!
Winner Denmark Honourable Mention/s Belarus, Ukraine
Okay, so you’re not going to find Rasmussen and his bearded stagefellows on Coronation Street or the Bold and the Beautiful (for starters, their acting skills are too superior). But they went beyond the small screen and straight onto the silver screen with the cinematic level of drama they served up in Lisbon. Intense smouldering stares, manly stomping and a fake snowstorm that whipped all that hair back and forth majestically…what more could you want? If a Scandinavian hipster version of Pirates of the Caribbean was ever produced, this is what it would look like.
Winner Germany Honourable Mention/s Italy
I asked you guys to vote for the most totes emosh (DID I JUST TYPE THAT?!?) three minutes of Eurovision 2018, and you delivered by crowning Michael Schulte’s tribute to his late father the winner of this tearjerking People’s Choice trophy. I’m not about to argue, even though I didn’t “feel it” with You Let Me Walk Alone until the ESC performance rolled around, feat. backdrop photos and lyrics that made the message extra clear. But hey, all the feels were present and accounted for when it mattered most.
Winner Estonia Honourable Mention/s Armenia
This gong goes to a performance that had the hairs standing up on the back of my neck, goosebumps popping up on my arms and of course, tingles shooting up and down my spine. I don’t know about the rest of you, but Elina Nechayeva’s haunting delivery of La Forza came straight to my doorstep in Chillsville and affected me from top to toe. At one point I actually thought I was having an aneurysm and considered calling an ambulance, but then I realised it was just the glass-shattering notes messing with my middle ear.
Winner Honourable Ukraine Mention/s Ireland, Norway
Who knew a piano could be so multifunctional until Mélovin gave us that stellar live demonstration? It’s handy for anyone musical who can only afford to live in a tiny studio apartment to know that there’s an instrument that can double as a bed. What a space-saver! Mélovin, of course, was using it more as a coffin (or according to the artist himself, as a uterus from which he was birthed in a matter of seconds…seriously). But each to their own.
Winner Moldova’s human storage cabinet Honourable Mention/s Estonia, Sweden, Ukraine
Here’s another People’s Choice Award I’d struggle to argue with. Moldova (or ‘Russia 2.0’, as they were known this year) clearly have no qualms about sourcing stage props at Ikea: first it was the mirrors from the Moldovan NF, then the super-sized cabinet they lugged to Lisbon. But there’s nothing wrong with that. It often happens that the simplest things are the most effective, and DoReDoS proved that spectacularly.
When one door closes, another one opens…frantically, in Moldova’s case.
Winner Moldova Honourable Mention/s Cyprus, Denmark
Speaking of Moldova…it wasn’t just the furniture they used that made My Lucky Day so successful. The DoReDoS doppelgangers played a big part in that too. What would this performance have been without them? An extra enthusiastic high five goes to the guy who had to swap his shoes for heels at one point (I’m not ashamed to admit I have still have leg envy).
Winner Sweden Honourable Mention/s Cyprus, Moldova
I gave this award to Sweden last year, and I’m doing it again for a similar reason. Both Robin Bengtsson (and his backing dancers) and Benjamin Ingrosso didn’t just bust a move on or around a stage prop, but with a stage prop – and both performances were flawless. In Benjamin’s case, he was working in harmony with lighting, and transported us to an ultra-cool nightclub where sneakers are in the dress code and slick dance moves are mandatory.
Winner Norway Honourable Mention/s Italy
The cartoon instruments, question marks and soccer balls etc scribbled on screen by Norway added an element of cute to Alexander Rybak’s performance that made it seem all the more appropriate for Junior Eurovision – but I wouldn’t have ditched them from his adult Eurovision stage show. Without that little extra something, That’s How You Write A Song live wouldn’t have been quite so memorable (marginally…it still would have had Eurovision’s biggest runaway winner ever fronting it, after all).
Winner Israel Honourable Mention/s Belarus, Finland
It’s often said that less is more, but at the ESC more is more just as frequently. We bounced from a bare-bones winner in 2017 to the opposite in 2018 with Netta – not the performer who threw the absolute most at their stage show, but the most successful one to make things flamboyant. Lights, lucky cats, crazy costumes, clucking backup dancers, explosions…just the basics for Israel’s three minutes.
Winner Cyprus Honourable Mention/s Denmark, Ukraine
When it comes to the most perfect package deals of this year’s contest – where vocals and visuals were so on point you could practically cut yourself – nobody was as flawless as Cyprus. Armed with a Swarovski crystal-studded catsuit, a quartet of dancers almost as fierce as herself and a slick Sacha Jean-Baptiste staging concept, Eleni did no wrong. She proved to everyone skeptical of her abilities to perform live (I used to be) that she’s worth the hype.
Winner Germany Honourable Mention/s Italy, United Kingdom
Germany’s was the highest-scoring performance of the Big 5, and you guys clearly agreed that their 4th place was earned with this People’s Choice pick. To be honest, I think all of the automatic qualifiers put their best possible foot forward this year, which didn’t pay off all round. But Germany won’t be worrying about that when they can just sit back and languish in their success.
Winner Eleni Foureira Honourable Mention/s Amaia, Saara Aalto
I’ve already mentioned Eleni’s catsuit in passing, but as ladies’ costumes in Lisbon go it’s worth an award all of its own. Leaving just enough to the imagination, combining crystals with leather and being just as hot as Fuego called for, this outfit couldn’t have been better (cat) suited for Cyprus in 2018. It should be displayed in the Louvre in close proximity to the Mona Lisa. Or at least in the Eurovision section at Stockholm’s ABBA Museum.
Winner Benjamin Ingrosso Honourable Mention/s Cesár Sampson
I have a bias towards anything and everything Scandinavian, including the fashion – so don’t be surprised by this pick. As unsure as I still am re: Benjamin’s shoe choice, he did pull the look off. Plus, the positives of his toned-down-from-Melfest jacket selection and the decision to actually wear said jacket like a normal person this time outweighed any negatives.
Winner Marija Ivanovska (Eye Cue) Honourable Mention/s Vanja Radovanović
There was no competition here, really. I’m struggling to think of another fashion disaster from the entirety of ESC history as momentous as this one from Macedonia. Neither of Marija’s outfits even sound good on paper – a shiny pink tuxedo jacket feat. armpit cutouts worn backwards, followed by a wildly unflattering knitted playsuit? NOPE. As gorgeous as she is, nobody could make those work. A Barbara Dex Award well deserved.
Winner Elina Nechayeva Honourable Mention/s Saara Aalto
There hasn’t been an ESC female vocal as consistently faultless and hauntingly beautiful as Elina’s since Jamala’s, so I had to hand this trophy her way. ‘DAMN, GIRL!’ are the words that come to my mind every time she opens her mouth. What she can do with her vocal cords is beyond belief, and I’m 50% amazed, 50% jealous (she’s two months younger than me, FFS).
Winner Eugent Bushpepa Honourable Mention/s Sevak Khanagyan, Waylon
I don’t know how you solve a problem like Maria (musical theatre reference alert) but I do know how you fill an arena like Eugent: by singing your ASS off. This guy can project his powerful voice for miles without seeming to break a sweat, and I could listen to him do it all day long. Even among the numerous other strong male voices of the year, he stood out.
Winner Amaia y Alfred Honourable Mention/s Equinox, Iriao
I’m sensing this could be a controversial choice (as controversial as I get, anyway). Alfred, I’ll admit, is the weak link in this pair, but I actually like how his raw-edged vocal blends with Amaia’s delicate, high-clarity diamond of a voice. They were never fighting each other for the spotlight (which happened a bit with Equinox), instead balancing each other out.
Winner Elina Nechayeva Honourable Mention/s Örs Siklósi (AWS), Netta
Estonia’s opera diva strikes again! You know someone’s impressive when there’s not one, not two, but a whole bunch of mind-blowing notes peppering their performance. I don’t think I need to justify this one any further.
Winner Moldova Honourable Mention/s Germany
Every national final winner has at least two months between their crowning moment and Eurovision to pimp their performance and polish any questionable vocals. Some don’t change a thing when they really should, some don’t because they don’t need to…and then there’s countries like Moldova, who (with that Russian input) took a perfectly adequate NF stage show and transformed it into something none of us will forget in a hurry. DoReDoS said that body talk is magic, but so was their performance.
That’s all for today, peeps…but what do you think of the winners? Which Portuguese performances deserved these EBJEE trophies in your eyes? Let me know below – then prepare yourselves for the final (very late) lot of my Eurovision awards for the year, feat. The Show and The Results!
THE 2018 EBJ EUROVISION EXCELLENCE AWARDS | The Artists + The Songs
Good evening, ladies and gentlemen! I realise it may not be evening at all when you’re reading this, but for the sake of the glamorous awards ceremony I’m trying to hold, can we pretend it is? Yes? Awesome. Welcome to the first episode of the EBJ Eurovision Excellence Awards for 2018!
Like Jessica Mauboy, I know…I know what you must be thinking. Namely, ‘Um, Eurovision awards season is over, isn’t it? Y U so late, Jaz?’. Well, FYI my too-late marker is when the official contest DVD comes out – so as long as I beat that release date, I reckon it’s all good. And that gives me another few weeks to get my awards over with, so I’m actually early when you think about it.
Maybe don’t think about it.
Anyway, I’m guessing you didn’t drop by for a discussion about my questionable timing. You came for the EBJEE artist and song gongs to be handed out, including a bunch of the People’s Choice Awards that you guys have been voting for all week, right? In that case, I won’t make you wait any longer. Let’s get this show on the road!
Winner Eleni Foureira Honourable Mention/s Elina Nechayeva, Franka
She does say she’s got the fire, and who am I to argue when Eleni is always putting her money where her (amazing) mouth (that I am super jealous of) is? Girl’s got plenty of other appealing attributes – she sings, she dances, she rolls with it when her comments become memes – but it’s her Mediterranean, top-to-toe, hot-as-heckness that’s most noticeable. I need hair, makeup and workout regime advice from Foureira ASAP, so I too can become fuego.
Winner Mikolas Josef Honourable Mention/s Cesár Sampson, Waylon
This might be a controversial call to make, but come on…who doesn’t love a hot nerd? Sure, Mikolas’ dorky persona is purely for onstage purposes, but I dig the guy with the glasses + braces just as much as the male model with 20/20 vision we see offstage. When you think about it, he’s like Superman switching into Clark Kent mode – only Mikolas uses his specs to tap into the geek chic trend (rather than to conceal a superhero alter ego). I have no problem with this.
Winner SuRie Honourable Mention/s Saara Aalto, Jessica Mauboy
Kicking off the People’s Choice Awards this year was the prize for most personable female performer, and I’m not at all disappointed that you guys chose SuRie. Who wouldn’t want to be her best friend? With that being unlikely (I haven’t seen a BFF advertisement anywhere) following her on Twitter is an easy way to bring some light into your life. She is hilarious. If we don’t see her at Eurovision solo again, let’s hope we see her giving Belgium more backup support in the future – she’s clearly their good luck charm!
Winner Cesár Sampson Honourable Mention/s Ari Oláfsson, Mikolas Josef
This one took me by surprise, I must say – Cesár did come across more reserved than Mikolas and less adorable than Ari (but who isn’t?). Still, he didn’t put a foot wrong with the media or fans in Lisbon, took part in some awesome jam sessions with other artists, and made friends with even more. Plus, like SuRie, his social media appeal is just as attractive as his face (I am currently living for his Instagram captions). Bonus: because he won this award I get to say…Hail Cesár!
Winner Jessica Mauboy Honourable Mention/s Alexander Rybak, DoReDos
Maybe you had your doubts about how well Jess carried off her (in particular, grand final) performance of We Got Love. I’d understand. But if you didn’t watch her on stage – in her element and clearly in her happy place – and feel some joy and enthusiasm yourself, then WHAT IS WRONG WITH YOU?!? I have no doubts that Miss Mauboy was meant to be a performer, and I could watch her singing, smiling and dancing so hard she gets whiplash all day long.
Winner Benjamin Ingrosso Honourable Mention/s Ari Oláfsson
He didn’t feel the love from the people in the actual contest (myself excluded…my fingers are still sore from frantically voting for Sweden) but Ingrosso tops the public vote here, and that’s an okay consolation prize. When it comes to 2018’s under-21 club, Benjamin out-scored and out-performed the other members by a mile, handling the pressures of the experience like someone who’s been in the spotlight for more than a decade should. Grattis!
Winner Crazy Honourable Mention/s Lie To Me
This award usually goes to a song that sounds a whole lot like another one, but not so much that it could be pinned down for plagiarism. Crazy wasn’t booted out of the ESC on that basis, but the fact is that the instrumentals of the song ARE the same ones used in a Romanian (arguably inferior) song released just prior to Franka’s. When the double-up was exposed, a chicken-or-egg debate followed – but the EBU decided Franka was good to go and wouldn’t be disqualified (even though she eventually was…from her semi!). All’s well that ends well, I guess.
Winner Czech Republic Honourable Mention/s Ireland, Slovenia
This trophy goes to the country that didn’t exactly make waves in Kyiv…but fast-forward 12 months to Lisbon, and they strutted in with a tsunami of awesome. Slotting into that scenario perfectly was the Czech Republic, who in the years PM (Pre-Mikolas) had only made the final once (in 2016, when they came last). Enter Josef (who Czech TV once wanted to send to Eurovision with My Turn…*shudder*) and the banger that is Lie To Me, and all of a sudden Czechia had Neville Longbottomed…right into 6th place, their best result ever. Let’s hope they can keep it up in Israel.
Winner A Matter of Time Honourable Mention/s Funny Girl, Stones
I have to say – and I do it as a former English major with a penchant for decent song lyrics – there was a ton of great wording to be heard in Lisbon, which ain’t the case with every contest. The lyricists of Sennek’s A Matter of Time (including Sennek herself) may have lacked the originality of my 2017 Best Lyrics winner JOWST, but they made up for it with sophisticated, mysterious and tightly-rhymed lyrics. My favourite line, FYI, has to be ‘Sometimes it seems we’re at the wrong station, looking for a deadly combination’. It’s macabre, and I love it.
Winner Who We Are Honourable Mention/s Our Choice, Toy
For the record, the only nominees here I mentally filed under ‘Worst’ rather than ‘Weirdest’ are Our Choice and Who We Are. I chose Who We Are over the Icelandic cheesefest because…well, need I say more than ‘It’s me Jenny B’? The most awful rap in music history was surrounded by lame lines, but the cringe factor in those thirty seconds alone could not be overshadowed. Props go to Jenifer for rapping such trash convincingly, but she deserves better.
Winner You Let Me Walk Alone Honourable Mention/s Non Mi Avete Fatto Niente
This is a very objective award – obviously, we’re all going to have different entries that we weren’t fans of at first but grew to appreciate later. My big one for 2018 came from Germany via Michael Schulte, who somehow won me over with his flawless, impassioned and well-staged performance in the final…despite me ranking YLMWA 40th of the 43 at one point. I should know by now that first impressions never last. I mean, I don’t even skip San Marino on shuffle now (!!!).
Winner Toy Honourable Mention/s Monsters, Tu Canción
Some fanwanks – songs that the devoted Eurofan community goes crazy like Croatia for, pre-contest – deliver in the end (á la Heroes) while others do not (á la Occidentali’s Karma). This year’s biggest fan favourite Toy, a song that had the potential to bomb even after winning the OGAE poll and topping the betting odds for months, ultimately did add another first to its collection. My way of congratulating Netta is to give her this award, because TBH I was convinced Israel 2018 would be to the scoreboard what Italy was last year – a fave that (slightly) flopped.
Winner Fuego Honourable Mention/s Dance You Off, Lie To Me
We had no shortage of butt-shaker songs this year (so expect 2019 to be bursting with ballads), but the one that had y’all burning the most calories was Cyprus’ Fuego, by the looks of it. This song now has a permanent place on my ESC party playlist, so I’m not about to question the tastes of my readers. I would question the sanity of anyone who can stay seated after Eleni’s first sultry mention of the song title though.
Winner Sweden Honourable Mention/s Czech Republic, Malta
Here’s another public-voted prize for Sweden to make me feel better about their TRAVESTY of a televote at Eurovision. I should clarify – and you’ll know this if you checked out my Best Video nominee playlist – the Dance You Off video nominated for this award was the original, pre-ESC version. But how cool is a) the new version, and b) the fact that we got two MVs from a country that often gives us zero? Watch the winning video below for a hit of slick retroness.
Winner My Lucky Day Honourable Mention/s Higher Ground, La Forza
Some songs come to life when performed live, despite sounding a little flat when coming out of a speaker. Thanks to the genius staging of My Lucky Day, a mediocre song became a mind-blowing musical number that deserved its top 10 place based on the degree of performance difficulty alone. I like this song so much more when I’m watching it than when I’m listening to it.
Winner Lost and Found Honourable Mention/s A Matter of Time, Forever
And then…there are the songs that just didn’t work live, because the staging was a fail, the singer wasn’t up the task, or the song was just better to hear than see. On those first and last counts, no other country belly-flopped harder than Macedonia. And what makes Lost and Found’s live disaster so much worse is that Eye Cue were armed with such awesome material to start with. Yeah, the song is messy, but messy in an interesting, unique way that could have been staged (and styled) to its advantage. Since it wasn’t, I’d much rather blast it in the car and pretend the performance never happened.
That’s all for now, folks – but what do you think of the 2018 EBJEEs so far? Did your favourites take home the People’s Choice Awards? Which artists and songs would score these trophies if you were handing them out? Let me know below – and stay tuned for the second EBJEE episode feat. all things performance-related!
VOTE FOR THE WINNERS! Have your say in the 2018 EBJ Eurovision Excellence Awards
***UPDATE: The People’s Choice polls are now CLOSED. Thanks for voting, and stay tuned for the results!***
Good day to you, sir/madam! We might be slipping into the ESC off-season (when the contest landscape is bare except for an occasional tumbleweed blowing through), but for now ‘tis still the season to be jolly – I mean, we’re not done dissecting Eurovision 2018 yet. Well, I’m not. You can’t have a love affair that passionate end and then move on in a matter of weeks.
This time of year is traditionally reserved for handing out post-show accolades, so naturally my version of Eurovision awards is coming back with a vengeance. Yes, it’s EBJ Eurovision Excellence Awards time again. And as usual, I’m starting the proceedings by letting you decide the winners of a whole bunch of trophies (trophies not designed by Kosta Boda, but designed by me using MS Paint because I’m sadly lacking in PhotoShop). So flex those voting fingers and prepare to pick your favourites in the categories of The Artists, The Songs, The Show and The Results. I’m counting on you to crown some alternative Lisbon champions – after all, it makes less work for sometimes-lazy me.
Vote while you can…the People’s Choice polls are now open!
Miss Congeniality
Last year’s winner Alma
She’s friendly, she’s fun, and she’s the female singer of 2018 you’d choose to hang out with above all others. It’s about personality rather than looks for this award (though all of these ladies are beautiful on the outside AND the inside).
Mr. Congeniality
Last year’s winner Nathan Trent
Now it’s time for you to pick the most personable male artist who charmed both fans and the media in Lisbon. You’d take a road trip with him without hesitation, because you’d be guaranteed a great time and a lot of laughs!
The Young Achiever Award
Last year’s winner Kristian Kostov
Age ain’t nothing but a number, and it definitely doesn’t stop those with a little less life experience taking on Eurovision. Which member of Portugal’s 21-and-under club impressed you the most on and/or off the stage?
Dancefloor Filler of the Year
Last year’s winner Hey Mamma
Whether you were in the Euroclub, at a Eurovision party or home alone in your pajamas, there had to be at least one song this year that you couldn’t resist dancing to – and will be playing again any time you need to add some life to a future party.
Best Music Video
Last year’s winner Belgium
We don’t get preview videos from every single country competing in the contest, but the bunch we do get often bring their A-game. 2018 was no exception, so let’s see which video you think is the best of the best! If you need a refresher, check out all of the nominees here.
The Salvador Sobral Award for Performance With The Most “Feelings”
***NEW AWARD***
Music isn’t fireworks, it’s feelings – at least, that’s what 2017’s Eurovision winner told us. Emotion on the Eurovision stage is easy to find, whether it’s happiness, sadness, anger or something else entirely. Which artist from Lisbon’s line-up had their heart well and truly on their sleeve, and made you feel all the feels too?
Best Prop/Gimmick
Last year’s winner Azerbaijan
The Eurovision stage sees more stand-out props and gimmicks than any other, and they (usually) add something special to a performance. Vote for the little – or large – extra something that made you say ‘Wow!’ this year.
Best Performance from the Big 5
Last year’s winner United Kingdom
There are always musical hits and misses from France, Germany, Italy, Spain and the UK – but this award is for the country that stood out on stage when compared to their fellow automatic finalists (the hosts not included).
The Host With The Most
Last year’s winner Volodymyr ‘Vova’ Ostapchuk
Having not one, not two, not even three…but FOUR female hosts this year was intense. But hey, it gives us a lot of choice when choosing the one that stood out from the others. Go forth and name a name from the 2018 hostess squad!
OMG Moment of the Year
Last year’s winner The Ukrainian butt-flasher crashes Jamala’s performance
There were many jaw-on-the-floor occurrences this year, and not just during the performances – the rehearsals and results provided some WTF moments too. Which one saw you shocked to your very core…or compelled you to take to Twitter in total disbelief?
The ‘How Did THAT Happen?’ Award for Most Shocking Result
Last year’s winner Finland’s DNQ
Speaking of shocking…even the most talented predictor wouldn’t have seen some of the Eurovision 2018 scoreboard placements coming. Some countries defied expectations while others failed when we thought they’d flourish. Choose your biggest personal surprise below!
Aaaaaaaand *drumroll* your duty is done! Thanks for having your say, and stay tuned for the presentation ceremonies of the 2018 EBJ Eurovision Excellence Awards. There are plenty more trophies to be handed out in addition to the People’s Choice gongs, and you won’t want to miss out on knowing who’s taking them home to display proudly on a spotlit pedestal with a velvet rope around it (that’s not too much to ask, is it?).
SATURDAY SHORTLIST | The six biggest staging bloopers of Eurovision 2018
Just as there’s diversity in the musical line-up of every ESC, there’s also diversity in terms of how well each song is performed live. I realise I’m telling you something you already know even if you’re a casual Eurofan (as opposed to a hardcore year-round obsessive, like me and most of the people who put up with my lengthy Eurovision ramblings). But I’m trying to segue into the topic of today’s post, dammit! And that topic is the performances from Lisbon that left a little – or a LOT, in some cases – to be desired.
Bad backdrops, inappropriate props, lacklustre lighting, catastrophic costumes, vomit-inducing vocals…for a handful of countries, things just didn’t come together (STOCKHOLM SLOGAN PUN ALERT). Following on from my way more complementary Top 10 performances of 2018 post, here’s the other end of the spectrum: the biggest mistakes made and/or overall worst performances of the year from where I was sitting (on my couch). I don’t mean any disrespect to the artists mentioned or to their delegations…but sometimes, one’s inner bitch just HAS to come out.
Croatia: (All) lights and (no) shadows
I’m starting off with something small that bothered me about a performance in Portugal. As picky as I know I can be, there are times when a tiny detail drags down staging that would otherwise have seen a country’s contest package all wrapped up with a pretty ribbon on it. Take Croatia, who positioned the beautiful Franka on stage in an equally gorgeous gown (albeit one with a pattern that drew too much attention to her pelvic area) in front of a mic stand, where she proceeded to werk the camera and sass her way through a totally competent rendition of Crazy. So far so good, right? Sure – except Crazy is a moody, sexy boudoir ballad that begged for a moody, sexy lighting scheme (think dark shadows, spotlights and a dash of red), and it did NOT get what it wanted. Without the required combo of Austria, Belgium and Latvia’s lighting, Croatia’s three minutes looked ‘meh’ – almost like Franka was rehearsing and her team still had changes to make. It seems a bit weird that a country can throw everything at their performance one year (and I mean EVERYTHING, Jacques) and then miss the mark twelve months later. Maybe 2019 will be the year Croatia finds a happy medium?
Greece: No drama = no good
Yianna Terzi: another attractive female soloist with excellent dress sense and great hair who delivered on her end of the ESC bargain this year – a.k.a. she put in an applause-worthy, almost studio-perfect performance. It was what happened around and behind her on the Altice Arena stage (by which I mean nothing) that screwed her over. Seriously, I know Greece don’t have a lot of cash to splash on their song contest presentations…but Oneiro Mou is more dramatic than Silvia Night when she didn’t qualify in Athens, and as such deserved less simplistic stage treatment. It was one song that emphasised the lack of in-built LED screens in a bad way, given that I’m guessing Greece couldn’t afford to ship in (nautical pun intended) their own á la Germany and Malta. That’s not to say that the right prop or (again) lighting scheme wouldn’t have helped boost them into the qualification zone. What I’m saying is that as patriotic as they were, Yianna’s white dress and blue hand (presumably intentional, but maybe she was just cold) were not enough. Her song needed drama served up hot, but sadly, I think it was undercooked.
Russia: A mountainous mistake
Raise your hand if you didn’t think I was going to mention this! Obviously I can’t see you guys right now (my mass spying devices are on the blink at the moment) but I don’t think I need to – nobody has their hand in the air. It was awkward, ridiculous, and I must say laughable enough when Russia waved their CGI wand over poor Yulia and turned her into a mountain for the I Won’t Break music video. But did we think they’d come up with something less WTF for the live show? I did, but that may have been wishful thinking. It turns out that disguising a wheelchair (unnecessarily) with a prop mountain live on stage looks even more ridiculous than doing it via a computer generated alp. Also, what does a mountain even symbolise in relation to this song? Probably overcoming obstacles, blah blah blah, but that was not clear (and three minutes doesn’t give viewers a lot of time to analyse potential deeper meaning). It was uncomfortable to watch and literally uncomfortable for Yulia. Add ropey vocals and some random dancers into the mix – who arguably got more screen time than she did – and it’s a) hard to believe that Sergey Lazarev and his impeccable staging = Russia’s last representative; and b) easy to work out why Russia failed to qualify for the first time with this.
Belarus: Gothic horror goes wrong
I’ve said this a billion times before, but I don’t watch Eurovision rehearsals. If I’m getting up at 3am for something, I want it to be a surprise! But I do listen to and read every little rehearsal description from the press centre and on my Twitter feed – total abstinence is impossible. My point is, when I heard what Belarus had in store for the ESC staging of Forever, I was super psyched. On paper, the rose handover, brief game of archery and Alekseev’s gruesome prosthetics sounded OTT, but also OMG YES. If you can’t do stuff like that at Eurovision, where can you? It’s too bad then that in the end, the whole concept came off as a bit of a joke. For starters, Alekseev was shaking so much he could barely pass the rose to the camera guy (and the whole jerky rose rotation was pure cringe). The on-screen petal explosion was timely but tacky. And that bed-of-roses-on-the-back reveal was…well, I still thought it was cool in a gross, ‘WHAT IN THE NAME OF NAVIBAND AM I LOOKING AT?!?’ kind of way. But it wasn’t as effective as I think Belarus wanted it to be…and I definitely couldn’t take it seriously. Many fans might have questioned the light-up space suit Alekseev wore when he won the Belarusian NF, but in hindsight, packing that in his suitcase for Portugal might have been a smart idea.
Romania: The Humans + a bunch of dummies
It still feels strange knowing that Romania lost their 100% qualification record this year – but after the bizarre staging brought to us by The Humans, is it really that surprising? Romania has never misfired so badly before, but that’s what happens when you take a song with the potential to be elevated by an awesome stage show (which is exactly what went down with Moldova) and have it performed in the presence of creepy department store mannequins. There’s a reason horror movies have been made about those things, and since Goodbye isn’t a song that’s supposed to scare the crap out of people, I have to ask…what were they thinking? It didn’t work for Switzerland in 2007 (but at least Vampires Are Alive had a pre-existing creep factor) and I can’t imagine what possessed the Romanian delegation to give it a try. The main purpose those faceless freaks served was distracting us from the performance elements that did work – Cristina’s risqué dress and epic vocal power, for instance. They didn’t help to fill the stage (except with fear) or tell the story of the song, that’s for sure. And to think that last year, cannons that weren’t allowed to be fired and an awkward kiss were Romania’s biggest on-stage issues!
Macedonia: MY EYES!!!
If you hadn’t guessed, I’ve been working my way up to the worst of the worst staging disasters of Eurovision 2018…which is why I haven’t mentioned Macedonia until now. They are the masters of messing up live performances of great songs, and the streak of self-sabotage continued in Lisbon. Eye Cue hit the city armed with a multiple-personality song that needed clever staging – and cool costumes, of course – to pull everything together. Tragically (in a first-world-problem sense), as with Spain last year, it all went wrong in alarming fashion. The fashion, in fact, was the single most horrific thing we were forced to look at, as the otherwise stunning Marija wandered aimlessly around the stage in a bright pink, backwards tuxedo jacket with inexplicable armpit cutouts. When she whipped it off mid-song, I thought a crisis had been averted…only to witness the most unflattering half sweater/half swimsuit monstrosity the world has ever seen. The only saving grace in a performance that was as neat and tidy as the top shelves of my closet (i.e. not at all) was the vocals. Oh, and Marija’s shoes – they were dope. Just not dope enough to save Macedonia from their Barbara Dex destiny…
Which Eurovision performances disappointed/shocked/scared the s%*t out of you enough to become your personal “worsts” of the year? Let me know in the comments below…and from one overly-judgmental person to another, don’t hold back!
IT’S THE (GRAND) FINAL COUNTDOWN! My top 10 performances of Eurovision 2018
It’s been less than two weeks since Israel won Eurovision, but to me it actually feels like longer – which makes it even more shameful that it’s taken me all this time to pick out my favourite performances of Portugal’s contest just past.
In my defence, it wasn’t an easy decision! Competition was fiercer than Eleni Foureira’s catsuit-and-stilettos combo this year, especially due to the no-LED policy of the stage design which meant countries had to get extra creative when chasing the wow factor. Better late than never, though, I’ve made my choices (just like Ari Oláfsson told me to). And, in reverse order as always, because I like to whip up a fresh batch of suspense every time I do a top 10 countdown, here they are. Let me know what our agree/disagree ratio is in the comments below…
#10| Ukraine (Mélovin with Under The Ladder)
When Eurovision meets Ukraine, the result is usually OTT – but up until 2018, it had been a while since the country lived large in terms of their contest staging (1944 and Time didn’t exactly slap you in the face with such subtle items as hamster wheels and half-naked centurions). So it was nice to see Ukraine changing up their recent less-is-more approach for a) a vampiric-looking artist slowly rising from the hellish interior of his grand piano; b) said artist removing a layer of clothing halfway through the song, which in this case looked a lot more badass than when Alexander Rybak did it; and c) yeah yeah FIRE!!! When you think about it, Mélovin’s performance could have been even more flamboyant – but he seemed to know just when to stop to give it the specific level of drama and Gothic glamour it needed. Under The Ladder on the Lisbon stage was as confident and cohesive as we’ve come to expect from Ukraine, whether they’re keeping things simple or kicking their staging up a notch or two (hundred).
#9 | Israel (Netta with Toy)
If it’s controversial to not have Netta right at the top of a ranking like this, then so be it. I didn’t vote for Israel this year and I can’t claim that Toy is the winning song I would have preferred (let’s just say that I was hoping to be trawling through Air BnB apartments in Limassol right about now). But I can’t argue with the punch this performance packed, thanks mostly to Netta herself and not so much to her dancers, who made the whole thing look more novelty than it actually was. Miss Barzilai, though, even without her looper, was a force to be reckoned with. Every facial expression, hand gesture and note was there; the attitude and sass were sky-high just as they should have been; and it was easy to believe that any guy stupid enough to cross her would be sorrier than Frans realising he really was sorry. Netta sold her song like her life depended on it, with her oriental outfit and backdrop adding an exotic touch to the appealingly bonkers proceedings (and not, IMO, falling into the category of cultural appropriation). The Altice Arena audience went crazy for this, and even on TV it was obvious why.
#8 | Austria (Cesár Sampson with Nobody But You)
Starring in this year’s episode of ‘Surprising Eurovision Third-Placers’ was Austria’s Cesár, who contributed a jury vote-winning rendition of Nobody But You to the grand final line-up. While I didn’t see that overwhelming jury love coming, I did get some spine-tingles from his performance: one that proved he could more than cope with the transition from backing singer to main artist. Commanding the stage – and a spectacular hydraulic platform – completely solo, he made it hard for me to look away from him (or even blink, lest I miss a shot of his impressive arm musculature). Austria also added a mix of shadowy and golden lighting that perfectly suited the song and its soul vibes; a bit of crowd interaction in the second half to up the human connection with Cesár; and, tapping into a trend that was way overused in 2017, the sole giant selfie of the year…which was great apart from the fact that super-sized Cesár was wearing a different shirt to flesh-and-blood Cesár. But that’s a mildly irritating detail I can overlook, based on how boss every other aspect of this performance was.
#7 | Denmark (Rasmussen with Higher Ground)
Like Sweden (a country you should expect me to mention later on in this list) Denmark rarely changes much about their staging between their national final and Eurovision. Unlike Sweden, a lot of the time they need to but just don’t. Fortunately, 2018 was not one of those years – and some credit needs to be given to the ship-inspired Lisbon stage for that. Performing a seafaring Viking song, Rasmussen must have thanked his lucky stars when he discovered how neatly Higher Ground fit in to the concept of the ESC this year. Sure, a ship wasn’t the first thing you thought of when you looked at the stage, but just knowing how appropriate Denmark’s package would appear in the year of ‘All Aboard!’ gave them a boost. Sails, snow, stomping, blue lighting, beards, and a manufactured breeze were all Rasmussen needed to create the ideal atmosphere for Higher Ground – and what came out of the oven once all of those ingredients had been combined and baked was gobbled up by televoters. They ranked Denmark first in the second semi, and in the top five in the final. That’s definitely higher ground than the Danes managed to reach in Kyiv!
#6 | Estonia (Elina Nechayeva with La Forza)
I’ve said this in a previous post, but there was a time when I thought Estonia didn’t need to stick Elina in a ridiculously expensive projection dress to make a statement. La Forza and her insanely impressive operatic talents would do the trick on their own, right? Well, we’ll never know for sure – but what I now know for certain is that The Dress: Eurovision Edition (forget about some wedding guest getup that’s black and blue/white and gold) turned Estonia’s appearance at Eurovision 2018 into a showstopper. What helped to make the performance all the more dynamic were the close-up shots of Elina during the soft, mystical verses (just to hammer home how stunning she is) interspersed with wider shots and aerial shots during the explosive choruses – those showing off the dress projections to maximum advantage. If I was being ultra picky (as I enjoy being sometimes) I would have liked the lighting scheme and projections to be totally celestial – more cool colours to take us all to a galaxy far, far away. But a bit of red lighting here and there and some psychedelic dress swirls didn’t prevent me from being speechless at the end of this three minutes.
#5 | Australia (Jessica Mauboy with We Got Love)
Okay…before you scream at your screen that I must have walked Rasmussen’s plank and drowned in a sea of my own insanity, hear me out. Firstly, I’m Australian and am therefore totally biased when it comes to our handful of ESC entries and my unconditional defense of them. Secondly, when I name Jessica’s performance as one of my favourites of the year, I’m referring more to the stronger semi-final version than the nervy final version. And thirdly, whatever your opinion on her vocals, that dress (which we now know finished 2nd in the Barbara Dex vote) or the characteristically dark Sacha Jean Baptiste staging, you have to admit that Jess is a ray of sunshine who invested every fibre of her energy into her time on stage and brought light to those overly-moody surroundings. I felt so proud (and a little bit teary) after her Thursday night performance – and part of that was to do with the freedom, rawness and authenticity that came from the dreamtime dance moves and a vocal that was a rough diamond rather than a crystal-clear one-carat diamond. Jess did what she does best by bringing her personality on stage as a prop, and I really enjoyed watching her as a result.
#4 | Moldova (DoReDos with My Lucky Day)
Discarding a cool NF staging concept in the hope of wowing people at the ESC with an even cooler concept is risky. Moldova took that risk, ran with it, and ended up providing us with an impeccably-timed slapstick-chic performance that elevated an okay song to sensational status. Try and find a flaw in DoReDos’ Eurovision creation and I will dispute whatever you come up with, because it had it ALL. Eye-catching costumes (in Moldovan flag colours, of course)? Check. Boatloads of stage presence and charisma from all three band members and their backing squad? Check. An oversized Ikea cabinet put to better use than anything with doors has been before? Check! Putting paid to the stereotype that men can’t multitask – and proving that women absolutely can – the trio sang, danced and dashed in out of those doors without missing a beat or looking like it was any sort of struggle. In a day and age of the easily distracted (myself included) keeping all eyes on you for 180 seconds can be difficult – but My Lucky Day live in Lisbon was entertainment well worth the price of admission.
#3 | Czech Republic (Mikolas Josef with Lie To Me)
From being stuck on a hospital gurney with a neck brace on to turning out a performance like this – only to go on and top it in the final? Mikolas, I salute you. For a horrifying few days early on in rehearsal week, we weren’t sure whether the Czech Republic would even get to compete in the contest with their best entry ever. But the Eurovision gods were smiling down on us (that, and Mikolas did what doctors told him to do). He got through his semi show in more restrained style than he would have liked before pulling out all of the acrobatic stops on the Saturday night – moves that capped off a super-fun, well-choreographed, part-music video/part-live performance feat. SWAG. There is nothing I would change about the Czech staging, although I wouldn’t have complained if a hologram camel had materialised at some point. The highlight – besides Mikolas landing the flip and not ending up back in the emergency room – has to be the butt wiggle/floss/backpack combo after the second chorus. That was genius, and in keeping with the saucy subject matter. I can fully understand why plenty of these greedies want to eat Mikolas’ spaghetti (apologies if I just said something super rude…I honestly don’t know).
#2 | Cyprus (Eleni Foureira with Fuego)
There’s a reason Eurofans still talk about Ani Lorak all the time, despite Shady Lady finishing as the Eurovision runner-up TEN YEARS AGO (!). Ani was a crazy-hot woman in an amazing outfit who, backed by a posse of equally attractive dancers, strutted her way through a top-notch pop song to rapturous applause from the audience. Does that sound familiar? Does it sound…fuego, perhaps? I think so. Eleni came to Portugal armed with an ethnopop banger that had all the best elements of Shady Lady in its staging, and also threw back to Secret Combination and Qele Qele (Greece and Armenia’s ’08 entries that finished 3rd and 4th respectively). I loved being reminded of those other fierce women who’d showed the ESC who was boss back in the day, while being treated to a song that was modern enough to work in 2018. Eleni looked incredible, danced like a woman possessed, and whipped her hair back and forth in amongst fake and real fire while wearing that sparkly catsuit you wouldn’t want to have to pee while sewn into. I’m not going to lie…I wanted to BE her. If we must have successful 2018 entry copycats in 2019, can they please be Fuego + Foureira copycats?
#1 | Sweden (Benjamin Ingrosso with Dance You Off)
As we arrive at my no. 1 personal pick for Eurovision performance of the year, it will either be a massive plot twist (because you’re new here and were partly responsible for Sweden’s low televoting score) or a predictable ending (because you know how obsessed with Sweden and how big a fan of Benjamin’s I am). Whatever the reason for that lack of love from the public, it was not a problem for me – someone in awe of the glow-up between Benjamin’s 2017 and 2018 Melodifestivalen performances, and then continually impressed by the Dance You Off performance that was copy-pasted to the ESC (why would you mess with something that slick?). I don’t know why people have an issue with Swedish performances being the same every time, at Melfest and in every Eurovision rehearsal. When you put that much effort in to a stage show – even though Benjamin’s was relatively simple, just extremely effective – and rehearse the crap out of it, why shouldn’t it be flawless by the time it’s going to be on TV? I love this song and I love how it was staged, unconditionally. Jean Baptiste who?
I’ve showed you mine…now show me yours! Which Eurovision performances floated your boat the most this year?
RESULTS REVIEW | Facts and figures from the perplexing point-y end of Portugal’s first ESC
Well, Eurovision 2018 is over (NOOOOOOOO!!!) and we have a winner (obviously…what an anticlimax it would be if we didn’t). In case you somehow missed the entire voting sequence and haven’t been online since Italy’s final note, that winner was Israel. Netta’s Toy did what the odds had suggested she would do up until Cyprus’ Fuego overtook it last week – but she clucked her way into first place anyway, and you can’t say we don’t have the most original and unique Eurovision winner in a long while on our hands.
I’ll talk more about what I think of Israel’s win, my favourite performances and much more (and I’ll be holding the annual EBJ Awards for Eurovision Excellence) later on. The first order of business though, now that the show is done and dusted, is to check out the results. I’ve taken a look at the overall and split results from both semi finals and the grand final and pulled out some of the most interesting *she hopes* facts and figures, successes and fails and other observations for your reading pleasure *she hopes some more*.
Let me know what caught your eye, shocked you and made you cry tears of joy (or sadness…Eurovision is an emotional time) where the 2018 scoreboard is concerned in the comments!
SEMI FINAL 1
Image credit: escxtra.com (because I couldn’t be bothered making my own when this brilliant one was already in existence).
THE OVERALL RESULTS
Israel won a semi final for the first time with Netta. Also qualifying more successfully than ever before were Cyprus (previous best 5th) and the Czech Republic (previous best 9th).
That second-ever qualification for the Czech Republic’s came far more comfortably than their first. In 2016, they slipped through in 9th, but Mikolas managed to fall only behind the two big bookies’ favourites, Israel and Cyprus – even without doing a backflip.
Ireland’s 6th place in the semi equals their highest qualification, achieved by Jedward 2.0 in 2012.
It was Finland who just snuck in to the top 10, out-scoring Azerbaijan by 14 points. A qualification is a qualification (and you deserved it, Saara!) but 10th is the lowest position Finland has qualified in.
In terms of my predictions (as seen on Instagram), I correctly predicted that the Czech Republic would qualify 3rd, Estonia 5th and Bulgaria 7th. Happy accidents happen, guys!
THE SPLIT RESULTS
Like in 2016 but unlike 2017, the televoters and jurors did NOT rank the same country first. Portugal won both votes last year, but Cyprus steamrolled the televote this year, finishing only 6th with the juries. Israel, on the other hand, won the jury vote but finished 4th with televoters – below Cyprus, the Czech Republic and Estonia (all of whom Netta obviously beat in the final).
The biggest differences between the televote and jury vote in the first semi concerned Finland (7th T/15th J), Greece (10th T/16th J) and Belgium (16th T/9th J).
Greece would have qualified under a 100% televote; Belgium and Switzerland deserved to be in the final according to the juries.
The only countries to be ranked in the same positions by both voting groups were Azerbaijan, Armenia, Macedonia and Iceland in 12th, 14th, 18th and 19th respectively. No agreeing to disagree there!
SEMI FINAL 2
Image credit: escxtra.com (again…I hope they don’t mind/notice).
THE OVERALL RESULTS
Alexander Rybak may not have won Eurovision again, but he is now the first person to win a semi final twice. That’s how you kick some butt! Maybe he’ll come back in another nine years and win a third SF?
The countries that qualified better than ever before this time were…well, none of them. All of this semi’s qualifiers have made it through in a higher position in the past (apart from Norway, of course).
Sweden has now qualified in the top three songs of the last six semis they’ve participated in. Of those six, five finishes – including Benjamin’s – were in the top two.
Denmark sailed into the final (pun intended) in the top five for the first time since 2013. There’s magic in them there beards, I tell ya!
As it turns out, it was Hungary who was lucky to make the final from SF2, beating out Romania by just 4 points.
I (miraculously) predicted that Norway would win this semi, Sweden would come 2nd and Moldova would come 3rd. I also thought Ukraine would finish 4th, which they did in the televote. Does that count? Am I psychic yet?
THE SPLIT RESULTS
Again, two different countries took the fancy of the televoters and juries – in this case, Denmark won the televote (!) and Sweden won the jury vote. Can you score points like a Scandinvian, ALL NIGHT LONG?!?!? Denmark ranked only 12th with the juries though, while Sweden dropped to 6th with televoters (not my fault – Benjamin got more than half of my 20 votes).
The most drastic differences between the televote and jury vote on Thursday night were with Denmark (as I just mentioned, 1st T/12th J), Hungary (5th T/13th J), the Netherlands (12th T/4th J), Latvia (15th T/6th J) and Malta (18th T/5th J).
Poland would have qualified under a 100% televote; Malta, Latvia and Romania, meanwhile, would have made it to Saturday if the juries had all the power.
Both parties were on the same wavelength with Slovenia, Montenegro and San Marino, whom they ranked 9th, 14th and 16th respectively.
THE FINAL
Image credit: escxtra.com (ICYMI).
THE OVERALL RESULTS
Winner Israel netted 529 points in total, with 42 countries able to give them points – a little less than Ukraine’s 534 (with 41 countries available) from 2016, and a LOT less than Portugal’s 758 (with 41 countries available also). 2018’s competition was clearly more open than the two that preceded it.
Toy is Israel’s 4th winning song and first since 1998. They also won in 1978, so I guess we know who’ll be crowned champion in 2038.
Cyprus’ strut straight into 2nd place makes for their best result, having competed (mostly on, not so much off) since 1981 and only reached the heights of 5th in the BE era (Before Eleni). I have to say it: YEAH YEAH FIRE!
Four years after their epic win with Conchita Wurst, Austria pulled a bit of a (tall) dark (and handsome) horse move by finishing in 3rd. This marks the first bronze medal ranking for Austria in their ESC history. Hail Cesár indeed.
Germany surprised many of us (i.e. me) with a stunning 4th-place finish. This comes after an über-awful run of results that left them languishing in 21st, 18th, 27th, 26th and 25th from 2013-2017. Could they be the new Belgium?
Italy’s (again, surprising) top five finish adds a 6th top 10 finish to the collection they’ve amassed since their 2011 comeback. Power to the message song!
As expected – once Mikolas Josef got out of hospital – the Czech Republic outdid any contest outcome they’ve had before by a million miles. Qualifying once in 2016 and finishing last in the final was their personal best until Saturday night. A substantial televote allowed them to leapfrog into 6th place, no lie (HA HA HA), and I feel strangely like a proud mother despite having no Czech ancestry whatsoever.
Sweden found themselves in the top 10 for the fifth year running, though not in their usual style (I’ll get back to that). Estonia, meanwhile, made it after DNQs in 2016 and 2017. Moldova dropped to 10th from last year’s 3rd, but since that’s two top 10 results on the trot (Hey Mamma being their first song to hit those heights since 2007), I don’t think DoReDos will be unhappy with that.
Albania’s commendable 11th place came mostly via the jurors who clearly rewarded Eugent’s INCREDIBLE vocals. I’m fine with that – the man is a powerhouse, and I’m proud of Albania for qualifying and then grabbing a really decent spot after all was said and done.
Alexander Rybak must have come back to the ESC with the intention of winning again, but that was always going to be the toughest of tasks. What ultimately happened was that Norway became the first country to win a semi final, then finish outside of the top 10 in the final. Hey, at least it’s another milestone for Rybak…just not the kind he was hoping for.
I can’t not be a little devastated for Australia and my girl Jess Mauboy, after we ended the evening with our worst result ever. But we still qualified comfortably, and Jess did an amazing job in the final (that I think deserved a better deal, but I’m biased). She left nothing in the tank, and the crowd LOVED it.
We’re all aware of the Eurovision Curse of Number Two, but Saara Aalto’s personal curse of a similar nature struck again in Lisbon – only this time, she wasn’t just behind the winner, but just ahead of last-placed Portugal. Ouch. I’d predicted Finland to wind up mid-table, so that’s a bit of a shocker. But maybe they threw a bit too much at the staging and people didn’t know where to look (a problem shared with Malta).
THE SPLIT RESULTS
We had a clear televoting winner and a nose-ahead jury winner this year. Eventual all-around champ Israel snatched the public vote preference from Cyprus by a 64-point margin, finishing third with the juries; and Austria (the most pleasant surprise of the night) pipped Sweden by 18 points with the professionals…despite ending up with the 13th-highest televote.
Sadly for our hosts Portugal, the one thing televoters and jurors agreed on during the final was that O Jardim should be ranked last. I’m not quite sure how the heck that happened – I thought Claúdia was mesmerising, and not just because her hair had reached new and extreme levels of pinkness. Whatever went wrong, Portugal can now join the unfortunate club of countries who have dropped as far down the scoreboard as possible from one contest to the next (but if it helps, at least they weren’t slapped with a big fat zero á la Austria 2015).
Inconsistencies between the televote and jury vote were all over the place in the final, and in a big way. The most notable differences, from least OMG to most OMG were re: Austria (13th T/1st J), Australia (26th T/12th J), Italy (3rd T/17th J), Denmark (5th T, 20th J), Ukraine (7th T/26th J), and Sweden (23rd T/2nd J). Australia’s televote bomb and Sweden’s whopping difference of 21 places between televote ranking and jury ranking were the revelations that had my jaw on the floor. I have no explanation for those, and I am NOT AMUSED.
Which scores and split results caught you by surprise, and which ones were exactly what you were expecting? Let me know below!
WE GOT LOVE, LASERS AND LUCKY DAYS: My highlights and lowlights of Eurovision 2018’s second semi final
Just like that, it’s over: semi final two. We now have our 20 finalists, 6 automatic finalists and a final running order feat. all of them. It’s bittersweet, but there’s still a lot of Eurovision 2018 left to experience – and this contest is shaping up to be one of the most interesting in recent years.
Before we find out for sure whether it will be or not, I need to get a big bunch of thoughts off my chest re: last night’s semi. It was a show I enjoyed a lot more than the first one for some reason (the Australia anticipation was real) and there’s heaps to talk about. So let’s talk!
THE GOOD
Their song’s not the strongest, and neither are their vocals – but what Moldova’s DoReDos lacked in above-average sound last night, they more than made up for with an epically-choreographed performance (plus truckloads of charisma and stage presence). Comic timing was crucial to pull the entire three minutes off, and everyone on stage clearly had their watches set to the millisecond. My Lucky Day live is something you can’t look away from, and as such I expect Moldova’s televote on Saturday to be substantial…though in such a competitive year, not as massive as their televote in Kyiv.
I can’t not mention Australia and the sparkly ball of joy that was Jessica Mauboy – I’d have my citizenship revoked and be banished to Siberia. Biased I may be, but I’m (almost literally) bursting with happiness over the show Jess put on. Sure, she had some less than perfect vocal moments, but I actually liked the raw and unpolished way she sounded and moved. She performed professionally, but with enough vulnerability and authenticity to make her come across as relatable and genuine. And I’ve never seen someone hair-flick with so much enthusiasm – no wonder she got whiplash earlier on in the week! I wouldn’t change anything about our performance, and I hope Jess pulls something similar – or even better – out of the bag for the final.
My other main performance highlights were via Hungary, Sweden and Ukraine. AWS went off in the Altice by the look of it, and I’d be lying if I said I didn’t attempt a headbang in my lounge room in support of the guys (I broke three windows and a table lamp, but it was worth it). Benjamin Ingrosso was always going to be an anticipated artist of the night for me (long story short ICYMI, I am a fully-fledged Swedophile and a big fan of Benjamin’s). Dance You Off was performed as flawlessly as ever, with the only thing I’d pick on being his choice of sneaker (go back to the Vans, man!). Mélovin’s closure of the semi made sure the run of songs went out with a bang (or technically, a flaming staircase) and he served up all the drama and intense gazes that I was hoping for.
There weren’t any bleeped-out f-bombs dropped, but I couldn’t help loving the postcard blooper reel anyway. We don’t usually get to see the production side of the vignettes that introduce every single song, let alone the parts of the process that don’t go according to plan. Thanks for that, Portugal – and take note, *insert whichever country we’re going to next year here*.
I think we all enjoyed the hosts’ Eurovision dance evolution skit – an original interval act idea if ever I’ve seen one. And speaking of the hosts (all twenty-seven of them), Filomena – who bears a passing resemblance to another ESC legend, Pastora Soler – is proving herself to be the host with the most, outshining the others (whose names I’m afraid I keep mixing up) with her green room antics and commendable attempt at the Loreen crab dance.
Results-wise, I was only really surprised by the first country to be drawn out of the hypothetical hat: Serbia. I didn’t predict Balkanika to qualify, but I’m glad they did, especially after Serbia missed out on a final spot last year. So did Slovenia, who are back in the final for 2018 too (in spite of Lea’s ‘technical malfunction’ gimmick). Russia did what I suspected and failed to advance for the first time – leaving Ukraine as the only country with its 100% qualification record intact (if we’re counting from the introduction of the semi final system). All the other qualifiers were reasonably expected – i.e. they were the 8 I managed to correctly predict. It’s been 8s all round for me this year, which is better than my 6 (!) from 2016; but a 9 in 2019 would be nice. In this case, I had Malta and Romania down as finalists instead of Serbia and Slovenia. But if it helps, I knew The Humans were goners once I’d seen their performance…
THE BAD
Speaking of Romania…as with Macedonia in SF1, ‘What were they thinking?’ is the phrase that comes to mind here. Goodbye is a great song, IMO, that would have been done justice if ANYTHING other than (what looked like) latex-clad masked mannequins were stuck all over the stage. It was like watching a performance broadcast live from a sex shop (and I didn’t want to know what had been dangled decoratively from the lighting rig). The outcome? An extra goodbye for The Humans, this time to Romania’s 100% qualification record. All bets are off in 2019 with regards to qualification, I’m telling you!
The only other thing I saw as a big downside to this second semi was Latvia’s failure to make it to the final. I kind of knew it was coming (and hadn’t predicted Laura to progress) but Funny Girl is so awesome and she was so kick-ass on stage, a part of me hoped she’d slip through. Let’s hope Latvia can avoid being sent home early (again) next time.
THE “OTHER”
For whatever reason, I thought the hosts’ script was slightly less AAAAAGGGGHHH this time around. Maybe it’ll be third time lucky and the script in the final will be totally listenable and not make me miss Petra and Måns like crazy. A girl can dream!
Norway – giving us Eurovision song 1500, thank you very much – kicked things off with aplomb, but I felt a little hesitation from Rybak. Maybe the pressure of trying to fill his own shoes has taken a toll, but I wanted him to absolutely let rip and charm the crap out of me like he did at MGP, and he didn’t quite get there. Now he’s safely in the final, perhaps we’ll see that extra gear we know he’s capable of.
The award for throwing everything possible at a performance has to go to Malta – they clearly took cues from Croatia 2017. Just when you thought nothing else could fly out of or appear on the stage surrounding Christabelle, it doggone did. The Chanel rule of removing one thing might have done them some good, but nonetheless I’m a little surprised they didn’t qualify.
Oh, Slovenia. To me, the ‘Oh shit, the music’s cut out!’ trick was a bad move in an otherwise top-notch performance – but apparently, I am wrong. It’s going to be even more cringeworthy when repeated on Saturday, but I’ll try and focus on what happens before and after that to console myself. At the end of the day, I’m happy to have Lea and her drop-crotch jumpsuit still in the game.
A WORD ON THE FINAL’S RUNNING ORDER…
It didn’t take long for Christer Björkman and crew to unveil their 26-song masterpiece (let’s face it, the man’s had a lot of practice). Here’s what we have to look forward to this weekend:
First half Ukraine, Spain, Slovenia, Lithuania, Austria, Estonia, Norway, Portugal, United Kingdom, Serbia, Germany, Albania, France
Yep, it’s ballad central compared to the big-hitter other half. But you can tell Christer and co. did their best to create a varied line-up. Ukraine is an unconventional opening song, but I’m not against it. The most up-tempo, high energy tracks – Norway and Serbia – were put aside to be interspersed with all the slow stuff, which is understandable. France scores the lucky 13th slot, and gets to perform as late as possible in this half. Fantastique!
Second half Czech Republic, Denmark, Australia, Finland, Bulgaria, Moldova, Sweden, Hungary, Israel, Netherlands, Ireland, Cyprus, Italy
Mikolas Josef has the honour of getting the real party started (potentially with an ill-advised flip) and will be setting all of our camels in the mood (whatever the heck that means). Followed, in time, by Australia, Finland, Moldova, Sweden, Israel and Cyprus, he’s one of many favoured acts putting forward a banger in this half of the show. Will it all be too much with one after the other? Will Cyprus do what the odds suggest and win after not having to outshine anyone bar Italy? We’ll find out (too) soon. I think the voting sequence this year could see douze points going all over the place, though – or at least to a handful of different countries.
That’s all I wanted to comment on re: SF2, so now it’s your turn. What did you think of the show and the countries that came out of it smiling? And, who do you think will win the whole thing? Let me know in the comments as we count down to the final…and the inevitable, soul-sucking fog of depression that follows it (I like to end things on a positive note).
I’ll see you soon – don’t forget to check out my social media @EurovisionByJaz before the final for predictions, and during for funniness!
FUEGO, FASHION FREAKSHOWS AND FAILS: The good, the bad and the “other” of Eurovision 2018’s first semi final
Not only has Eurovision 2018 arrived – it’s begun with a bang, as 10 semi-finalists became bonafide finalists and 9 poor non-qualifiers (including one angry Swiss woman in a hat, so I heard) were sent packing last night in Lisbon. There’s a lot to talk about and a lot of opinions to be aired, and I’m about to talk and air mine for anyone who’s interested!
BTW, if you were wondering why my qualifier predictions didn’t pop up here on EBJ pre-semi, it’s because I posted them on my Instagram and Twitter. If you want to see how accurate I was (before I mention it later in this post) and don’t want to miss my predictions for the second semi – or the final – make sure you follow me socially @EurovisionByJaz. All the links are in the sidebar.
Now, let’s have a chat about the yays, the nays and everything else that caught my attention during yesterday’s first semi final.
THE GOOD
I’ll start with perhaps Portugal’s biggest triumph as a first-time hosting nation: the visual delivery of the 2018 theme/concept/slogan. I was already shipping a Eurovision with a nautical overtone (though those terrible puns from Daniela nearly put me off entirely) and I wasn’t disappointed with the beautiful intro/interval graphics and postcard transitions.
Also tapping into the theme was the stage – obviously. As a non-rehearsal watcher, last night was the unveiling of it in action for me, and I have to say the design and lighting setup was impressive. It looked LIT AF, in fact (pardon the pun/irritating Gen Z slang). I did end up missing the LEDs a fair bit, but I’ll get to that.
Onto the cream-of-the-crop performances now, and the first to get me on my feet was my second favourite, the Czech Republic – and to think there was a chance Mikolas might have had to withdraw only a week ago! It’s a Paula and Ovi miracle (definitely not a Samra miracle) that he got off the hospital gurney and back into his braces with time to spare. You could tell he was treading carefully, but with the backing dancers providing the gymnastics and Mikolas himself compensating with backpack-loads of attitude, no enjoyment was lost for me. I would have voted the SHIZ out of this if I could have (and I’m flexing my texting fingers for the final, Mr. Josef…don’t you worry).
Israel, as I expected, did not come across as the winner we thought it would be up until recently (it’s just too motherbucking bonkers). But Netta is absolutely adorable, and I’m filing her performance under my highlights because the replication of Toy’s vocals live – without the infamous looper – was surprisingly slick and almost studio-perfect. Best hairstyle of the night by far, too: Princess Leia plus My Little Pony is a good combo.
The most impressive three minutes on that impressive stage, in my opinion (like I’d be typing out anyone else’s opinions), belonged to Estonia. Wow, wow and more wow. I didn’t think Elina needed that crazy expensive dress clashing with her undeniable vocal talent, but it turns out I would have missed it if it wasn’t there. She is stunning, the vocals were exquisite, and I think the dress projections were worth Estonia’s spending spree. It helped score them their first qualification since 2015, after all. As for a win now they’re in the final…I’m not convinced, but this certainly stands out (and Elina literally stands about six feet over everyone else).
The touching, pan-European Amar Pelos Dois do-over defrosted even my icy, unfeeling heart – but any tears that sprung up in my eyes could have come at the sight of a) Svala, after I’d just seen Our Choice be the biggest glow-down in ESC history, or b) Norma John, which triggered the memory of Finland’s shock DNQ last year. Or maybe even Kristian Kostov, because he’s so damn dope and so much cooler than I will ever be. I don’t begrudge (much).
Now, on the results…after all my see-sawing when trying to predict the SF1 qualifiers, I ended up not being shocked at all, after revising my guesses mentally once all 19 performances were through. I got 8/10 Qs correct (I’d anticipated Azerbaijan and Greece rather than Albania and Ireland) which was good news for me (I didn’t humiliate myself! YAY!!!). And I also felt that the results made sense. Albania and Ireland definitely deserved to make the final – Eugent on those powerful, flawless vocals alone. As for Azerbaijan, who have now lost their 100% qualification record – well, I saw it coming after a okay performance of an okay song from Aisel. Maybe that will teach the land of (yeah yeah yeah) fire to rely on sound-alike Swedish productions.
THE BAD
Here’s something I knew months ago: four hosts is too many. Something else I suspected that was confirmed last night: a script not written by Edward af Sillén is massively inferior to a script Sweden’s 2018 commentator did pen. Contrived, clichéd, and packed with jokes that nobody of sound mind would find funny, this script (and the people reading it…sorry, ladies) will not go down in history as one of the contest’s best. Fortunately, we’re really here for the music and results announcements that nearly push us over the edge, and Portugal has delivered on both of those fronts so far.
Belgium’s three-year run of success came to a screeching halt after Sennek turned out a reasonable but not spectacular performance of A Matter of Time. I never connected with this song on the same level as Rhythm Inside, What’s The Pressure and City Lights – I didn’t feel that it had as much to offer. It wasn’t the car crash I semi-expected live, but girl was NERVOUS and it showed (and not in a vulnerable, ‘We MUST vote for her!’ way á la Blanche). Also…WTF was she wearing? I can only assume it’s an oversized lampshade from Ikea’s upcoming collection that she borrowed from work. Yikes.
The aforementioned Kristian Kostov left Bulgaria with big shoes to fill, and I don’t think Equinox was up to the task. Sure, they qualified, but I found their performance of Bones overly cold and a little uninteresting – visually boring too, which is unusual for a Sacha Jean-Baptiste creation. Bulgaria aren’t winning Eurovision 2018, and I’ll be very surprised if Equinox come close to Kristian’s second place.
When it comes to ‘What were they thinking?’ moments, Macedonia gave us the whole enchilada. Aimless wandering and a ridiculous costume that was then ripped off to reveal an even more ridiculous (and very distracting) one equaled staging that made a messy-sounding song look messy as well. If Marija had put her tuxedo jacket on the right way round and kept it on, some dignity would have been retained, but…oh dear.
Just because my jaw wasn’t on the floor during the results doesn’t mean I wasn’t heartbroken by a few DNQs. Armenia – my bronze favourite of the year – hit the hardest, even though I understand why the televote wouldn’t have been strong enough for Sevak. I do think we’ll see that the jury vote for Armenia was stronger, but even so there wasn’t enough going on during his performance to make it exceptional (the vocals were exceptional, though).
I was also disappointed by Switzerland not making it. Zibbz produced such a cracking performance of Stones that I expect to see them in 11th – 12th or 13th at the lowest – when all the stats come out post-final. Apparently Corinne was raging in the green room after her country’s name didn’t leave any of the hostesses’ lips, and I can’t say I blame her. You let it out, Coco.
THE “OTHER”
As impressed as I was by the overall look of the Altice Arena stage and the flexibility of the lights, I felt that the lack of LEDs was clear in the stage not looking as different for each performance as it usually would. Some countries – Austria and Cyprus, for example – transformed the stage, but for the most part it felt like 19 acts competing on the same platform with the same background, rather than 19 unique ‘looks’ being created. I appreciate what RTP was trying to do by scrapping built-in screens, but it backfired a bit. I’d like to see them back in 2019.
It’s not that often we see artists failing to mask their nerves on stage, but there were a couple of obvious shaky hands last night – and neither of the people those hands belonged to managed to make it to the final. I’m talking about Alekseev and Sennek, who I couldn’t help feeling sorry for. I’m surprised Alekseev kept his hold on that rose for as long as he had to. Maybe he listened to Hey Ya by OutKast as part of his pre-performance routine and decided to ‘shake it like a Polaroid picture’. You never know.
There were a handful of performances that I felt were missing something – something that, if heard or seen, might have elevated them to exceptional. For Belarus, I’d say it was the original version of Forever. The less dramatic piano-heavy revamp took away a big chunk of impact, and made the performance feel like it was lumbering along. For Croatia, I wanted darker, moodier lighting and a spotlight on Franka to up the glamour and sex appeal (not that she herself needs much help in those areas *fans self*). And for Austria, the only thing I’d pick on is the unseen backing singers. I think Cesár needed them to strut out onto the platform behind him for the final chorus (like he did when singing backup for Poli Genova in 2016) to make the stage feel less empty and remind us that the gospel backing wasn’t coming from some mysterious disembodied choir.
As we all know, Cyprus was the one to overtake Israel in the odds a few days ago, and while Eleni’s performance was as fiery as Fuego needed it to be (and let’s get this out of the way – she is as HOT AS HELL, and I say that as a straight woman) I’m having trouble seeing it as a winner. I don’t think we’re quite going to get to Cyprus next May, though I am willing to stand corrected if it means a second sun-and-sea contest in a row (one I might actually be attending).
That’s all I’ve got to say on Lisbon’s first semi final at this point – I’m actually amazed I word-vomited this much after a basically sleepless night (the 3am wake-ups are worth it, but they’re hard work). Let me know in the comments what you thought of the show, how your predictions panned out and how many of your favourites you’ll get to see compete on Saturday night.
One down, two to go! Eurovision 2018 is still in its early stages y’all, and I am PSYCHED! Half of the second semi’s points will be handed out tonight in the jury show: excitement. It’s an unpredictable year: excitement. Anything could still happen…MASS EXCITEMENT. Seriously, I’m in need of some tranquilisers here (and I wish I didn’t have to go to work tomorrow, because AS IF I’ll be able to concentrate on anything not related to Eurovision right now).
Anyway…I’ll see you after semi 2 for more post-show verdicts!
THE EBJ EUROVISION 2018 REVIEWS: Round 8 (Belarus, Montenegro, Norway, Russia, Sweden + Switzerland)
Well, I did it! 43 reviews down, ZERO to go.
As you may/may not have noticed, I didn’t start my Eurovision reviews this year until mid-April. Over the past 28 days or so, I’ve worked my butt off and written an average of 1.5 reviews every single day – in between going to work, cooking enough food to keep myself alive and occasionally interacting with other humans socially. Sure, I haven’t ironed for a month, my floordrobe has to be seen to be believed, and I have unpaid bills stacked up to the ceiling…but Eurovision is priority number one. Everything else can wait.
I hope at least one of you has enjoyed my 2018 ramblings. If you’ve enjoyed them so much you want to go back and read them again before the contest kicks off – or if you’ve found me for the first time and want to catch up – here are all the links you’ll need for fast access:
- Round 1 feat. Armenia, Cyprus, Hungary, Malta + The Netherlands
- Round 2 feat Azerbaijan, Estonia, Poland, Romania + Spain
- Round 3 feat. Albania, Finland, Greece, Lithuania + Moldova
- Round 4 feat. Australia, France, Georgia, Ireland + Latvia
- Round 5 feat. Austria, Bulgaria, Croatia, Portugal + Ukraine
- Round 6 feat. Belgium, Czech Republic, Germany, Israel, Macedonia + San Marino
- Round 7 feat. Denmark, Iceland, Italy, Serbia, Slovenia + the United Kingdom
And then there were six. Before we dive headfirst into Eurovision week, I need to talk about Belarus, Montenegro, Norway, Russia, Sweden and Switzerland. Is there a douze-worthy song up the sleeve of Alekseev, Vanja, Alexander, Yulia, Benjamin or Zibbz? Maybe there’s a few, as far as I’m concerned. If you want to know what I think and how I scored their entries, keep reading – and for the final time, scroll for the poll to vote for your favourite!
My thoughts Sometimes rumours become truths, and that’s how Alekseev ended up representing Ukraine at Eurov…wait. That’s not right. It could have been Alekseev flying the blue-and-yellow flag this year, had he not pulled out of the Ukrainian selection to try his luck in less merciless Belarus. That’s not where the drama stopped (it practically went on Forever). But, many debates in the Eurovision community and withdrawals by fellow Eurofest contestants over the age of this song (i.e. was it eligible to go to the ESC as per the EBU rules and regs) later, Alekseev is in Lisbon after all. And he’s there armed with the original melody and English lyrics of a Russian-language song that was definitely publicly performed prior to September 1st. That date rule is a bendy one, isn’t it? And I’m down with it on this occasion, because I freaking LOVE Forever. This song is everything I want in an old-school Eurovision power ballad. It’s dynamic, dramatic in that classic Eastern European way (Work Your Magic comes to mind as a reference point), has a massive chorus which in turn has two massive money notes in it (which spawned the iconic Twitter account Alekseev’s Mouth) and, like a few other songs this year, takes me back to the ESC glory days of 2004-2008. The octave change in the first verse is an attention-grabbing opening to the song, one that’s hypnotic in its bold, loud moments, and spellbinding in its softer moments. And the melody throughout is haunting enough to give me the shivers. Now, I know what you’re thinking: This is clearly not at the forefront of modern music and isn’t exactly a masterpiece, so why am I making it out to be The Best Song Ever? Well, I don’t have a good answer to that. All I know is that if you could get Eurovision songs delivered like pizza, and I ordered an epic lights-and-shadows power ballad with a sprinkling of cheese, Forever is what I’d expect to be delivered to my door. The only things I’d pick off it, if it were a pizza, are a few questionable lyrics. ‘No need to worry, rain falling down, it’s our happiest story and there’s no one around’ ain’t the stuff of lyrical legends. I’m also bamboozled by Alekseev’s ability to blast his way through Let’s Get It Started by the Black Eyed Peas, in English without any trace of an accent (for his Voice Ukraine audition….you MUST YouTube it!), despite the fact that a few years later his singing English is heavily accented. That’s what makes me wish, since the EBU would probably have allowed it, that he was singing this song as Navsegda on Tuesday night. Not that anyone’s going to be listening to what’s coming out of his (Twitter-famous) mouth when he’s got a BED OF BLOODY ROSES protruding from his back. If the sight of that is as laughable as the press are telling us (us = me ‘cause I don’t watch rehearsals), Belarus are on the borderline of qualification. I suspect they might be sacrificed in this deadly semi, and that will upset me forevAAAAAAAAAaaaaaaaaaah.
2017 VS 2018? I wasn’t a huge fan of Naviband’s song (don’t hate me), so 2018.
My score 10.5
My thoughts I realise that anything Montenegro sent to the ESC straight after Space would have seemed like a stark contrast – but to go for a majestic Balkan ballad, right off the back of a song that referred to wet dreams, is a plot twist and a half. Bringing us the best possible Montenegrin option (their NF was pretty shocking) is Vanja, and if Inje wasn’t missing the magic ingredient that makes a Balkan ballad sensational (Željko Joksimović as composer) I’d be praising the Eurovision gods for its presence in Portugal. As it is, I’m kind of feeling it. It’s a slow-moving, slow-burning number that doesn’t quite explode into a climax worth waiting for (to use Slavko-approved language) but feels grand anyway. If Lejla by Hari Mata Hari is a Chanel, Inje is a Wal-Mart…but that’s only by comparison. Still, I normally go so (dancing Italian) ape over big Balkan ballads, I was wondering why exactly I couldn’t go crazy over this one. I’ve come to the conclusion that it’s due to what isn’t there rather than what is – because what is there is adequate, if not remarkable. It’s slightly too slow-paced to whip up excitement; the melody of the chorus is simplistic when I personally prefer my BBs to be extra-rhythmic; and there are times when I could call it boring, even though I don’t want to. I guess I want the whole thing to level up. Like last year, when I loved the camptastic Space but wanted more from Slavko’s performance (wind/dry ice/a horde of hot, half-naked, oiled-up male dancers seductively waving huge, feathered fans), I like Inje, but I’m asking more of it than it wants to give. I want more drama, more atmosphere and more complexity (I’m very greedy, I know). I’m waiting now to see if the performance fills in some of the gaps – maybe when I’m watching it, I’ll get the spine-tingles I so desire. Or not, as Montenegro’s had as many staging misses as they have hits. They do have a capable, confident performer in their corner, which is a giant plus. Vanja may not be in the same smouldering category as Željko Joksimović, or be quite as compelling as Knez (and unlike Knez, is not an expert at making doves disappear and sawing people in half) but he holds his own. And he’s surprisingly hilarious on social media: a fact that may not help him succeed in the contest, but has won him a lot of admirers thanks to his snappy Inje-hater clapbacks. Vanja? More like VanJAAASS. Because he’s such a dope dude, I regret to predict a DNQ yet again for Montenegro, even knowing that every time they’ve sent a Balkan ballad in the past they have made it to the final. Third time unlucky, I reckon. This song would be a nice addition to the final 26, so if I’m wrong, I won’t complain.
2017 VS 2018? The disco-dance power and smuttiness of Space wins.
My score 7
My thoughts Any Eurofans out there who thought ESC record-holder Rybak wouldn’t end up representing Norway this year were very naïve. I know, because I was one of them. That was in spite of his irresistible performance of That’s How You Write A Song winning me over, after I’d already made the most drastic change-of-mind possible on the song itself. It went a little something like this: Listen No. 1 (with high hopes): ‘What the HELL is THIS?!?!? It’s TRASH, is what it is! You should be ASHAMED of yourself, Alexander!!!’. I was so disappointed, I could have cried myself to sleep that night (but didn’t ‘coz I’m a grown-ass woman and pulled myself together). Then came Listen No. 2, my reaction to which was (inexplicably): ‘Holy crap, this is AMAZING!!! I have never known the true meaning of musicianship until this moment!’. Okay, so I’ve dramatised that reaction a tiny bit to show you how much of a 180-degree turn I did. But boy, did I change my tune. I can’t even remember why I was so appalled in the first place…maybe because the song is a humungous throwback to an era that isn’t yet retro-fashionable again. I no longer care about that, and I definitely don’t care that Alex’s instructions for writing a song are wildly inaccurate. I’m too caught up in the bubblegum fun of the mid-tempo disco music, simple lyrics that make for a karaoke dream song, inevitable violin solo, and showstopping final third. I even love the scatting…what have I become? The onscreen scribbles may have been borrowed from Francesca Michielin, but they’re used more interactively á la Bulgaria in Kyiv, and look great on TV. If you’re thinking I need a reality check and should throw in some negatives to prove I haven’t gone completely insane…too bad. I swear, if anyone other than Rybak was peddling this track, I wouldn’t have come around. It’s not because he is who he is, with that Eurovision legacy, but because he has the ability to sell the song like his life depends on it. And I’m not just buying it – I’m throwing fistfuls of kroner at him while screaming hysterically. He instructs us to ‘believe in it’ in the THYWAS chorus, and he seems to practice what he preaches, pouring boundless energy and charm into his live performances. And he still looks so youthful (more on that in a second) that his childlike enthusiasm is infectious, not creepy. The thing I do find annoying about this, Alexander, is that you couldn’t wait another twelve months to make your (possibly) triumphant comeback TEN years after Fairytale. Nine years just bugs me. Also annoying (as it doesn’t apply to me), how has this guy barely aged, when he was 23 at the time of his win and is about to turn 32? Potential humanoid cyborg alert! More importantly, I might have to issue a potential two-time Eurovision winner alert while I’m at it. I can’t believe I’m even saying it, but Norway’s shift to 2nd in the odds after Rybak’s first rehearsal show how dangerous he could be. A safe top 10 result is more likely, but I am yet to discount this entry from the first-place fight.
2017 VS 2018? It’s another case of ‘I love them both equally and could never choose!’.
My score 10
My thoughts When Russia gives Eurovision their all, they go BIG (baking sweet treats live on stage and everything). When they really want to win the contest, it’s crystal clear. The only thing big about Yulia’s 2018 entry is the papier-mâché mountain she’s been forced to sing it on top of (the hills are alive…with the sound of mediocre music). And what’s crystal-clear about I Won’t Break is that, while Russia did good by keeping their promise to Yulia after last year’s Drama (drama so sizeable it deserves a capital D), they didn’t do good by her when they came up with this as her comeback track. It goes without saying that this song runs rings around last year’s almost-entry Flame Is Burning. But that’s not saying much, and unfortunately, plenty of the same problems remain. Once again we’ve been presented with a song that is a) unexciting and uninspired, b) belongs in a different decade, c) features wannabe-inspirational lyrics about strength and resilience and how there is light even in the darkest of places, blah blah blah, and d) in a language that Yulia is obviously not 100% comfortable with and cannot clearly pronounce with genuine feeling (which she shouldn’t be expected to). All of this is just on a smaller, much more bearable scale. I mean, I can sit and listen to I Won’t Break without wanting to punch a hole in the wall. But it’s still light years away from making a Best of Russia at Eurovision play list on Spotify. The beat is good, and I like the melody and the way it develops. But the lyrics are vague and clichéd, and overall the song is just not that interesting – it’s one of those you can imagine playing in the background of an Olympics montage (in this case, moments in which athletes triumphed over adversity) and that’s rarely a sign of imminent ESC success (Heroes aside). My biggest issue of all with this entry is that insistence – by whom, I’m not sure – that Yulia sings in English. It’s not her comfort zone. But for all I know, she was the one who insisted on it. I have to wonder, after trying so hard to win in Stockholm and losing to Ukraine, of all places (and Australia, but I don’t think Sound of Silence bothered them much compared to 1944), what happened to Russia’s A-game? Did Sergey accidentally leave it in the stage wings of Globen, where it was picked up on the sly by Christer Björkman and added to Sweden’s already stellar Eurovision toolkit? With the right song and the right approach, Yulia could be portraying Russia at their ESC best, and even though I Won’t Break makes Flame Is Burning sound…well, just as bad as it was, it still only gives her half a chance of success, if that. Yet we know Russia can do amazing things on the Eurovision stage. They certainly have the funds for it. I’m sure that mountain cost a pretty penny, but it wasn’t a wise investment piece. Is it a gimmick that will help them reach the lofty peak of the final, or is that 100% qualification record of theirs about to be destroyed? I can’t decide, but this must be the most dangerously close to a DNQ that they’ve ever been. I want Lazarev-level Russia back next year, please.
2017 VS 2018? There is nothing that isn’t better than Flame Is Burning.
My score 7
My thoughts Sweden may not be alphabetically last in this round of reviews, but this is my 43rd review for the year – i.e. I wrote it after the Swiss one below. I decided to save Sverige for as long as possible, like I was eating a particularly delicious slice of chokladkaka and leaving all of the frosting until last. Why? Well, if you’ve read literally any of my posts before, you’ve probably picked up on my Swedophile status: they’re my favourite Eurovision nation, I speak a fair bit of Svenska and am always teaching myself more, and I’ve traveled to Stockholm twice in the past two years (for the ESC in 2016 and for the Melodifestivalen final in 2017). Needless to say, I’m biased as heck when it comes to the country’s contest entries, and you won’t be shocked to discover that Dance You Off is my #1 song of this year’s comp. Some Eurofans hate it and think it’s trash; others aren’t bothered either way; and then there’s people like me who think it’s INCREDIBLE and actually cried a little when Benjamin won Melfest in March (okay, so I might be the only person who cried). I understand why the song doesn’t appeal to everyone, but I’ll tell you why it appeals to me. Firstly, Benjamin’s musical stylings are right up my street, and I love every song he’s released prior to this – Do You Think About Me, One More Time and last year’s Melfest entry Good Lovin’ in particular tap into the polished, slick and summery dance-pop I have a weakness for. Then there’s the resemblance between Dance You Off and two cracking songs by another of my favourite artists, The Weeknd – Can’t Feel My Face and I Feel It Coming. Those two songs and DYO all take inspiration from the late 80s and early 90s, and mesh those influences with late 2000s pop trends to create effortless cool. THEN there’s my tendency to fangirl over anyone who can whip out some falsetto and smooth dance moves simultaneously (I am aware that Benjamin is too young for me and has insanely hairy Italian arms, but I can still admire his talents, right?). You can add to that simple, but at times downright genius lyrics – ‘Treated you good, we were gold, I dug you like you were treasure’ = OH YES. Last but in no way least, there’s the fan-bloody-tastic staging concept that sees Benjamin bring a music video to life on a stage within a stage. Visually, this is so impressive – the first time you see it especially, but I’ve watched this performance more than any other and I’m still in awe. Unfortunately, because Sweden is criticised more harshly than any other Eurovision country if they don’t have a surefire, mass appeal winner on their hands, I feel this entry is receiving more hate than it deserves. But in a nice act of revenge, it will probably do better than a lot of people think. Don’t discount the fact that many people will see Dance You Off in all its light-up glory for the first time during Thursday’s semi, and even if they don’t like the song, the staging is easily spectacular enough to suck up votes like a vacuum. When Sweden inevitably reaches the final, they might not do quite as well as they have the past two years (though I believe this should do better than 5th) but there’s a top 10 place with their name on it. I hope that some day soon, Sweden stops being punished by Eurovision fans for their streak of success (even if it’s for selfish reasons because I’m sick of seeing hate comments directed at my favourite songs). Regardless…Team Ingrosso, NU KÖR VI!
2017 VS 2018? 2018, but they were both jättebra.
My score 12
My thoughts Ahh, Switzerland. The land of Lys Assia (RIP), excellent cheese and chocolate (what more do you need?), and consistent choosers of the best possible Eurovision entry from their NF. Sadly, they’re rarely rewarded for that last national trait – maybe because their best offering can’t quite compete with the best offerings from most other countries (harsh but true). The Swiss actually had two awesome, you-better-pick-that songs in this year’s Entscheidungsshow, and one of them was indeed Stones. There’s something about this song that is just plain cool and very likeable. It’s Americana-inspired soft rock that’s 100% authentic, 0% artificial – unlike the other Americana song we have in Lisbon via the Netherlands. Corinne and Stefan do spend half their time in Los Angeles, so there’s the explanation for that. It’s brimming with attitude, and the lyrics are definitely on track to being my favourite of the year – they’re especially tight in the chorus, but original and well-rhymed all the way through. The only part I’m not a fan of is the precursor to the final chorus, where it’s rammed down our throats that these two ‘ain’t standing alone’. It’s a little cheesy and not on par with the rest of the song, but that last chorus and the mic-drop ending later, and all is pretty much forgiven. Even though I’m an Australian whose studying days are over, this song makes me want to go on college spring break just so I can attend a party feat. warm beer in those classic red cups, and hopefully scream-sing it at the top of my lungs before jumping off a balcony into someone’s swimming pool. I’m not going to, but dang, the pull is strong! I love that vibe. Stones in general is laid-back and relaxed but has bite, and it’s a good combo. It’s not right up there with my most beloved songs of 2018 – not right now, at least – but as I’ve said before, there are only a few I truly dislike this year and this one is well above those in my ranking. Of course, if Switzerland had sent Compass by Alejandro Reyes, they’d be firmly inside my top 10 and wouldn’t have to worry about being booted out. I’d also be more confident of a qualification then, but with Zibbz I’ve been back and forth. I feel like they can, and therefore might be sacrificed from semi numero uno. There are so many powerful acts and big-hitters up against them, and Switzerland does not have a great recent track record (they last qualified in Copenhagen). However, I have heard good things about their rehearsals, and with this year looking more unpredictable by the minute, I wouldn’t be shocked to see them slip through. It’ll be 9th-14th in the semi, I think – and if it’s 9th or 10th, the final result is likely to be lower than left-side scoreboard. Just being involved in Saturday night, though, would be a step closer to leveling up for a country that’s been sent home early three years in a row.
2017 VS 2018? 2017 by a Stones-throw (my god, I’m hilarious).
My score 8
And that is that! THANK THE LORDI. Before I go and have a lie down because this race to smash out 43 reviews in a month has exhausted me beyond belief, I’ll give you a look at today’s ranking:
- Sweden (12)
- Belarus (10.5)
- Norway (10)
- Switzerland (8)
- Russia (7)
- Montenegro (7)
In news that will surprise no one, Sweden tops my list with an easily-earned douze. Belarus and Norway are not far behind. This was a generally high-scoring lot of songs, and I’m glad I got to end on a positive note.
If you’re wondering when I’ll unveil the entire EBJ ranking for 2018, wonder no more: it’s happening ASAP. Definitely before the first semi final, and probably alongside my predictions for SF1 – so keep an eye on my social media over the next few days if you don’t want to miss a thing (I’m @EurovisionByJaz everywhere).
Now it’s time for you to do your Eurovisual duty:
Feel free to post your personal ranking of all six – or even all 43 songs in the Lisbon line-up – in the comments. If you have thoughts on anything ESC-related, basically, I’m happy to hear them.
Okay, I’m seriously going to go pass out now. I’ll be back before it’s too late (a.k.a. before that first semi begins) with my promised predictions. Who’s in and who’s out? At this point, I’m still confused about that, so I’ll get back to you…
Welcome to Eurovision week – it’s going to be a great one!!
THE EBJ EUROVISION 2018 REVIEWS: Round 7 (Denmark, Iceland, Italy, Serbia, Slovenia + the United Kingdom)
We’re nearly there, guys. It’s May, and the first live semi final of Eurovision 2018 is on Tuesday. TUESDAY!!!!!
I’ve never been so terrified at how quickly time is passing and so keen for a little bit more to pass at the same time. I’ve also never been so confused about which songs are going where, especially in SF1. But the chances of me embarrassing myself by getting 5 or 6 qualifiers correct is a discussion for another day.
Right now, I’m taking care of business by squeezing in the last few rounds of reviews for the year. This is the second last installment, and it involves ginger beards, cinnamon rolls and candy-coloured hair. Sweet. So who’s got the goods and who’s got some explaining to do out of Rasmussen, Ari, Ermal & Fabrizio, Sanja Ilić & Balkanika, Lea and SuRie? That’s subjective, but keep reading if you want my opinion!
My thoughts Everyone out there who’s been dreaming of the day Game of Thrones would meet Eurovision: this is your year! Okay, so maybe Rasmussen’s Higher Ground is more Vikings than GoT, but I really wanted to joke about the possibility of Denmark using gratuitous nudity and decapitations in their staging concept (in reality, it’s Belarus who’ve gone gratuitous and gruesome). What Denmark has done is let a Melodifestivalen reject represent them at the contest – an “honour” shared with Azerbaijan in 2016, and heaven knows how many other countries in heaven knows how many other years. But it’s not all bad, because a Melfest discard will still be half-decent at least, and this particular one is more than that. It’s definitely more adventurous than the Danish entries we’re used to (in style, performance, and in the sense that it screams ‘epic sea shanty!’ and begs for us all to wave our cutlasses in the air like we just don’t care). Combining Gregorian-esque chants with a pounding beat, an interesting time signature and a big ol’ belter of a chorus, it’s reminiscent of Himmel I Hav by Roger Pontare (of Melfest…go figure); only Higher Ground is more current, and more accessible by way of being in English. Even so, you wouldn’t hear a song like it anywhere outside of the ESC bubble or a movie soundtrack. To me, that’s part of the charm. There are a lot of layers to this song as far as production goes (you might say it’s as deep as the deep blue sea) with instrumentals that are rich and soaring, and powerful vocals from Rasmussen. I love the way his hair (and beard) blows in the manufactured breeze conjured up by our beloved wind machines – this song needs weather, though I don’t suggest Rasmussen pulls a Flashdance by drenching himself in water while wearing a leotard that leaves little to the imagination. My favourite thing about this track is how quickly it creates an atmosphere. Electricity is crackling in the air pretty much from the second it starts, and that’s hard to ignore – unlike a few Danish entries from recent years. I also have to commend the fact that there isn’t another song competing in this contest quite so suited to the nautical theme and ship-inspired stage. Congrats to Denmark for choosing so wisely, even if it was accidental. At the end of the day, I’m pleased with Higher Ground if not impressed by it. Anja Nissen was a hard act to follow for me, as someone (in the minority, I know) obsessed with her and Where I Am. That remains a song more stylistically Jaz than this one. Still, HG is a solid effort and stands out in the field. It’s got a reasonable shot of qualifying, but if it does I doubt we’ll see it on the left side of the scoreboard. Denmark still has a way to go before I start dropping the douze on them and calling them potential winners.
2017 VS 2018? I’ve fangirled over Anja too much to be disloyal, so 2017 it is.
My score 7
My thoughts Last round, I said that the Czech Republic had glowed the heck up in the space between Eurovision 2017 and Eurovision 2018. Flip the script, and you have Iceland – a country that has willingly swapped the incredible, why-the-eff-didn’t-she-qualify ice queen Svala and her Scandipop masterpiece Paper for….ugh. How do I even describe Our Choice without having to shove my life savings into the swear jar? I guess first off, I have to get one thing straight: I absolutely adore Ari. The Nathan Trent of 2018, he is a precious and über-talented human who deserves a brilliant song to represent Iceland with. It’s a massive shame that what he gets to represent them with is the musical equivalent of squishy cheese, vintage 1990. Seriously, this song sounds like it predates its own performer (Ari was born in 1998…let that sink in and horrify you if you think late 90s babies should still be in diapers). It puts Boggie’s Wars For Nothing, a similarly saccharine wannabe charity song, on the same level as We Are The World and Do They Know It’s Christmas? While there’s literally nothing I like about the song, the lyrics well and truly are the worst aspect. It’s 2018, we have entries likeToy and Dance You Off feat. razor-sharp lyrics, and Iceland thinks that lame lines like ‘There’s always a choice we can make to help and to heal in different ways’ and ‘Inside we’re all the same’ are acceptable? NOPE. Granted, Pollapönk got away with ‘Inside we’re the same’ in 2014, but that was a message song not originally written in hieroglyphics on a stone tablet by Ancient Egyptians. I think the credited songwriter here is trying to pull a fast one on us by pretending Our Choice was penned this century. I can make a concession given that the Icelandic NF Söngvakeppnin was very lacklustre this year. But regardless, I’m mystified as to how this topped the lot (Aron Hannes + Golddigger = far superior). I suppose Ari’s puppy-dog eyes, strong voice and ability to sell the song to some degree (not 100% – he ain’t Superman) must have had something to do with the win. It’s safe to say that is the only song contest this bland, stale ballad will be winning. PLEASE FORGIVE ME, ARI! It’s not you, it’s the song. And as if the signs for it going nowhere weren’t clear enough, Our Choice was lumped with the Slot of Death (no. 2) in the Semi of Death. The best possible outcome for Iceland this year is to not finish last on Tuesday night, and even that’s an ambitious goal. If Ari had released his song as an actual charity single to raise money for the homeless (thirty years ago), it might have done some good. But at a highly-competitive song contest in 2018, he’s just preaching to the non-converted.
2017 VS 2018? Bring back Svala (or give Ari something reasonable to work with).
My score 2.5
My thoughts There are two ways I’ve reacted to Italian entries lately: I fall in love with them immediately (grande amore!), or I think ‘hmm’ at first only to fall in love after three or four listens. What I always think is that Italian music is classy AF – unlike myself – and has its own unmistakeable thing going on. All of that applies to Ermal and Fabrizio’s Non Mi Avete Fatto Niente…except the instant enamour bit, because this was a song that snuck up on me with its brilliance, as opposed to smacking me in the face with it while blowing a vuvuzela and yelling ‘VIVA ITALIA!’. On first listen I found it too complex, too wordy and not hooky enough to remember. I think I must have had a headache at the time too, because Fabrizio’s insanely gravelly voice was up there with nails down a blackboard on the ‘Dear Lord, Make It Stop!’ scale. I looked up the translation of the lyrics; felt no change (I mentioned in the last round that I’m a soulless witch – Eurovision’s own Ebenezer Scrooge). Listened to it again; a slightly higher opinion of it. Listened to it again – to cut a long and boring story short – and BAM, just like that I was head over heels. And I don’t think it’s just a crush or a phase. I’m in this for the long haul, so put a ring on it, Italy! The complexity of this song is now something I appreciate about it: the melody and phrasing isn’t clear-cut and there’s no hooks that have been shoehorned in purely to make people dance, cry or headbang. The wordiness is one of those classic Italian musical tropes, and I feel like it’s in keeping with Ermal and Fabrizio having so much to say. And as for the lack of memorability I thought NMAFN had before…well, that’s probably still the case for a lot of first-time listeners, but I can’t get it out of my head now. The message is getting to me more these days, and I applaud the substance of the subject matter. That meaningfulness, combined with the beautiful guitar work, amazing chorus in which Italian has never sounded better, and contrasting smooth-edged/rough-edged vocals of the duo (that I understand now balance each other out, yin-yang style) makes for an overall impression of SI, SI, SI. Sure, it took a while for me to reach this state of obsession – which may not bode well for Italy’s contest chances – but good things come to those who wait. Speaking of this in a competition context, I have to come full circle and say ‘hmm’. Will Europe (and Australia) get this? Can the anti-war, anti-terrorism message be conveyed strongly enough via staging in three minutes to affect and pull focus in a 26–song final? One in which many of the other songs will be more instantly memorable and potentially overshadow Italy’s? Sadly, I doubt it. Italy was the overwhelming fave in 2017 (until the last minute) and ended up 6th. Unless this flips those fortunes, as current 10th favourite to win I see it ending up far lower. But I love it so much (finally), I’m hoping to be proven wrong.
2017 VS 2018? Anti-evil beats evolution – 2018.
My score 10
My thoughts There are a few songs in the Lisbon fam that are ESC throwbacks, and I love it. Taking me back in time to the mid/late 2000s are the likes of Belarus, Greece and Serbia (obviously, or I wouldn’t have mentioned this at the start of their review). Ethnic to the extreme with a Eurodance beat, and partly performed by a strangely attractive bald yet bearded dude? Hvala da, Slovenia joke intended. There’s no question Nova Deca could have slipped seamlessly into the line-up of the Istanbul or Helsinki contests (it would have been a great host entry in Belgrade too, no disrespect to Oro) but I’m happy it’s here in 2018 adding retro variety to the show. It’s striking from the second it begins, when the wailing (I’m sorry, but I don’t know how else to describe it) puts the ethno in ethnopop. Just when you think you’re in for 180 seconds of traditional Serbian folk music, DAT BEAT kicks in and promises much more – not that I would have been mad about a totally traditional Serbian song, especially after last year’s mostly Swedish production. Good energy, an anthemic quality and a catchy chorus (a key ‘Woohoo!’ requirement for me) fill the rest of the running time, and I have zero complaints about any of it. I’m not sure what else to say – sometimes you just like something and you can’t put into (that many) words why. I will admit that this is not a song anyone’s likely to call ‘so 2018’. But I don’t care. It’s another one you’d never stumble upon outside of Eurovision (or at least outside of the Balkans) which is one of the things I love about it. I’m sure the huge Serbian population here in Australia will respond to this positively, dancing up a SuRie storm. Whether or not that translates into votes, we’ll see. I do think Serbia will struggle for a final spot again, and to be honest my jaw will drop a little if Balkanika are announced as qualifiers – in a good way. Nova Deca would be a fantastic song to have in the final program, since no matter what it follows or precedes it will be different. And I think Serbia needs some encouragement to start sending ethno-fusion songs to Eurovision on a more regular basis, because when they do, they do it very well. They always get the Jaz tick of approval, anyway.
2017 VS 2018? 2018. Easy choice.
My score 8.5
My thoughts Pink hair, don’t care. That’s Lea Sirk (and her Portuguese twin Cláudia Pascoal), repping Slovenia with a song that makes last year’s On My Way sound even more passé than it actually was. First things first, I’m still pissed that BQL were knocked back again at EMA with another amazing Maraaya creation. I sincerely hope their victory day will come. In the meantime, we have Hvala, Ne!, a song I have quite the like/dislike relationship with. Do the good things outweigh the bad, IMO? Let’s see. Positives: It’s contemporary and radio-friendly; it has attitude; it’s in Slovene when the temptation to switch to the English version would have been high; and Lea is a solid performer and vocalist. The NF performance was simple but effective too, so if they’ve replicated it in a way that fills the bigger ESC stage, I’ll be happy. Negatives: It’s kind of flat and monotonous; the noise in the chorus that punctuates ‘Hvala ne’ sounds like a smoke alarm having a nervous breakdown, and I am not here for it; and Lea’s NF outfit was super unflattering (it looks like she’s wearing something similar for Eurovision, and I do not approve). Okay, so it seems I’m leaning towards the angel on my shoulder rather than the devil on the other one re: Hvala, Ne! But at the same time, the song doesn’t ignite enough passion in me – in a yay or nay way – to make me want to vote for it. And I suspect I’m not the only person thinking this. There aren’t any ‘wow’ moments to speak of, and Lea’s position in the running order isn’t too favourable – Montenegro before her, while not the best Balkan ballad ever, is grander; and Ukraine after her? Well, they could destroy any impression Slovenia leaves like it’s a scrap of paper left on top of Melovin’s flaming piano. I can see Slovenia finishing in the 11th-14th bracket in SF2, but no higher. If I’m right, I won’t be glad to see the back of Lea and her amazing fairy floss hair, but I won’t miss her song in the final a whole lot either.
2017 VS 2018? I’m actually torn on this one. Both have big pros and cons. 2018, I think?
My score 7
My thoughts In 2017, the UK reminded us all that glitters is gold – and that a gold-drenched stage and singer won’t necessarily propel you into the gold medal position. Something they’re hoping will do the trick is sending a two-time backup singer (for Belgium, with Loïc and Blanche) in the form of SuRie. She’s a superstar on social media and the kind of Eurovision artist we all want to be our BFF…so it’s a shame that Storm doesn’t live up to her awesomeness as a person. Like Germany, the UK is not earning their automatic Saturday night spot with this – a song that would have a hard time qualifying from a semi. It’s nice, there’s nothing wrong with it, and SuRie is a joy to watch perform as she’s a Little Miss Sunshine onstage like Jess Mauboy. The lyrics are cheesy and predictable at times, but she charms her way through them and makes me believe she means what she’s saying (not that I’d been having trouble believing storms don’t last forever). But no matter how hard I look, I can’t find any ‘oomph’ in this. It’s lacking an element of excitement to light my fire and toast my marshmallows. Is it a heart-warmer? Not really. Can you dance to it? Nope. Is it hard to resist singing along to? Not in my experience. To put it another way, if Eurovision was an election campaign made up of political candidates, the UK wouldn’t be one who makes a powerful statement and attracts voters like Portuguese custard tarts attract Lisbon tourists. Up against the other automatic finalists, Storm comes across mediocre – and my ‘meh’ feeling only increases when I compare it to the other 37 songs. I hate that I’m not even surprised by that happening with a UK entry. Who wants to be accustomed to average? Lucie Jones gave us a glimmer of hope last year, but if she couldn’t finish higher than 15th, I don’t think SuRie can either. This year is turning out to be more on par with 2017 than we first thought in terms of the overall standard, so because Never Give Up On You > Storm, my early prediction for the UK now is 18th-22nd. But here’s your consolation prize, SuRie: when it comes to crowning the Twitter Queen of Eurovision 2018, nobody else stands a chance.
2017 VS 2018? I loved Lucie, so sorry SuRie.
My score 6.5
37 down, SIX TO GO!!! I’m on the home stretch, y’all, and that’s worth a happy dance. While I’m getting jiggy with it, you can check out this round’s ranking:
- Italy (10)
- Serbia (8.5)
- Denmark (7)
- Slovenia (7)
- United Kingdom (6.5)
- Iceland (2.5)
All I’m going to say on this one is…poor Ari.
Does Italy give you the most grande amore out of these six songs, or does Rasmussen’s majestic beard song win you over every time? Maybe you actually *gulp* enjoy Iceland? Make your decision and vote for your favourite now!
NEXT TIME It’s all come down to this: the final six countries competing in Eurovision 2018. Who’s got me fist-pumping and who’s got me face-palming when it comes to Belarus, Montenegro, Norway, Russia, Sweden and Switzerland? This weekend, all will be revealed…
