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!
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…
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.
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!
Hello again, and welcome to yet another round of Eurovision 2018 reviews! With two weeks to go until semi numero uno (I STILL CAN’T BELIEVE IT), I’m slowly but surely getting there with these musical judgments. You can bet your brand new ESC board game that I will have all 43 songs covered by then. #womanonamission.
Here’s a spoiler alert for this latest round: it was a big-hitter for me, with three of the five songs currently chilling in my top 10. Who out of Jessica, Madame Monsieur, Iriao, Ryan and Laura am I talking about? Keep reading to find out. And, as always (you must be sick of me mentioning this) vote for your personal favourite in today’s poll.
Now, in true Melodifestivalen style, NU KÖR VI!!!
Yeah…probably should have saved that segue for the round with Sweden in it. My bad.
My thoughts I can’t believe this is the fourth time I’ve had the chance to review my own country’s Eurovision entry – totally objectively, of course. Okay, maybe not totally. As soon as I got the opportunity to be biased with Guy in 2015, I instantly understood how easy it is to support a song that you may not normally be crazy about, so long as it’s your country that’s sending it. Don’t Come Easy was a prime example, but Isaiah’s follow-up artist Jessica Mauboy – technically a Eurovision returnee – is packing a song in her suitcase for Portugal that I honestly like a lot. I’m psyched to see Jess back in the contest and actually competing this time, after voting for her to win Australian Idol using my Nokia 3310 (in between playing Snake) way back in 2006. And though she’s dabbled in different genres during her music career, with We Got Love she’s found a perfect fit for her voice and personality. The song is three minutes of pure happiness that radiates out of her every time she performs it. It might be a song that’s obviously trying to tick Eurovision boxes, but in this case that’s not a bad thing, because it’s a) energetic enough to be irresistible on the Euroclub dancefloor; b) armed with simple, one-size-fits-all lyrics and an often-repeated title that sticks; c) the proud owner of a dangerously catchy chorus; and d) got a money note that has ‘Vote for me in 3, 2, 1, NOW!’ written all over it. It’s the kind of song that wouldn’t be out of place at an Olympics opening ceremony (and really should have been performed at the Commonwealth Games a few weeks ago) – a.k.a. it’s ultra uplifting and unifying. Could it be any more of an ESC anthem? And am I irritating you with my gushing yet? Well, don’t worry. I know I said the song was a perfect fit for Jess, but it isn’t a perfect song. We Got Love got flaws, and the biggest of the few I can find is those ambiguous lyrics. While an asset in terms of allowing the masses to relate to them and interpret their meaning individually, they are pretty aimless and clearly weren’t written with a specific situation in mind. They don’t tell a story, so there won’t be one to tell on stage. Then again, we have story songs from the Czech Republic and France, for example, that ARE about particular situations (very different ones) so what’s wrong with a three-minute, generalised but positive mantra? I do think Australia 2018 packs a punch, and in a weaker year than 2017, when we miraculously managed to make the top 10 (I know Europe still hates us for that), Jess should be there or thereabouts. If Sacha Jean-Baptiste can stage something upbeat anywhere near as well as she stages dark, moody stuff, I don’t see why Australia can’t grab a spot in the 4th-6th range. And who knows…if all goes according to plan, then repeating our 3rd place from JESC 2017 might be a strong possibility. Or maybe I’m deluded but endearingly patriotic?
2017 VS 2018? 2018…though so far, I’ve been 100% biased and loved all of our entries.
My score 10
My thoughts Once upon a time, I thought and hoped I’d be reviewing Lisandro Cuxi’s Eva as France’s Eurovision 2018 entry. I also thought I’d NEVER move on from Eva losing out to Mercy at the last minute as it did at the Destination Eurovision final. But time heals all (NF-related) wounds, and now I’m ready to talk about Madame Monsieur’s meaningful electro alt-pop ballad as another success in the string of magnifique French songs sent to Eurovision since 2016. Mercy stood out from the early stages of Destination, even though it was a selection show full of great music, and I couldn’t say I was shocked when it went on to win. It’s one of the most cutting-edge tracks heading to Lisbon, written by Emilie and Jean-Karl themselves and oozing classic French confidence, sophistication and minimalism. I’d compare it to Italy in that it’s an effortlessly classy message song; but being way less wordy than Non Mi Avete Fatto Niente – plus more in line with what streams successfully on Spotify – makes it more accessible. As message songs go, it’s also found the balance between making a statement and avoiding doing so in a sugary, overly-sentimental way (á la Running from Hungary in 2014). Baby Mercy’s story is just that, anyway: a story rather than a controversial political statement that should be banned from the competition (ya hear that, Mercy haters and 1944 naysayers?). Subject matter aside, this is just a really cool song – the kind I’d use to try and brainwash my non-Eurovision obsessed friends into becoming fans without them even realising it. It might be down-tempo and lacking in a big, showy ‘moment’, but it makes an impact in other ways. There’s something in it for Salvador Sobral types who need their music to be meaningful, something for established ESC fans looking for style and a memorable melody, and something instant that should capture the attention of first-time listeners during the final. Then we come back to Emilie and Jean-Karl who have a backstory (they’re married!), are ridiculously good-looking, and perform this song perfectly with just the right amount of emotion – in all black with red accents, of course, because the French don’t do OTT. My sole complaint re: this as a package deal is that the ‘Merci, merci’ chant at the end is a slight waste of song time (I’d have cut it in half and squeezed in another chorus). But that’s hardly a dealbreaker. I love this song regardless, and even though it’s not in my top five at the moment, it’s firmly in my top 10 (sitting at no. 7 FYI). It would be fantastique for Madame Monsieur to at least fare as well as Alma on the Lisbon leaderboard. If they can own the stage better than she did, I don’t see why the actual top 10 (as opposed to my top 10) shouldn’t have a place for France. Either that or they’ll flop and finish 22nd. Europe/Australia, have some mercy for Mercy!
2017 VS 2018? France is constantly kicking goals these days, but for me this tops Requiem.
My score 10
My thoughts If you liked Klapa s Mora in Malmö (they represented Croatia with Mižerja, ICYMI) then you’re bound to like Iriao and Sheni Gulistvis – more than someone who wanted to slapa the Klapa boys across the face, anyway. It’s a similar brand of all-male ethnic ballad that does have its supporters, but will struggle to catch enough votes in its butterfly net to qualify. Now, I was a Mižerja fan, but that had some pop elements to it so it wasn’t alienating. Sheni is fully wedged in its niche genre pigeonhole, and as much as I respect that and am happy to have something unique and cultural in the 2018 contest, it just doesn’t do anything for me. I don’t hate it, but I don’t enjoy listening to it, and that’s why it’s drifted down to the #41 position in my current ranking. It sounds like a cover of an ancient national anthem, and doesn’t have any of the power and/or touch of bat-shit craziness that we’ve come to expect from Georgia. I do find them hit-and-miss at adult Eurovision, whereas I adore them at Junior Eurovision – a contest they completely ‘get’. And if they were sending their JESC 2017 runner-up Music of the Heart to Portugal (give Grigol Kipshidze a fake ID and rip up the EBU rulebook and they’d be good to go), I‘d be dropping a great big douze on top of Georgia right now. Sadly, I can’t do that for Iriao, and I can’t connect with what they’re bringing to the table. I’m pretty sure that Georgia will have to sit out of the final for the second year in a row…but I haven’t seen Sheni performed live, and I do think there’s a chance that the boys can create a magic moment on stage. Still, I doubt a flawless vocal performance will be enough. I don’t want a DNQ to put Georgia off sending ethnic, Georgian-language (this is their first fully-Georgian ESC entry) songs though. This particular one may not my cup of cocoa, and may not have the mass appeal it needs to make the final (in my opinion), but the next one might be more appealing – while staying true to tradition.
2017 VS 2018? 2017. When a rip-off Bond theme is done right, I dig it.
My score 5.5
My thoughts What is it with Ireland associating relationships with death? Last year we had Dying To Try, and now Ryan is lamenting that he ‘thought we’d be together ‘til we die’. RTÉ should be sourcing songs for the next Romeo & Juliet film adaptation. What they should also be doing is taking a good long look at their Eurovision approach, because they still haven’t moved on from their 1990s glory days – and holding onto that isn’t helping them find favour in the 2010s. I was a Brendan supporter last year, and despite what I just said I am a fan of Ryan’s Together. I just think Ireland needs a firework set off under their backside, but more on that later. For now, I want to chat about the pros of this year’s effort, not the cons. It’s a really nice song – easy-listening, soothing, a little bit sad…a song you’d hole yourself up in your bedroom to blast during a breakup grieving period. The lyrics are simple feat. metaphors that actually make sense (yes, it IS possible), and Ryan’s voice is made for this sort of guitar-driven, singer-songwriter ballad – which it should be, since he co-wrote it. I think the vibe and melody of the verses and pre-chorus are stunning. It’s only when the chorus arrives that things start to unravel, because it’s the musical equivalent of a deflated balloon (thankfully Ireland had a fully-inflated one in Kyiv). Again, the lyrics are good, but overall the chorus is weaker than every other part of the song when it should be the star of the show. As a result, I feel like Together goes nowhere. That’s made much more painful by the fact that a powerful, statement chorus would have made a good song great, yet what we have is a good song being dragged down by one weak spot. Even so, this song has the potential for a Tom Dice (or more likely, Paradise Oskar) result. Especially if Ryan is as enchanting (if you’ll let me get away with such flowery language) on stage as I’ve heard he is from EiC etc attendees. It’s far from a cert though, and that brings me back to my irritations over Ireland never truly fixing what’s broken. When’s the last time people were Israel 2018 excited about an Irish entry? It’s as if those responsible for choosing them think it’s only a matter of time (Sennek pun intended) before everything old is new again and songs that would have won at Eurovision in 1994 start doing it all over again. Like Denmark – but to an extreme degree – Ireland sends safe, vanilla songs that are more inside the box than Azerbaijan’s trapped alter-ego man from 2013. Year after year after year! Yeah, I’ve liked what they’ve done the past two years, but neither Dying To Try nor Together were/are potential winners or guaranteed to qualify. Where’s the spark? The x factor? Not in Ryan’s chorus, that’s for sure – but there is a glimmer of hope in the rest of his song. We’ll soon see whether that’s going to pay off or not.
2017 VS 2018? Ireland was a guilty pleasure for me last year – #TeamBalloon!
My score 7.5
My thoughts Being Aminata-short on time this NF season, I didn’t get the chance to follow Supernova – so when I cleared three minutes in my schedule to listen to show winner Laura being a Funny Girl, I wasn’t sure what to expect. Would the song be on the same level as Love Injected/Heartbeat/Line, or would it be a jokey, lighthearted (and potentially lame) entry as the title suggested? As it turned out, the title was a herring as red as Laura’s NF dress. There’s nothing funny about Funny Girl, and I mean that as a compliment. My honest first reaction was ‘Wow!’. This song is soulful, sexy and sad all at once, and Laura’s performance was too (with added hair flicks for maximum sass). The situation of not being taken seriously by a boy who Netta Barzilai would definitely call stupid is explored using simple but original lyrics, a musical style that’s both on-trend and throwback, and a dramatic chorus that begs for a seductive lighting scheme (I don’t think the emphasis on lights, not LEDs, on the Lisbon stage will affect Latvia at all). There’s also an atmosphere of tension, frustration and desperation built up throughout Funny Girl that feels raw and genuine on every listen. Basically, I’ve been impressed by Latvia for the fourth year running. Laura’s one of our annual American accents at Eurovision, and her extensive musical education in the US shows in an awesome song that she wrote and composed herself, and in her competent, confident live performances. Although there’s nothing I don’t love about her overall package, I have to admit that Latvia slipped down a little in my ranking through selection season, as songs I liked even more were chosen and already-established entries grew on me. They’ve also slipped down the scoreboard over the past few years, with Aminata’s 5th followed by a 15th from Justs…then a big drop to a DNQ and last place in 2017 with Triana Park (I’m still mad). I do have high hopes that Laura can do better than a semi wooden spoon. There’s a good six or seven countries accompanying her in the second semi that are dead certs or at least very likely to qualify – leaving three or four spots open. I think she’s capable of snatching one, but could finish 11th or 12th as easily as 9th or 10th. Will I be as heartbroken as Funny Girl Laura if it’s another DNQ for Latvia? Pretty much. Particularly if it’s revealed that she finished 11th and Russia went through in 10th…but that’s another story.
2017 VS 2018? Laura gave me goosebumps on listen no. 1, so 2018 it is.
My score 8.5
That’s all for today, folks – and the stats are now 20 down, 23 left. Told you I was getting there. It might be like an arthritic sloth completing a marathon, but that’s part of the Jaz charm, right?
Here’s this round’s leaderboard:
- Australia (10)
- France (10)
- Latvia (8.5)
- Ireland (7.5)
- Georgia (5.5)
Look, I’m sorry/not sorry, but I HAD to put Jess on top when it came to choosing between Australia and France. I’d probably be deported for being unpatriotic if I didn’t. If it makes you feel any better, it was like choosing between a deep-dish pizza and another deep-dish pizza – i.e. very difficult and almost too close to call.
Do you have a few favourites here that you couldn’t possibly narrow down to one? If not, and you know exactly where your loyalties lie, this question will be a lot easier for you to answer.
NEXT TIME It’s full steam ahead with Austria, Bulgaria, Croatia, Portugal and Ukraine. I have some strong feelings about all of them, so drop by again to see if they’re happy-dance kind of feelings…or the punch-a-hole-in-the-wall kind. Subscribe in the sidebar and/or follow me on social media @EurovisionByJaz to make sure you never miss a post!
If you’re not ready for Junior Eurovision 2017 (which TBH I’m not, considering I’m still frantically trying to get my song reviews done on time), too bad – it’s nearly here! The countdown is in single-digit days, rehearsals have started in Tbilisi’s festively-decorated Olympic Palace, and Mariam Mamadashvili is probably wondering what to have printed on her business cards now that ‘Current JESC Champion’ is about to be void.
In fact, the contest is so close than I have zero time for a classic Jaz Introductory Euroramble™. All I’m going to say is here’s Round 3 of my annual reviews, feat. Australia, Belarus, Malta and Ukraine. Check out my verdicts and vote for your favourite of the four below!
Watch it here
Last year…I couldn’t help being happy – though very, VERY confused – when Alexa Curtis finished 5th with We Are. I suspect the absence of a televote had something to do with it.
The 2017 verdict We’re back, bitches! Actually, scratch that, because I should be keeping my language in check when discussing JESC. We’re just…back. As an Australian, it’s hard not to be pleased that our Eurovision invitations are still being extended (even in the face of frequent backlash/mutterings from other countries, which I do understand. But at the same time, IT’S HAPPENING, SO GET OVER IT). Also pleasing is the fact that we’re yet to send a bona-fide dud to the adult or junior contest, and the seriousness of our approach is worth at least one less snide remark, right? I definitely think so when it comes to Isabella’s Speak Up, which is arguably our best JESC entry ever. It doesn’t have My Girls whiff of lyrical cheesiness, or the wishy-washiness of We Are – the lyrics are great, the chorus is catchy and easy to sing along to, the vibe is young without being too young, and it includes one of the best key changes of the year (which Isabella has already proven she can nail live). I honestly feel like I would rate this song no matter which country it was coming from or what language it was sung in. It’s not as bubblegum pop as, say, Kisses and Dancin’ from The Netherlands last year, but it has a similar charm and upbeat energy that makes you smile. All in all, there is very little to pick on re: Australia 2017 – before seeing it live, anyway (rehearsals have obviously started, but my golden rule is NEVER watch them). Isabella will be backed by some dancers, the outfits and graphics will be slick, we’re performing second-to-last…what could go wrong in a contest that’s weaker than the last few? Well, a lot. I have an unfortunate feeling that even though a) Speak Up is our best Junior track so far, way better than We Are, and b) as I just mentioned, 2017 is not the strongest field of songs, we’re not going to make it into the top 5 again. I think we deserve to with this – not necessarily reaching the podium, but 5th or 4th place, sure. I just have this gut feeling that Australia is headed for more of a 6th-8th ending á la 2015. Still, I don’t have the most reliable guts on the planet, so anything could happen. My fingers are extra crossed!
Song score 10
Artist score 10
Final score 10
Watch it here
Last year…Alexander Minyonok and Muzyka Moikh Pobed received the Christer Björkman douze points of approval, which (when combined with a usage of hoverboards that totally eclipsed Serbia’s) helped him hit the heights of 7th place.
The 2017 verdict This might not apply at adult Eurovision, but you should always keep an eye on Belarus at Junior. They’ve won it twice and done very well for themselves on most other occasions. The trend continues 110% with Helena and I Am The One, and I’m going to cut right to the chase by saying she may actually be the one (someone had to say it). This song is undeniably high-class, and I don’t think many people could call it anything less than flawless without lying a little bit. It’s not even in my personal top three for 2017 and I’m calling it perfection. Beautifully produced – right down to the music video – and big on atmosphere and drama, it does everything a dark pop song should do without being cookie-cutter predictable. Belarusian lyrics + English title = totally fine by me, as are the explosive choruses and moments of light and shade that make the Serbias and Portugals of the year sound flatter than a pancake. Helena’s voice can get a teensy bit grating in the chorus if I’m extra-critical, but as long as she has ultimate control over it and stops it from entering The Screech Zone (it’s like the Twilight Zone, but you need multiple pairs of earplugs to make it out alive) I can deal. Speaking of things that might happen live…I want this performance to be the way I’m picturing it in my head SO BAD. The mystical ball from the MV better be there at least, and dynamic, epilepsy-triggering laser lights basically go without saying. For the costume, I’m thinking boho-robot, but that’s a concept I need to write an explanatory thesis on later. For now, I don’t know what else I can say about Belarus bar the following: the other four or so songs in winning contention better watch their backs. Then again, this could be the pre-show favourite that doesn’t quite meet expectations. There’s only a few days until we find out!
Song score 12
Artist score 12
Final score 12
Watch it here
Last year…home girl Christina Magrin delivered possibly THE vocal performance of the year, and came 6th with Parachute. I still can’t stand the song…but damn, that voice!
The 2017 verdict If this was the Junior Eurovision Cuteness Contest, Malta would walk it because Gianluca is so, so cute *melts despite not being the biggest fan of kids in general*. But it’s not. Sure, being adorable and charismatic and having impressive eyebrow-waggling ability for a 10-year-old will benefit him, but he needs an A-grade song to secure Malta’s third JESC win since 2013. Does he have it in Dawra Tond? Well, it was better three years ago when Armenia sent it and called it People of the Sun. It is very similar to that bronze medalist of Betty’s, but as with movies and music, the original is usually better. Still, the infectious sunny energy of POTS is worth taking “inspiration” from, so I can’t be too harsh on Dawra Tond. The pros include: a bit of Maltese for the first time since 2010; simple lyrics and phrasing that make this sing-along friendly and a total earworm; a good combo of retro (there’s something Mambo No. 5 about it) and modern dance-pop sounds; and that energetic beat that Malta can’t stay away from for too long (though they’ve won Junior with and without it). Overall the song doesn’t show off Gianluca’s incredible vocal abilities as much as I would have liked, but it does have some big moments. Performing between female ballad-fielders Ukraine and Russia should make Malta stand out, but with Polina being a heavy hitter and a handful of other stronger songs scattered throughout the running order, I wouldn’t bet any money on Gianluca winning (but I’m still pre-predictions, so don’t hold me to that if he does!). Honestly, I don’t want him to, but I could live with a decent finish in the range of 3rd-7th. Any higher and I’ll be forced to post bitter (yet not offensive because KIDS) statuses, tweets and stories all over social media to console myself.
Song score 7
Artist score 12
Final score 9.5
Watch it here
Last year…Ukraine had something of an off year at JESC, only making it as far as 14th with Sofia Rol’s ballad Planet Craves For Love. The nonsensical Cirque du Soleil staging didn’t help.
The 2017 verdict Ukraine are a bit hit-and-miss with me at Junior, though I’ve liked all of their recent entries (I’ve got no complaints about the 2012-2016 songs on a purely musical level). And hit-and-miss is actually how I feel about Anastasiya’s Don’t Stop specifically. It has grown on me since it won the national final back when dinosaurs still walked the earth (a.k.a. ages ago). But, while there are parts of the song I love, there are other parts that really irritate me – so on the whole I can’t say I’m going to be voting for it. Getting my tick of approval are the verses – nice melody and structure, plus an acoustic-y, chilled-out vibe that gives me life – and anytime the violinist pops up even though that does remind me a bit of Jacques Houdek’s My Friend. However, my main peeve is kind of a big one: the chorus. Anastasiya seems very sweet and she has a nice voice, but whenever an ‘ay-i-ay-i-ay-i-ay’ comes out of her mouth (which is a handful of times in every chorus) the nearest mute button becomes all I can think about. Sometimes you don’t know why you’re annoyed by something…you just are. And sadly, as sweet as she is, Ana is not Gianluca-level cute in that I would forgive her if she stole all of the money out of my purse. There’s always the chance of her new and improved live version winning me over, I guess. Looking at/listening to Don’t Stop as objectively as I can, I think it has the potential to do fairly well in the contest, if not amazingly so. It’s not a winner (if Ukraine think that the key to winning Junior is sending a very small child called Anastasiya, they are wrong) but my notoriously unreliable crystal ball tells me mid to lower top 10 is attainable.
Song score 7
Artist score 8
Final score 7.5
Well, there’s another four songs I can cross off my list. And here’s the mini-ranking from this round:
- Belarus (12)
- Australia (10)
- Malta (9.5)
- Ukraine (7.5)
So Helena’s the one AND number one on this occasion, closely followed by Isabella *screams patriotically*. This was a pretty high-scoring round though, so on the miniscule chance that Anastasiya is reading this, she shouldn’t feel bad. That score won’t put her at the bottom of the overall ranking still to come. DRAMA!!
Is Belarus your favourite of today’s four tracks, or is Malta more your cup of tea? Perhaps Australia or Ukraine have served up your preferred kind of pop. Take your pick!
NEXT TIME There’s one final round of reviews for me to get through – so who’s left? Armenia, Ireland, Russia and Serbia, that’s who. Keep an eye out for that post to find out who gets douze points from me.
Didn’t see this coming in the wake of last week’s top 5 performances of 2017 countdown? Well, neither did I. Consider my face officially palmed.
I actually have the awesome Anita from Eurovision Union to thank for inspiring this companion piece to that post: a countdown of the countries that didn’t, in my opinion, get it all right in terms of their song’s staging and/or performance in Kyiv. I’ve deliberately not made this about the five worst performances, since there wasn’t a single country that I’d say got everything wrong (although one came close). Instead, I’ve singled out the elements in a handful of acts – dodgy vocals, horrifying costume choices, bad backdrops etc – that dragged them down…and in the case of a few, may have had a hand in their non-qualifications.
Have your say on the biggest stuff-ups of Eurovision 2017 in the comments. Remember, honesty is the best policy (and there’s no fun in 24/7 sunshine and rainbows, so get critical!).
Oh, BTW – you can (and should!) still vote in the People’s Choice polls of the 2017 EBJ Eurovision Excellence Awards. They’ll close in a few days’ time and the results will be revealed soon after that, so do your Eurofan duty while you have the chance!
#5 | Montenegro steers clear of OTT…for worse, not for better
I’m starting with something that was too inoffensive rather than too offensive, especially considering the source. From my very first listen of Slavko Kalezić’s Space, I was expecting to see it on stage in the campest and most fabulous fashion imaginable. I’m talking buff, topless male dancers who had marinated themselves in body glitter in the hours leading up to the show; galaxy-inspired visuals that alternated between dramatic (for the verses) and flamboyant (for the choruses; and plenty of overuse of the core Eurovision elements – wind and fire. I was confident in Slavko’s ability to make this dream of mine come true, given that he was to 2017 what Tooji was to 2012 – only Space didn’t require the reining in of camp that Stay did. So you can imagine my disappointment when he appeared on the Kyiv stage by himself, with only a mediocre costume change and his beloved Rapunzel braid for company. It’s not that he couldn’t command the stage on his own, because he strutted around like a boss and did the hairycopter with full enthusiasm. But when a song so obviously calls for one to go full gimmick on its ass, one should obey. Space needed more colour, more choreography and a crowd (of five other people) to be everything non-Eurovision fans think the contest is. Not so much to give it a shot at qualifying, since that was unlikely to ever happen (sadface), but just to make the most of the saucy, sassy lyrics; the fun, upbeat vibe; and Slavko’s larger-than-life personality.
#4 | Switzerland sugar-coats their staging of Apollo
I’ve got a job for you: take all of the 2017 entries that were chosen via a national final, and compare how they were staged initially to how they were staged at Eurovision. For the most part, you’ll notice that not many changed drastically, and those that did mostly improved on their presentation. Timebelle’s Apollo, then, is the exception and not the rule, because it went downhill between NF season and contest week. In fact, the only way Switzerland went up was by sticking Miruna at the top of a spiral staircase, which she eventually descended anyway (in stilettos, without breaking a sweat or any bones, which does deserve a high five). What we saw and what we heard clashed like crazy. Apollo benefited way more from the dramatic and modern NF staging, which could have been built on for ESC purposes. Yet that was discarded in favour of cheap and predictable background graphics, the inexplicable staircase (Why was it there? What did it add?), and an equally inexplicable yellow dress that I thought was less Beauty and the Beast inspired and more like the repurposed outer layer of a certain big bird who lives on Sesame Street. And let’s not forget more pastel shades than you’d find in the maternity wing of a major hospital. Overall, the look of this would have worked wonders for the right song (minus the tacky backdrop) but it took a good song and made it below-average. If I were Switzerland, I’d be contacting Sacha Jean-Baptiste right now to book her for Eurovision 2018.
#3 | Australia’s hit-and-missed high note
Contrary to what you might think, I don’t enjoy bringing this up in conversation time and time again. However, as patriotic and proud of Isaiah’s work in Kyiv as I am, I can’t deny that when we’re talking about the biggest broadcast boo-boos of the year, that notorious note he aimed for during the semi final HAS to be mentioned. I don’t recall ever hearing the guy drop a note while he was singing his heart out on The X Factor last year, so perhaps the grueling rehearsal and media schedule of Eurovision took its toll…or maybe it was a combination of nerves and trying too hard. Whatever the cause, to say that Isaiah failed rather than nailed that note – one accompanied by a pyro curtain, which is the international symbol for ‘This is the moment that’s supposed to win you over and secure your votes’ – would be an understatement. It turned out to be a moment that had me convinced Australia had just lost out on a spot in the grand final instead. Thankfully, because his jury semi performance was more X Factor and less cringe factor, Isaiah did slip through in a still remarkably high sixth place. He then went on to make up for the vocal mishap to end all vocal mishaps on the Saturday night, though it has to be said that the initial pyro note still wasn’t up to scratch. Whenever I watch either of his performances back in the future, my hand will be hovering over the mute button as the two-minute mark approaches.
#2 | Albania dresses Lindita up for a wacky wedding…WTF?!?
I could complain until the cows come home about all of the questionable costuming choices made by the 2017 delegations. Belgium? Should have worn the jumpsuit from the flag parade. Poland? Shouldn’t have worn white. Israel? What were they thinking putting him in a shirt when shirtless clearly would have been the best way to go? But right at the top of the heap – though at the bottom of the pile in terms of suitable sartorial selections – is undoubtedly Albania. I don’t know what kind of performance Lindita’s ‘Vegas showgirl meets drunken 3am Vegas bride’ outfit would be appropriate for, but it was just plain ridiculous when paired with World. I don’t get the thought process behind it, assuming there was one. It proved to be such a distraction that I couldn’t even concentrate on Lindita’s mind-blowing vocals, which hadn’t been an issue when she won Festivali I Këngës with the song formerly known as Böte. Unfortunately, this look wasn’t a one-off, as she wore something equally frightening (in nude, not white) on opening ceremony night. She obviously felt pretty and powerful on both occasions – she doesn’t strike me as a person who’d wear what she was told if she wasn’t 100% happy about it – but in my eyes, a black bin liner would have been a better choice both times. You know, like the one Croatia’s Nina Badrić wore back in 2012.
#1 | Spain’s…well, everything
Many of us fans felt sure about two things prior to this year’s contest. One, that Italy would walk it, and two, that Spain would finish dead last. We may have been wrong about the former, but the latter did its predicted duty. Poor Manel – he had a terrible time at Objetivo Eurovisión thanks to The Mirela Incident, and then couldn’t prove anyone wrong by defying our ESC expectations of him. You might wonder why, if you’re unacquainted with both Do It For Your Lover and his rendition of it in Ukraine. Well, the song was weak to start with – great for roaring down the road in a convertible on a summer’s day en route to the coast, but too much of a repetitive flatliner to stand up in a song competition. It could have been saved by some genius stage concept, who knows…but Spain had the total opposite up their hibiscus-patterned shirt sleeve. The surfer idea was good in theory, but the execution was on par with High School Musical 2, if High School Musical 2 had been lumped with a production budget of $100. Low-quality graphics – including a Kombi van that kept on rocking without any danger of anyone knocking, an overhead shot of Manel and his band on surfboards that they just didn’t pull off, and a general air of over-casualness – made the package pretty unappealing. The fact that it was an entire verse before anyone turned around to face the camera/audience was also a turn-off. And just when we thought Spain might scrape enough points to NOT finish 26th, Manel’s voice decided to re-break at a pivotal moment, which sealed the deal. I’m sorry for seeming extra bitchy about this (you must be craving sunlight after all this shade I’ve thrown) but I’m being cruel to be kind. Both Manel and Spain deserve a LOT better.
Do you agree with any of my picks, or do you think I’M the one making the mistakes? Which competing countries of Eurovision 2017 made the wrong decisions when it came to putting on the best possible show?
Next time…you’ve voted (I hope) and now the EBJ Eurovision Excellence Award winners – People’s Choice + my personal choices – can be made public. First up, I’ll be handing out (pretend) trophies in the categories of The Artists and The Songs – followed by The Performances, The Show and The Results. The celebration of Kyiv’s bests and worsts will continue, and you’d be as crazy as Lindita Halimi’s costume designer if you missed it!
Hello again, and welcome to the second-last round of my Eurovision 2017 reviews! Obviously nothing has changed in my life since I was at university, because I’m still battling to get stuff done by certain deadlines. Just expect a lot of reviews in a short period of time, and everything will be fine (something I’m telling myself at least three times a day at the moment).
There’s just two days to go until the first semi final, and all 42 songs have now been rehearsed on the real-deal stage. We’ve seen our likely winner in action (monkeying around to massive rounds of applause) but that doesn’t mean we have to stop talking about all of the other songs. So that’s what my mum (she keeps coming back, even though I figured I’d have scared her off by now) and I are up to today.
Keep reading to find out what we think of the songs from Isaiah, NAVI, Svala, Brendan Murray, Slavko Kalezić and Manel Navarro. Spoiler alert: there are some major disagreements involved!
My thoughts A seventeen-year-old fresh from a TV talent show win – which followed an audition during which he forgot his lyrics (for the second year running) – wouldn’t have been my ideal choice for my country’s 2017 Eurovision act. On paper, it doesn’t sound that promising…and me bringing all that stuff up makes me sound mean, I know. But I wanted to make the point that when Isaiah was revealed as our act in March, I had a LOT of doubts that he was ready for such a big-scale show. As it turns out, I think he’s grounded and mature enough, and has gained enough on-stage confidence in the wake of his X Factor victory, to do Australia proud next week. He’s going to do that with a song that may be missing the x factor (ironically) that saw Guy Sebastian and Dami Im smash their respective shots at the contest, but has been a major sleeper hit with me. Don’t Come Easy is a soulful ballad that Sam Smith would totally approve of, and it couldn’t be any more suited to Isaiah’s voice. Lyrically, it could be more suited to his age – it’s hard to buy such tales of woe and heartbreak from a seller who’s still considered a kid in many ways (he can’t legally drink, gamble or complain bitterly about adult responsibilities). But if he can use those epic eyebrows to emote as much as possible, and not just sing the words – even though he’ll sing them terrifically – his age may end up being just a number. Most people watching him belt out the song in front of his own super-sized face (check out some rehearsal footage if you’re confused RN) won’t be worrying about it. I hope the staging doesn’t end up being a worry and lives up to what Australia’s put together the last two years, as both times it has made our songs stronger competitors. Don’t Come Easy has grown on me a lot since I first heard it, and now I find it really sticks in my head and makes me feel some feels (not on a Finland level, but there’s something there). There’s potential in the build of the song to create an explosive moment, like Israel did last year, and I believe we’ve even got a pyro curtain to help that along (just like Hovi did). If it all comes together, then another top 10 result is achievable. I don’t think top 5 is on the cards, but I will be waving my Aussie flag with pride (and probably a sweaty palm) in any case. 8 points.
My mum says… I own and treasure a copy of Sam Smith’s In The Lonely Hour, so the fact that this song could have fit right in to that album’s tracklist will give you a good idea of how I feel about Don’t Come Easy. I really like it! It’s retro in a wonderful way, with powerful music and lyrics that are set off by Isaiah’s incredible (especially for a teenager) voice. There’s a bit of an Adele feel to the soul of the song as well, and yes, you guessed it – I also own all of her albums. Is this a biased review? Nope, because I listened to it without knowing which country it was representing. Now I know, I’m proud. 8 points.
Australia’s score 8.00
My thoughts This song is like a musical version of Nathan Trent – so adorable you can’t help your urge to hug it so tightly it almost suffocates. The difference between the two is that the cuteness of Story of My Life doesn’t totally win me over, even though I acknowledge that it’s there. I think it’s fantastic that we get to hear Belarusian on the adult Eurovision stage for the first time ever thanks to NAVI – and I’m so appreciative of the fact that their entry is one of just four this year to feature 100% non-English lyrics *weeps internally*. I also think the sing-along factor of the song is a real asset, giving it an anthemic quality not often found in folk music. But – and you can call me bitter and/or soulless once I’ve said this – the overall ‘aww!’ vibe of Belarus that a heap of other fans feel, I don’t AT ALL. I wouldn’t skip the song if I was shuffling the 2017 album, but I wouldn’t wait for it to play with bated breath. For the sake of Belarus succeeding in the contest, and for the sake of filling the final with as many foreign languages as possible, I hope NAVI do qualify on Thursday. If they don’t, though, I’ll be okay with it. Overall, SOML is too repetitive and maybe too folksy for my tastes. 5 points.
My mum says… I couldn’t have less of a clue what these two are singing about, but it can’t be anything heavy going – the whole song is light and bright, and I really got into it. I especially like the use of instruments. However, that final stretch of hey-ho shouts went on way too long for my liking. That space could have been filled with something less repetitive, and in turn I’d have been giving this entry more than 6 points!
Belarus’ score 5.5
My thoughts There are some songs you can’t help but cut to the chase with when you’re talking about them. And cutting is an appropriate term to use when talking about Svala’s Paper, which I worship. At least 75% of my devotion to the entry has to do with Svala herself, a.k.a. Iceland’s answer to Gwen Stefani. She’s an age-defying, super-stylish GODDESS of a woman, and I am the personification of the heart eyes emoji whenever I think about her. But Paper also rubs me up in all the right ways. It’s like the cutting-edge, 1980s-inflenced love child of Margaret Berger’s I Feed You My Love and Aminata’s Love Injected – two songs I love to pieces. It’s ice cold and Svala is the ice queen with impeccably styled hair and makeup, plus bone structure that would have made Michelangelo weak at the knees. Not to say that I’m fixating on her cheekbones when she’s performing such an earworm of an electro-pop ballad (IDK how else to describe it). I’m actually getting lost in the dreamy atmosphere that the 80s synth sound provides, which contrasts beautifully with the slick production. It’s a perfect marriage. My only problem with Iceland this year is Svala being a visual force to be reckoned with, yet she’s singing a song that should bring out a vulnerable side based on the story told by the lyrics. She’s a little too intense, pulled-together and in control to pull off Paper with 110% authenticity. At least, she has been up until this point. From what I’ve seen (like, one photo) and heard (*insert long, long list of Eurovision sites/podcasts here*) of the rehearsals, she still needs to soften to match the emotions present in the song. Even if she does, I’m not that confident in Iceland’s ability to score themselves through to Saturday night. But I reckon this song would be an interesting and very contemporary (feat. a throwback sound that somehow makes it even more modern) addition to the final line-up. After the country’s shock DNQ last year – and failure to make the final the year before that – they seriously need a pick-me-up. I don’t want Svala using her Paper to wipe away tears of post-semi sadness. 10 points.
My mum says… This is far from being the worst entry I’ve heard, but it’s also far from being one of my favourites. I quite like Svala’s voice (though I’m incredibly jealous that she looks so young for her age and am wondering if it’s too late for me to up and move to Iceland) but I’m not a fan of a metaphor based on office supplies. I find the lyrics a bit lame in general. It’s just not for me! 5 points.
Iceland’s score 7.5
My thoughts Ireland – or at least those responsible for their recent Eurovision entries – needs a slap. Either that, or Sweden needs to hurry up and overtake them in the wins department so they’ll have to step up rather than falling back on the old line ‘Oh, but we’ve won the contest more than anyone else!’, which is usually accompanied by an entry of the same mould they were sending in the 2000s…which in turn paid tribute to the songs that won for them in the 1990s. Not much has changed in 2017, as the country’s collective face is still looking like it needs a high five. However…my relationship with Brendan Murray’s Dying To Try (not Trying To Die, thankfully) is love-hate. Here’s what I love: the first minute and a half. The understated start, the echo-y beat that kicks in, the melody, the frailty of Brendan’s voice (Svala needs to borrow some of that) and even the lyrics, which are a little cliché but have been neatly phrased and sparingly used, are all really nice. And, if the songwriters had carried on with another verse similar to the first, then a bigger second chorus that transitioned into an even more explosive final chorus without using a cringingly passé key change, all would be well. Instead, the entire second half of the song is one long, whiny chorus that doesn’t tell us anything we don’t already know. It’s like they literally couldn’t be bothered to write anything after that first chorus, so they dragged it out in order to fill as many seconds as possible. Except, it hasn’t. There’s an emptiness there as you wait for a second verse that never comes. I mean, who’d mix up a bowlful of cake batter and then only pour half of it into the pan? Ireland, that’s who. It’s a wasted opportunity of a song that could have totally tickled my fancy. I honestly love the first half enough to give it 10 points, but the rest deserves about 3. I’ll settle somewhere in the middle and give Dying To Try 7 points.
My mum says… THIS IS A GUY?? Mind = blown. It’s not like I’ve never heard high-pitched male vocals before, but I was completely convinced I was listening to a lady here. That aside (because it has nothing to do with what I think of the song) it’s a nice ballad with a good beat and a soothing quality. I think that comes both from the music and from Brendan’s voice. This is quite an emotional song – not so much that I’m in need of a tissue or ten, but enough to make me feel something. I like that in my music. I do think that this can be categorised as a forgettable ballad though. Describing something as ‘nice’ often leads down that path. 6 points.
Ireland’s score 6.5
My thoughts I never, not even in my wildest dreams, imagined that we would someday have an entry competing in Eurovision that could be considered camper than Deen’s In The Disco and Zoli Ádok’s Dance With Me combined. But Montenegro has given us the gift of Slavko’s Space, and I am SO here for it. It’s like a highly sexualised Alcazar made it to the contest with the help of a sponsor that manufactures hair extensions. What about that description makes it a bad thing? Nada, people. This is a BANGING disco-dance track that somehow doesn’t seem dated and lame like San Marino’s – possibly because it’s right up Slavko’s flamboyant street, and he owns the shit out of it. He whips his hair back and forth (I’m hoping it doesn’t fly off into the audience during the broadcast…or am I?), struts like it’s an Olympic event and has me lip-syncing along with the most outrageously pornographic lyrical metaphors I’ve ever encountered in a Eurovision song (mainly because the line ‘I trample in your arse’ from Slovenia’s 1999 song turned out to be a misheard lyric). I enjoy every second of every minute, even if I feel like my pleasure should be guilty. Generally speaking, I want Eurovision to evolve and be much less of what skeptics think it is (i.e. all novelty, cheese and the worst word ever – ‘kitsch’), but at the same time, I love that Space brings a touch of schlager back to the show. We’ve got plenty of edgy, deadpan entries this year – think Azerbaijan, Belgium, Iceland and Latvia – plus a classic ESC ballad from Portugal. So Montenegro are bringing some variety along with a suitcase exclusively reserved for body glitter (I assume). Uptempo, catchy and oh-so-danceable, this is the song that’s most making me miss the Euroclub. I would have busted some memorable moves to it on that dance floor, let me tell you. Unfortunately, I can also tell you that it probably won’t qualify, as sublime is likely to beat ridiculous (with the exception of Romania). As I can see that coming from a mile away, I won’t be too upset about it. But I’ll console myself anyway by playing it on full blast at every opportunity, until my neighbours file a complaint regarding excessive noise and sexual innuendos. Bring it on! 10 points.
My mum says… It’s hard to stay focused on how catchy the tune of this song is when the lyrics are so suggestive. That’s an understatement, really – Slavko seems to be less about suggesting than explaining in detail. Just when I thought ‘When you look this f*%$ing beautiful’ was the most controversial (almost) Eurovision line I’d ever heard! I could be convinced to dance to Space, but for the most part I can’t get past the ridiculous, R-rated lyrics. 5 points.
Montenegro’s score 7.5
My thoughts I’m not going to mention the words ‘Mirela’ or ‘contigo’ in this review (apart from mentioning them to say I won’t be mentioning them) because I think it’s about time we all moved on from The Spanish NF Incident of 2017. Manel Navarro is the one rehearsing in Kyiv right now, and Do It For Your Lover is the song representing Spain this year – that’s all there is to it. Speaking of which, there’s not a lot to this song apart from some simple charm, a cruisy surfer vibe and the most repetitive chorus since Ivi Adamou’s ‘La la la la la la la la la la la la la la la loooove.’ Those three things don’t add up to something spectacular, but I have to admit to liking this more than most other people I come across. Any music that sounds perfect for playing while on a road trip, with the windows down and no responsibilities to speak of for a few days, is bound to appeal to me to a certain extent. DIFYL ticks about 60% of my boxes – it’s inoffensive without being too bland, but it doesn’t push any boundaries either, and that repetition of the title (in case we forgot it, it was declared that Manel would repeat it 947 times in three minutes) is pretty irritating. As a result, I enjoy the Spanish-language verses more than any other part of the song. Manel’s aesthetic is casual street busker, which isn’t the sort of thing that does super well at Eurovision: Douwe Bob was a more polished exception. With his song failing to light a fire even for me, the odds are against him to strum his way out of the final’s bottom five. It might be time for Spain to revaluate their approach to the ESC on several levels, unless Manel shocks us all and defies our expectations. I can’t picture it, but I could live with it for sure. 6 points.
My mum says… Well, you can tell where this one comes from, and I like that about it. The Spanish parts are nice, easy-listening material, and I sort of wish that English didn’t feature at all in the song. It’s when that kicks in that things get monotonous. I especially dislike the stutter effect stuck in after each chorus. There needs to be more to a song than Do It For Your Lover has at its disposal to win me over completely. 6 points.
Spain’s score 6.00
That’s our six taken care of for this round…and here’s the ranking:
- Australia (8.00)
- Iceland (7.5)
- Montenegro (7.5)
- Ireland (6.5)
- Spain (6.00)
- Belarus (5.5)
Naturally, I’m HORRIFIED that Australia topped the list. Not. Congrats go to Iceland for not being far behind, and commiserations to Belarus for being very far behind. Lucky for them that this scoring couldn’t have less bearing on the actual contest results.
There’s six more sets of scores for the mini EBJ jury to hand out, and then the full ranking will be revealed! Drop by on Monday to check out our thoughts on Belgium, Croatia, Greece, Israel, Ukraine and the United Kingdom. Trust me, you don’t want to miss my mother’s reaction to a man duetting with himself.
In the meantime, let me know how you’d rank today’s tracks. What do you think will happen to them this week as the competition gets going? I want all the dirt. You guys know how nosy curious I am.
Get (even more) excited – Eurovision is nearly here!!!
Joining the Fashion Police to take on JESC 2016: My top 10 best-dressed acts of this year’s contest!
If your guilty pleasure is the ‘What Are They Wearing?’ pages of trashy gossip magazines, and you don’t mind comprehensive critiques concerning children, then a) you might actually be me; and b) this list is for you.
In case you hadn’t noticed, I can’t help commenting on the costumes that grace the Eurovision stage, as well as the music/dance moves/everything else in the mise-en-scène – the more hideous they are, the more fun the conversation generally is. But when it comes to Junior Eurovision, strangely, there’s never as much hideousness to be found (which is probably one of the reasons there’s no official version of the Barbara Dex Award for JESC). So I’m going to celebrate that AND my love for chatting clothing today, by counting down my favourite costumes from the contest we’ve just witnessed. Anti-Junior + anti-fashion fans: avert your eyes!
#10 | Albania’s Klesta Qehaja
I don’t know if the thought of being in Malta had everyone busting a gut to dress like Gaia Cauchi (circa 2013) but there was a definite trend going down in Valletta of ballad-belting brunettes wearing voluminous white dresses. Klesta’s bow-tied confection was perhaps the cutest of them all, and emphasised her childlike innocence – something that made it all the more shocking when THAT VOICE came out of her.
#9 | Serbia’s Dunja Jeličić
I’m guessing Dunja’s glittery jacket-and-scalp combo wasn’t to everyone’s taste, but I really liked it because it was the party version of Fiamma Boccia’s outfit. And as somebody who has a sequin-covered blazer of their own hanging in her closet, I’m not about to question Serbia’s choice of shiny silver apparel. It may have been a bit too glam to coordinate with the urban graffiti graphics in the background, but looking at the costume only, the ‘YAAAAS!’ box gets a tick in it from me.
#8 | Bulgaria’s Lidia Ganeva
See what I was talking about with the white dresses? Lidia’s looked like it had been mistaken for a blank canvas at a watercolour painting workshop – and the result was actually super pretty! It was one of the more princess-like dresses worn on JESC weekend, but the pastel palette on the skirt stopped her from giving off ‘entitled teenage debutante’ vibes, instead keeping things light, bright and youthful. Basically, the relationship between the song and the costume was rock-solid.
#7 | Georgia’s Mariam Mamadashvili
The white dress strikes yet again! I kind of like the fact that Mariam didn’t end up in predictable yellow/gold/orange/red, since Mzeo means ‘sun’ – though I wouldn’t have complained if she had. My favourite thing about the dress she did wear was the feel of classic JESC Georgia it had about it, while still fitting in with the style of the song. What I mean is that what we saw had an element of quirk in the shape and appliqués, but it was as classy and elegant as what we heard.
#6 | Ukraine’s Sofia Rol
The Fairest White Dress of Them All Award – a category with a seemingly endless conveyor belt of competition – goes to Sofia, for her bridal chic take on the trend. I’m surprised she didn’t go as far as to wear a veil and carry a bouquet given Ukraine’s tendency to opt for OTT (the oversized umbrella/mime combo is testament to that) but I’m relieved at the same time. Pretty and understated, this dress was a winner even though Planet Craves For Love wasn’t.
#5 | Armenia’s Anahit & Mary
You’ve got to love a concept outfit at Eurovision (junior or senior – it’s always awesome). That is, one that does more than just look nice, by bringing a song’s lyrics to life. Yep, you better believe that Armenia’s funky costumes (before they became less funky but more sparkly) were deep and meaningful. Well, they illustrated the personality differences between the characters Anahit & Mary were playing through Tarber, anyway. Circus clown couture FTW!
#4 | Poland’s Olivia Wieczorek
‘Unplucked swan princess’ may not sound like an appealing look for…well, ANY occasion. But Olivia’s blush pink feather-fest winged its way to JESC and worked very well indeed. A ballad as powerful as Nie Zapomnij practically demands a dress worthy of a diva (even if said diva was born post-2000) and I’m pretty sure even Mariah Carey herself would be happy to wear this one (after a few alterations, if you know what I mean). The girl was living her/my fairytale fantasy.
#3 | Australia’s Alexa Curtis
I really don’t think – despite being an Australian who should unconditionally scream ‘AUSSIE AUSSIE AUSSIE’ whenever one of our ESC/JESC entries is mentioned – that Alexa’s We Are stood out much in Valletta (though according to the scoreboard, I am clearly wrong). Her choice of clothing, however, was a standout selection. The perfect combo of glitzy and relaxed (i.e. it was a sequined playsuit), it allowed Alexa to move freely on stage but still fit in at such a glam event.
#2 | Macedonia’s Martija Stanojković
If there’s anything I possibly love more than a sequined playsuit, it’s a sequined jumpsuit – and when said jumpsuit is ROSE FREAKING GOLD, well…I’m dead. You just can’t get more gorgeous than that (although Macedonia’s costumes are my second faves from this year’s contest). Martija’s look echoed the effort her delegation put into her song and choreography, being encrusted in embellishments and matching both her boots and backup dancers. I’m in ljubov.
#1 | Russia’s Water of Life Project
Yeah…the ‘a rose gold jumpsuit is the pinnacle of perfection when it comes to the sartorial side of a song contest’ thing was a lie. For me, it would seem that exquisite, tribal-printed maxi dresses feat. intricate hair braiding and unconventional tiaras are superior. What can I say? The Water of Life Project looked incredible, in an extended + edited version of what Sofia wore in the Russian NF when she was a soloist. I’m asking Santa for a rip-off dress for Christmas (orange, please).
Okay – I think I’ve gotten all the clothing talk out of my system. But have you? Cast your vote in my poll and see how your outfit opinions compare to everybody else’s.
Now, if you paid even a tenth of the attention to the JESC 2016 costumes that I did, then let me know which ones were on fleek (The Netherlands are solely responsible for my use of that term) enough to be your favourites. Alternatively, were they all so ugly that you’ll be listening to future run-throughs of the contest rather than watching them? I know it’s children we’re talking about here, but they have to learn to take criticism! That’s so they won’t turn out like me and burst into tears when someone tells them they’ve got their shirt on backwards or that no, they can’t take that puppy home because it actually belongs to someone else. It’s a tough world out there, kids, so you gotta get used to it.
Anyway…fashion! Discuss it down below! I definitely don’t have any psychological problems!
Until next time (assuming you actually come back to this house of crazy feat. Eurovision)…
Welcome to the day all of us Junior Eurovision fans have been waiting for since the conclusion of the adult contest in Stockholm: show day!
In a matter of hours, the 2016 edition kicks off in Valletta, and I couldn’t be more excited if I tried (and I have). I hope you are too – I don’t want to be the only one on the planet who’s pretty close to peeing their pants.
Let’s leap straight in to the stuff I promised to cover in the title of this post, because a) I don’t want the show to start before I’ve even made my predictions, and b) I want to distract you from the fact that I just admitted to being close to wetting myself (I must have temporarily mistaken the slogan of JESC 2016 for #embarrass). So here are some rankings and predictions for your reading pleasure (fingers crossed).
Calculated and complete: The EBJ Junior Jury’s Top 17 for 2016 (plus my personal pre-show ranking, just because)
Just as the countdown to the contest itself was on this week, so too was the countdown to the unveiling of the EBJJJ’s post-review ranking (well, it was in my mind, anyway). After four rounds of reviews and mini-rankings, it’s time for me to pull the Cloth of Intrigue away with a magician-like flourish, and let you see who ended up where. Voila!
So there you have it. Russia, after scoring more sets of douze than any other country, takes first place, followed by Armenia, Serbia, Bulgaria and Macedonia. Poor Cyprus (and I am a little outraged by this) were relegated to rock bottom, which I hope will not be the case after the actual show is over. I’ll probably do a quick analysis this week of how the actual results compared to the EBJJJ version, so keep an eye out for that – the differences are sure to be drastic!
In case you were curious, here’s my personal ranking as of right this second. I got my way a few times, and I didn’t even have to rig anything. Woohoo!
- The Netherlands
How does yours compare, and what do you think of the EBJJJ’s collective Top 17? Let us know in the comments below.
Bets on (but not literally): Predicting the winner, loser and all of the results in-between
I say ‘not literally’ because I’ve never been confident enough in my predicting powers to gamble any of my savings on them. Removing money from the equation takes some of the pressure off, but I’ve got to say – I thought the absence of televoting would make trying to foresee the results easier, but it really makes it harder!
The outcome of JESC has never been decided by 100% jury voting before, so it’s impossible to say with certainty (unless you’re psychic) what will happen in a few hours’ time, and what happened as a result of yesterday’s jury final. Who knows how each jury will react/reacted to each performance? Not me, that’s for sure. But when it comes to the following questions, I have made the effort to come up with some answers…
FTW? Bulgaria. Yes, ladies and gents – for the first time in my history of being a Eurovision fan, I am calling this one outright (instead of super-gluing the seat of my pants to the fence by predicting at least three countries to win). I’ve only very recently had the feeling, especially after hearing reports on the rehearsals, that Bulgaria may be about to win their first ever Eurovision event – just six months after Poli Genova achieved their best result yet. My reasoning behind this is pretty simple: I think Valsheben Den is one of the few competing songs (if not the only one) that offers something to all three juries. I can also clearly see the credits rolling over a reprise from Lidia, which is often a good indication of a song’s potential to win (as stupid as it sounds). She’s adorable and engaging, her vocals and her costume (from the little I’ve heard and seen) are on point/fleek, and the song is catchy, memorable and uplifting. WHOLE PACKAGE ALERT! They may not be boasting my absolute favourite entry of JESC 2016, but I would be perfectly happy to witness Bulgaria win with what they do have.
Dark horse FTW? Poland. It’s time for a beautifully-sung ballad to win again, basically, and if it isn’t the up-tempo, inspirational, almost tribal ballad from Bulgaria, I have a sneaking suspicion that it could be Poland’s more traditional number. There was something magical about Nie Zapomnij from the start, and it has continued to grow on me and give me THE FEELING ever since. The pathway to victory is more mountainous for Poland than for Bulgaria, so that’s why I see Olivia as the dark horse to Lidia’s bright, white prancing pony. But watch out for this one, guys. If it doesn’t go all the way, it’ll at least outrank both of Poland’s previous results – and outscore both of their existing point totals.
The rest of the top five? Armenia, Russia, Macedonia. Armenia are better at being the bridesmaid than they are at being the bride, which is nothing to be ashamed of. Last year, I was convinced Mika would come second despite having everything required for a win, and I was right (for once). I have a similar feeling about Anahit & Mary – though really, anywhere in the 2nd-5th range of positions could come easily to them. Russia would be my ideal pick to emerge on top as Water of Life is my absolute favourite entry…but nobody’s talking about them as a potential winner anymore, and something is crooked enough about the chemistry and all-around appeal of the group and song on the JESC stage to convince me that it’s just not to be *wails like Rona Nishliu at a funeral*. Predicting Macedonia to make the top five may be a bit ambitious on my part (as I’m not sure the older jurors will go for it) but it deserves to be towards the top. If Martija doesn’t even grace the top ten with her presence, I will personally take it upon myself to beat up Jedward with an oversized can of hairspray (even if it wasn’t their fault).
The lower left-hand side of the scoreboard? Georgia, Malta, Belarus, Italy. We’re talking 6th-9th places here, so just out of the top-ten-in-adult-Eurovision equivalent that is the top five. Georgia, if I’m honest and all of a sudden, could actually win (as it turns out, Mzeo is kind of epic and has been getting the round of applause to end all rounds of applause during rehearsals), but if they don’t, I think they’ll drop down to about 6th. Malta (my least favourite) will no doubt get a boost as the home country, but I just don’t think Parachute has the substance to squeeze into the top five á la Federica’s Diamonds in 2014. Belarus would be in with a better chance if televoting was happening (hello, hoverboards!) but as the situation stands, they may have to settle for less. I think Italy’s class will win over the adult juries to an extent, and perhaps the expert juries too, unless Cara Mamma is completely overshadowed by other ballads.
The upper right-hand side of the scoreboard? Israel, The Netherlands, Cyprus, Australia, Serbia. Each of these countries has something that’s likely to stop them from steamrolling over a lot of their rivals. For Israel, it’s going up against arguably stronger and more memorable ballads. For The Netherlands, it’s racking up the points when their song is geared more towards the kids’ jury than any of the others. For Cyprus, it’s bypassing the potential jury opinion that Dance Floor lacks the technicality of a worthy winner. For Australia, it’s the same issue Israel will have, as well as a general lack of ‘wow’ factor. And for Serbia, it’s an underwhelming presentation that has been closely compared to the superior one from Belarus. Together, they’ve got about 99 problems, and making it over to the left side of the scoreboard is definitely one.
Right at rock bottom? Albania, Ukraine, Ireland. It causes me physical pain to predict such low places for two of these countries, but I really do think they’ll all have trouble capturing substantial votes from any of the juries – Ukraine and Ireland in particular. I’d love to be proven wrong and see Albania and Ukraine perform better, but I’m preparing myself for the worst.
These predictions – plus some highly scientific calculations which involved guessing which entries would appeal to which jury (kids, adults and/or expert) – come together to create a leaderboard that looks like this:
- The Netherlands
I reserve the right to delete this and pretend I never produced it if the real results are vastly different.
Do you agree or disagree with my guesses? Is there an obvious, in-the-bag winner in your opinion, or are we in for a shock that has all of our jaws on the floor?
Finally – the five things I’m most looking forward to seeing when JESC meets Malta again!
Because ten’s too many, and one would just be lazy.
- Finding out how Malta has approached JESC in 2016 versus how they approached it in 2014. Will it be similar, yet somehow very different – and in many ways, so much better – as with the ESC in Malmö VS in Stockholm?
- Finally checking out the performances from my favourites – and some of my non-favourites – after not watching any of the rehearsals in order to maintain an element of surprise. Russia, Poland, Macedonia, Cyprus and Australia (obviously) are among the countries I can’t wait to see on the stage for the first time.
- Werking it when Poli Genova does her duty as an interval act. There’s no doubt she’ll bring back fond memories of the awkward white girl dancing I did during her opening party set at the Euroclub in May. SUCH GOOD TIMES.
- Seeing some familiar faces back on the JESC stage – albeit as spokespersons when the adult jury points are announced. The 2015 artists who have been chosen to make a comeback of sorts are Mika from Armenia, Misha Smirnov from Russia, Ruslan Aslanov from Belarus (my winner of last year) and Anna Trincher from Ukraine. Reigning JESC champ Destiny Chukunyere will also be there to announce the kids jury results (after joining Poli as an interval act) and it’s always great to see her smiling face.
- Watching the results unfold in a year with no precedent for what will take place. Honestly, I’ve based a big chunk of this post on wild guesses because I have no clue what the ending to the JESC 2016 story will be. It could be a happy one, if Russia, Bulgaria, Armenia or Poland take the win (to name a few); or an unhappy one, if Malta manage to do the double with a song that would be the Running Scared to Not My Soul’s Euphoria, if you know what I mean. I’m practically dying of curiosity at this point, so bring it on, Valletta!
What are you most looking forward to this afternoon/tonight/tomorrow morning/whenever? As long as it’s Junior Eurovision-related, I want to know. Although if it’s about your dog, I’m happy to have a conversation about that too.
Wherever you are and however you’re tuning in, I hope you have a very merry JESC, and get the results of your dreams (unless they’re different to the results of my dreams, in which case SCREW YOU I WANT IT TO GO MY WAY OR THE HIGHWAY!!!).
Enjoy the show.
This is (almost) it – we’re just about to arrive at JESC weekend, people! With all of the 2016 acts in Valletta and rehearsing like mad, it’s still impossible to predict who will win the contest in two days’ time. But that’s what makes the countdown that much more exciting.
As there aren’t many digits left in that countdown, I need to move right along with the Typically Jaz™ pre-show ramblings. On the schedule today? The fourth and final round of the EBJ Junior Jury’s reviews, feat. Australia (can I be impartial? You’re about to find out), Israel, Macedonia, The Netherlands, and Serbia.
So, Alexa, Shir & Tim, Martija, Kisses and Dunja – if you happen to be reading – let’s see what the EBJJJ thinks of the songs you guys are competing with on Sunday…
My thoughts As an Australian, I try to be objective when reviewing our ESC or JESC entries, and I’m pretty sure I can do it this time. It might be unfair to assume this after only two attempts, but I don’t think Australia really ‘gets’ Junior Eurovision. Apparently we get the absolute crap out of the adult contest (and I reserve the right to brag about that at every opportunity). But our mediocre result with Bella Paige’s My Girls, and the fact that we’re sending something just as “uplifting” and pseudo-inspirational to Valletta – perhaps not learning from our mistakes – is evidence that JESC may not be our thing. Alexa’s We Are seems like the result of what a few ill-informed people considered to be the ultimate contest song for kids. I don’t know if that’s actually the case, but the cheesy and clichéd lyrics, and the been-there/heard-that pop ballad style (yes, it really is My Girls all over again) give that impression. The song coasts along, doing a semi-decent job for what it is – and Alexa definitely sings it beautifully – but it doesn’t stick, and it has pretty much zero x-factor. It isn’t terrible; I was just hoping for an improvement on 2015 rather than a carbon copy. As Einstein once said, the definition of insanity is doing the same thing over and over again and expecting a different result…so unless Alexa can pull off a performance that ticks every box – feat. perfect graphics, costumes, props and vocals – I think Australia is destined to get bogged in the sand of the average result range. How can Tania Doko, the woman largely responsible for this 90s masterpiece, also be largely responsible for We Are? PS – Is anyone else put off by the lyric referencing driving? Alexa’s not even old enough to get her learner’s permit, let alone to use operating an automobile as a meaningful metaphor in her music.
My score 6
The EBJ Junior Jury says…
- Dara, Australia – 4
- James, UK – 5
- Joshua, Australia – 3
- Matthew, Ireland – 6
- Michael, Australia – 7
- Penny, USA – 6
- Rory, Ireland – 7
My thoughts In a move that has officially crowned them the Azerbaijan of JESC, Israel kept us waiting as long as possible before unveiling their second-ever Junior song, following on from 2012’s Let The Music Win. We could even call Shir & Tim mini Ell & Nikki, but that’d only be because they’re a female-male duo (not because Shir struggles to sing live, which I’m sure she doesn’t). Follow My Heart wasn’t exactly worth such a wait, but I’m a fan of it anyway. What it has working in its favour includes: a) a mystical, minimal beginning that builds into something packing a punch; b) excellent use of English that emphasises the title and makes the song more interesting; and c) two voices that work well both separately and together. I feel like this is the sort of song that will thrive on being performed live, with audience and artist interaction making it more of an audiovisual spectacle. There’s room for really interesting stuff to be done with the staging too, so I hope the Israeli delegation and the Maltese techies will do it justice. Look what atmospheric staging did for Made of Starsin Stockholm! I appreciate Israel trying a different tactic for this comeback, and I think it could pay off…but a lot needs to go right at the right time for that to happen. I’ll keep my fingers crossed for Shir & Tim though, as their song has the potential to grow on me and become one of my favourites of the year.
My score 7
The EBJ Junior Jury says…
- Dara, Australia – 6
- James, UK – 4
- Joshua, Australia – 10
- Matthew, Ireland – 3
- Michael, Australia – 8
- Penny, USA – 7
- Rory, Ireland – 2
My thoughts More so than any other country that competed in JESC 2015 and is about to compete in JESC 2016, Macedonia has proven that a lot can change in a year. They’ve completely turned the tables on last year’s Pletenka – one of those ‘Junior of Yesteryear’ kid-pop songs that was enjoyable, but inevitably finished last – and recruited a girl with a more mature look and mature voice to sing a considerably more current tropical dance track. I really, really like Love Will Lead Our Way, and will probably drop the other L-bomb on it any day now. It takes the radio-friendly nature of Ireland’s entry and combines it with the youth and fresh feel of Armenia’s song to produce something infectious and fun, while still taking the contest seriously. Like Israel, Macedonia has used English cleverly for the title of the song – a title that goes on to be repeated throughout and becomes a memorable hook to reel us all in. The phrasing of both English and Macedonian in the chorus is simple but effective, making it feel like you’re listening to one language rather than two. The icing on the cake is that on-trend riff that makes me want to hit up a beach party in the Bahamas (the intended destination may have been the Balkans, but too bad). Oh, and did I mention that Martija is super-duper pretty, and that the camera loves her? Well, she is, and it does. I will admit that LWLOW probably plateaus too much to give it a winning edge, but if it doesn’t catapult Macedonia out of the bottom five and closer (or into) the top five, I will be 110% done with 2016. Love it! *drops the big L-bomb as promised earlier*
My score 10
The EBJ Junior Jury says…
- Dara, Australia – 1
- James, UK – 8
- Joshua, Australia – 10
- Matthew, Ireland – 6
- Michael, Australia – 12
- Penny, USA – 7
- Rory, Ireland – 8
My thoughts I’m not ashamed to admit that I LOVE how The Netherlands take on JESC. They don’t always finish at the top of the scoreboard (they actually haven’t had a top five finish since 2011), but their entries are consistently competent, polished and enjoyable. They’re also usually radio-friendly teen pop – think 2014/15 – or old-school Junior musical balls of energy, á la the unforgettable Double Me from 2013. This year, the Dutch have stayed true to type with the incredibly catchy Kisses and Dancin’ by Kisses (who clearly have something in common with Water of Life by The Water of Life Project). It’s the closest thing you’ll find to fairy floss in this year’s buffet, so if you have a sweet tooth, this is probably in your personal top five. I do, and it’s definitely in mine! It reminds me so much of Belgium’s Get Up!, sent to Junior all the way back in 2010, and that was a song I was obsessed with at the time (not so much these days since it’s not exactly a timeless classic, but temporary gratification is better than none at all, right?). Both songs have a similar subject matter and call to get up and/or dance that I find irresistible, but this one is even more infectious. The mix of Dutch and English is better here too. Throw in a carefree nature, positive vibes and instant memorability, and this becomes a serious competitor without taking the contest too seriously. What we’ll get as a result (keep in mind that I haven’t watched any of the rehearsals) is a feelgood, smile-provoking performance that may not have the legs to lead the pack, but should make Shalisa’s second-last place last year a distant memory. It was the televoters who led to her downfall, while the juries bumped her up – so with only juries to win over and a song that is much more childlike than Shalisa’s, it’s hard to say how high Kisses can go. But given that we are talking about Junior Eurovision, and that we have kids juries in play, I’d like to think they have an audience in the voting population who will clap-clap along with them and send some double-digit scores their way.
My score 8
The EBJ Junior Jury says…
- Dara, Australia – 7
- James, UK – 6
- Joshua, Australia – 5
- Matthew, Ireland – 8
- Michael, Australia – 8
- Penny, USA – 6
- Rory, Ireland – 4
My thoughts Serbia is another country that has pinballed in a different direction, after trying something dramatic (that could have passed as an adult Eurovision entry with an age-appropriate singer) at JESC last year. Flamboyant hand gestures and massive money notes are out; hoverboards and sassy summer sounds are in, via Dunja’s U La La La. Lightening things up was a move that’s likely to pay off – even I can see that, despite this song not being one of my favourites. Dunja is a girl with grunt in her voice and more attitude than most of the other artists combined, and the song is a perfect fit for her personality and vocal talents (in studio, at least). It’s youthful, catchy, and a good combo of contemporary pop and vintage JESC kid-pop (the kind I get a kick out of because it brings back memories of when I discovered mini –Eurovision). As I said, I’m not head-over-heels in love with it, although if I tried out Dunja’s hoverboard I would definitely end up head-over-heels. But I do think it holds its own as one of the ‘fun’ songs on offer, and that it stands out style-wise. Serbian really shines in an urban-sounding song, and I respect the fact that there’s no English awkwardly inserted at the start, in the middle or at the end – it’s that native tongue all the way through, making U La La La one of just three entries to stick with a language other than the most accessible one possible. I’m not saying that will benefit or disadvantage Dunja, but I admire it no matter how she scores. I don’t really have anything else to say about this, other than ‘I last listened to it five days ago and the chorus is STILL stuck in my head’, which has to count for something.
My score 7
The EBJ Junior Jury says…
- Dara, Australia – 8
- James, UK – 7
- Joshua, Australia – 10
- Matthew, Ireland – 6
- Michael, Australia – 12
- Penny, USA – 12
- Rory, Ireland – 5
Now, with those sentences about/scores for Serbia dealt with, I finally get to say this: seventeen down, zero to go! The ranking for this round is as follows:
- Serbia (8.37)
- Macedonia (7.75)
- The Netherlands (6.5)
- Israel (5.87)
- Australia (5.5)
Serbia takes out the top spot this time, with fellow ex-Yugo Macedonia snapping at their heels (or hoverboards – take your pick). The Netherlands didn’t kiss or dance their way beyond the halfway point, sadly, but they’ve got a good chance of doing so in the actual show (and the actual show, I’ll admit, matters a little bit more than the EBJJJ ranking). Israel and Australia *is outraged despite not loving the song* bring up the rear.
Stay tuned, because this weekend – just before the contest kicks off – I’ll be unveiling the Junior Jury’s complete 17-song ranking for you to feast your eyes on (and probably disagree with in a major way). I’ll also be posting my predictions for upper crust, bottom crust and filling of the scoreboard sandwich – i.e. which country will end up where once all of the esteemed jury members (and Jedward) have had their say. These predictions are going to be so hilariously inaccurate, you won’t want to miss them.
While you’re waiting, let me know which of today’s reviewed entries is your favourite – or which one makes you want to invest in a very high-quality pair of earplugs. Does one of these five have what it takes to win Junior Eurovision 2016? If so, say so – I need all the help I can get in finalising those pesky predictions…
Get ready to #embrace, everybody!
Hej there! You have made the excellent decision to drop by Jaz HQ to be debriefed on six more Eurovision 2016 entries – or at least, to be informed of how a small group of ESC fanatics feel about them. If you don’t mind some cattiness (‘cause the claws are out today) then you won’t regret it!
TODAY’S EBJ JURORS
Martin, Nick and I are about to have our say on Armenia, Australia, Ireland, Malta, Moldova and Slovenia – a.k.a. Iveta, Dami, Nicky, Ira, Lidia and ManuElla. Once you’ve heard us out, and seen how the entire EBJ Jury scored these countries, have your own say in the comments. Which is the best song of this bunch?
Martin This is a bold departure from normal Eurovision fare! LoveWave has an unusual spoken start, and is slow-paced throughout with its musical fusion of Western pop and Armenian ethnicity. It’s a difficult song to work out on first listen, and that might be Armenia’s failing this year – for them to qualify, everything hinges on Iveta’s vocals being perfect live and the staging being excellent.
Nick Believe it or not, this is my favorite Armenian entry of the past five years. Think about that low standard for a second. LoveWave has a lot of interesting parts – mainly the music and the structure – but it never coalesces like it should. Part of that has to do with the disconnection between the ethnic tones used for the verses, and the voice-heavy chorus. The pacing also feels off, and I feel like the whole package would work a lot better with a few more BPM. Otherwise, the lyrics are an absolute shambles, probably the worst this year; and I haven’t heard Iveta live, so I don’t know what to expect. Hopefully something entertaining, unintentionally or otherwise, because my god, is the spoken word intro going to be jarring.
Jaz I had sky-high expectations of Iveta Mukuchyan based on her previous form, and to be honest, I still don’t know if she met those with LoveWave. There are moments in this song that make me think ‘This is the weirdest thing I have ever heard’, and others that make me think ‘This is genius!’. The intro is a bizarre, and a beginning that doesn’t lure you in is rarely a positive musical attribute. Still, it did have me hanging around to see what happened next when I first listened to it, and it will probably have the same effect on fans hearing the entries for the first time on the night/s. Once the song settles into itself, it gives off some sexy vibes (thanks in large part to Iveta’s husky vocals), and it’s evident that it missed its calling as a single from the Fifty Shades of Grey soundtrack. It’s full of textures and layers and incomprehensible lyrics (which do add a sense of mystery to it all), and the combo of traditional Armenian instruments and the R & B style most evident in the chorus actually works quite well. On the whole, I have to applaud the song for daring to be different. If Armenia has devised a stunning stage concept to accompany LoveWave – the mileage they got out of Don’t Deny on the basis of superb staging suggests it’s likely – then this will make an impression. I do think it takes itself more seriously than it should, but with a slick performance to distract us all from that fact/opinion, a smidgen of OTT self-importance won’t matter.
The EBJ Jury says…
- Ali 4
- Fraser 4
- James 5
- Jaz 7
- Martin 6
- Nick 2
- Penny 12
- Rory 12
- Wolfgang 6
Armenia’s EBJ Jury score is…6.44
Martin Australia are definitely in it to get at least a respectable placing in Stockholm, but there’s something missing that means that this will not win Eurovision. Dami can definitely sing (she’s vocally superb with an amazing range) and the song is lyrically interesting (it tells a great story) but for me, Sound Of Silence just lacks that winning spark.
Nick Dami Im! You have no idea how excited I was when she was confirmed as the entrant for Australia. I was so prepared for Super Love 2.0, and procuring an Aussie flag for Stockholm. Then the song came out, and ‘disappointed’ was an understatement. Mid-tempo synth-pop for such a colorful artist was a terrible match, and not even Dami’s charisma can save this dirge of a song. The only way I can think to describe it is by using the dominant color in the video: grey. Lyrically grey, musically grey, just… grey. And while last year’s Tonight Again annoyed the pants off me, at least it had some spunk.
Jaz I know it isn’t Thursday (not while I’m typing this, anyway) but I’d like to #throwback to this time last year when I gave Guy Sebastian’s Tonight Again a mediocre review. The purpose of this throwback? To point out that, as I didn’t get a kick of any kind out of that song until Eurovision was actually upon us, you should take what I’m about to say regarding Dami’s Sound of Silence with a whacking great grain of salt. This song – our sophomore effort, which was always going to be interesting in one way or another – is slightly above-average. That’s my not-at-all-glowing review, I’m afraid. I’m not a huge Dami fan, and the fact that she wasn’t Delta Goodrem made her entry unveiling even more tainted with my bitterness. There is no doubt that she can belt out a wannabe-powerhouse track like SOS, and it is a song that allows her to make the most of her vocal abilities. But it’s trying so hard to be on par with a Sia smash hit that it seems desperate, and falls short. Melodically, it’s lovely to listen to, and it certainly fulfils the brief of Contemporary Female Ballad That Is Not An Embarrassment To The Entire Continent of Australia. But the chorus, which should be the selling point, is weakened by unnecessary repetition. Are you telling me that the writers couldn’t have spared a few extra minutes to think up a few additional lines that rhymed with ‘silence’? Violence, defiance, appliance (an ode to a panini press would have been a first at Eurovision)…the list goes on. It smacks of laziness to me. Like a beautifully-crafted movie scene tossed onto the cutting room floor in favour of a crappy, purposeless one, the repetition of the initial chorus lines is a missed opportunity to have created something more masterful. Still, Dami will work with what she’s got, and her fashion sense (slash the fashion sense of her stylist) is so on fleek, I cannot wait to see what she’ll wear for an occasion like this (it’ll be more like a sculpture than actual clothing, I’m sure). And you can bet your behind that I’ll be cheering like crazy for her, and crossing my fingers that she slips through from semi to final. I just wish my driving force was a love for the song, rather than a love for my country and a will for us to qualify.
The EBJ Jury says…
- Ali 6
- Fraser 10
- James 3
- Jaz 6
- Martin 8
- Nick 2
- Penny 8
- Rory 7
- Wolfgang 8
Australia’s EBJ Jury score is…6.44
Martin Nicky Byrne is getting the hang of singing Sunlight live, and I think that his self-belief will play a huge part in how well it does. If he nails the vocals on semi night, this will be an easy qualifier to the final and could revive Ireland’s interest in the ESC. ‘Sun <pause> light’ is earworm central in my opinion – a definite toe-tapper, hooking you in from the start and keeping you listening to the end. I think this up-tempo pop song will hit the spot with televoters, at least.
Nick This lot of songs is gonna make me sound like a grump, but actually, this is my dead last place for Stockholm. Everything about this screams desperate, from the wannabe 2013 Avicii composition to the recycling of 90s “heart-throb” Nicky Byrne to screech-er, I mean, sing it. And it’s not like Ireland hasn’t tried this approach before: just look at 2013’s Only Love Survives. Also, look where that finished – dead last after barely scraping into the final. Still, at least that was peppy and energetic. Sunlight makes me want to close the curtains and throw on a sleeping mask.
Jaz The boyband fangirl inside me (who is so dominant, a member of the Backstreet Boys flies out of my nose every time I sneeze) may have screamed internally when ex-Westlifer Nicky was announced as the Irish representative. You don’t want to know what I would have done if the whole band had reunited for Eurovision. As it stands, we got one fifth, and his song Sunlight is more or less everything you’d expect from a former boyband-mate’s solo singles (if they aren’t Justin Timberlake). It’s catchy and radio-friendly, and I do enjoy it – but it’s not lyrically or stylistically challenging at all. It’s not bad, by any means; but it’s so safe and friendly, like a perpetually happy Labrador who won’t leave you alone, that it irritates me. Ireland gave douze points to Latvia last year in the final, yet they didn’t take any musical inspiration from the edgy Love Injected – something that they clearly liked a lot. I expect everything about this entry to be vanilla in Stockholm, from the staging to the result it gets. Nicky is performing between the powerhouse ladies from Serbia and FYR Macedonia, who don’t necessarily have better songs (in my opinion) but who will almost definitely overshadow him. That’s bound to happen when you just don’t bring it.
The EBJ Jury says…
- Ali 3
- Fraser 7
- James 3
- Jaz 7
- Martin 10
- Nick 1
- Penny 7
- Rory 6
- Wolfgang 3
Ireland’s EBJ Jury score is…5.22
Martin Yep, it was definitely the right decision to change songs for Malta! Walk On Water makes full use of Ira’s amazing vocal ability and range, combining it with a much more contemporary sound that is radio-friendly enough to stay in voter’s memories far past Eurovision. Her visual appeal won’t hurt Malta’s chances either. An upgrade to finalist and mid-table respectability at least for Ira.
Nick Oh, Ira…another artist who made me think Year Stockholm was going to be better than it turned out to be (although there are a lot of variables at play there). So much of her non-Eurovision related stuff is fantastic, but I was never a fan of her 2002 entry, nor her initial 2016 entry, Chameleon. Then they dragged in the Swedes to write her a new song, and I can’t say it’s a vast improvement. I almost feel like they were too inspired by the first song and wrote something that just blends in everywhere without standing out. It’s competent and will be well-performed, I’m sure. But it’s so uninspiring, it almost drives me to the point of madness. But even that is too strong an emotion to be associated with this.
Jaz Of all 2016’s returning artists, Ira Losco was the most successful in her initial attempt to take home the Eurovision trophy. The fact that it took her so many years to give it another go says to me that she felt like she could be in it to win it this year – after all, nobody wants to come back after a lengthy period and fall flat on their face. Those thoughts, if she had them, would have been in relation to Chameleon – a song that won’t be heard in Stockholm, unless someone spins it at the Euroclub. Walk On Water, the replacement, is a superior song on the whole (although I did think Chameleon’s chorus had something special). It’s more cohesive and less chaotic; considerably more contemporary; and packs more of a punch. The chorus is repetitive, but it builds rapidly and really hammers (or perhaps Molly Pettersson-Hammars) home the title and concept of the song. There’s nothing I don’t like about it, except for the fact that I can easily imagine co-writer Molly PH singing it better (and as she’s singing backup for Ira, we could have a vocal catfight on our hands). It’s great that Ira has a more powerful song than 7th Wonder this time, as that was a bit of a vocal wet blanket. Apparently her performance will be quite technologically advanced (will she actually walk on water? A.k.a. is Ira Losco actually Jesus?) but I hope she takes us back to ’02 by pulling another glitter pouch out of her pocket.
The EBJ Jury says…
- Ali 4
- Fraser 10
- James 10
- Jaz 8
- Martin 10
- Nick 3
- Penny 7
- Rory 3
- Wolfgang 10
Malta’s EBJ Jury score is…7.22
Martin A standard Euro Club-sounding dance track, Falling Stars would be the sort of song that a DJ might put on as filler before a killer tune is played. To be fair to Lidia, this was the best Moldovan entry on offer at the national final, and it’s not bad – but it’s not that memorable either, unless you want to remember her slightly weird vocal style and range being all over the place. Another non-qualification for Moldova beckons.
Nick Just FYI, this song sounds amazing as a nightcore. Sadly, the regular version can’t measure up, although it does top the segment of songs I dislike, so that’s nice. Lidia’s a good vocalist, but there’s just something missing here. Maybe just a key change or a money note, but there’s nothing that Falling Stars builds to, except perhaps the chorus? But if that was the intent, then the stars in question aren’t so much falling as they are being tossed. Other than that, the lyrics are surprisingly clean, which could really describe this entire entry: too polished for its own good.
Jaz Anything Moldova came out with this year would have seemed like the epitome of elegance compared to the sleazy display of law enforcement provided by Eduard Romanyuta. But you know what? I LOVED the sleazy display of law enforcement. It was trash-tastic and tackier than super-glue, but it took me back to the early 2000s and made an epic semi 1 starter while it was at it. But enough about Moldova 2015 – it’s Moldova 2016 I’m supposed to be reviewing. Falling Stars is one of the few straightforward dance tracks competing this year, which suggests that most other countries have moved on from the trend. And, for every compliment I can send its way, there’s a ‘but’ waiting in the wings. The song will stand out genre-wise, but it sounds a bit stale (circa 2011). The chorus is strong, but leads to Lidia resembling a wailing banshee (there’s no room for any deviation from the correct key there). Overall, it’s fun and fluffy while it’s playing, but it doesn’t leave a lasting impression. Let’s just call it musical fairy floss, coloured blue and yellow in honour of it being another Swedish cast-off. If it wasn’t for the double-glazed donuts and hot buttered popcorn on offer from elsewhere in Europe, Moldova would come off a lot better.
The EBJ Jury says…
- Ali 4
- Fraser 2
- James 8
- Jaz 7
- Martin 5
- Nick 3
- Penny 5
- Rory 4
- Wolfgang 8
Moldova’s EBJ Jury score is…5.11
Martin Last year’s EMA was a perfect storm. This year, it was a car crash! What a plummeting drop from one of the best pop entries last year (Here For You), down to the mess that is Blue and Red, with ManuElla trying to be Taylor Swift but ending up being Phoebe from ‘Friends’. Why do I say that? The lyrics of the song, combined with her vocal ‘talents’, border on that almost-comedic sitcom level and the staging is amazingly clichéd, with erratic hand and body movements along with telegraphed facial expressions. Words also fail me regarding the dress reveal – she should have gone the whole hog and worn a blue and red halved dress to ‘put the cherry on the cake’. A probable last-placed semi finalist.
Nick What? A Taylor Swift renaissance piece? Out of Slovenia? What could’ve been a complete disaster (and IS a complete disaster, in the eyes of most) has actually turned out to be one of the year’s biggest charmers! Okay, so a lyric like ‘blue is blue, and red is red’ definitely isn’t winning any songwriting awards, but it fits the air of naïveté that the song so beautifully creates. The 2009-esque country/pop banjo instrumental and admiral outfit don’t go together at all, but it somehow works, like an eclectic fever dream of leftover high school theatre props. ManuElla herself is a surprisingly fitting performer and lends herself to the role demanded by the song. The slight retooling from the initial NF version has added an unnecessary starter, but other than that, it’s a nice strengthening of a song that’s comfortably in my top 10. I’d like to hope that Slovenia could pull out a stunning live and shock everyone by qualifying to the final, but I won’t hold my breath.
Jaz Nope. Just nope. I like Taylor Swift as much as the next person, and I actually miss her country bumpkin days. But even I know that neither the world nor Eurovision needs a poor imitation of Taylor ‘2007’ Swift. Everything about ManuElla’s performance is amateurish, including the costume reveal (and I normally can’t resist one of those), and don’t even get me started on how crazy I’m driven by the childish lyrics of Blue and Red. ‘Blue is blue and red is red’…yeah, thanks for the art lesson, lady. While some countries have really stepped up their game between 2015 and 2016, Slovenia has dropped the ball so violently that it is now lodged in the core of the Earth. Literally the only thing ManuElla has in common with Maraaya is the initial ‘M’. I will commend her for bringing variety to the contest, but seeing as the Netherlands have a country song up their sleeve too – and it’s an infinitely better one – even that’s difficult for me to do. Surely this cheese-fest isn’t making it to Saturday night?
The EBJ Jury says…
- Ali 10
- Fraser 10
- James 5
- Jaz 2
- Martin 3
- Nick 6
- Penny 7
- Rory 7
- Wolfgang 2
Slovenia’s EBJ Jury score is…5.78
With those six songs sliced, diced and served up on a silver platter, we have a winner – albeit a winner out of a very low-scoring round.
- Malta (7.22)
- Armenia/Australia (6.44)
- Slovenia (5.78)
- Ireland (5.22)
- Moldova (5.11)
Forget water – Ira Losco will be walking on air after taking this one out (well, she would be if a) she knew about it, and b) the EBJ judgments were of any actual importance). How high can she go in Stockholm? She has the potential to impress, but only time (or perhaps rehearsals) will tell how much. Slovenia, Ireland and Moldova, on the other hand, failed to impress the EBJ Jury. Are we psychic enough to have predicted a few non-qualifications here? In a few short weeks, we’ll find out!
Next time, the final round of reviews will see two Aussies and an Irishman walk into a bar, and…hang on. That’s the joke version. It will ACTUALLY see two Aussies and an Irishman free their thoughts on Austria, the Czech Republic, Finland, FYR Macedonia, Norway, Serbia and Ukraine. There is a good chance I’ll be posting that installment from Stockholm (or at least from my AU-SE transit location, Dubai) so it’ll be pretty exotic and awesome and you better check it out or I’ll spread unfortunate rumours about you at the Euroclub.
Welcome to 2016. Välkommen to a year of Eurovision, Stockholm-style (something we most recently could have said post-NYE 1999)!
I hope you guys had a blast doing whatever you did last night, and that you’re currently resting up in preparation for the full-on NF season we’re about to enter into. Said season has technically already started – though in less full-on form – with Albania opting to send Eneda Tarifa’s Përrallë to Sweden (most likely in English) at the Festivali I Këngës final last weekend. That’s assuming none of the song’s writers decide to withdraw it from the contest, á la Elhaida Dani’s Diell. At the moment, I’m crossing my fingers for that NOT to happen, because there’s something about Përrallë that intrigues me. I’d like to see how it evolves and ends up sounding at Eurovision.
Speaking of how things sound at Eurovision…that’s how I’m introducing today’s post (my first of the year. Woo to the hoo!). I should have put together something more relevant to New Year’s Day, like a list of my favourite ESC-related music of 2015 or something – but I forgot to. Although I have selected two top musical moments from the year just passed over on ESC Insight. Mine appear alongside the picks from the core team and the rest of the site’s contributors, if you want to check them out (which you should, because they’re brilliant). So there is that.
But here on EBJ, THIS is what you’re getting on this mighty fine January 1st: a sequel to my recent Friday Fast Five, which listed the Australian artists I think should be on the shortlist for Stockholm. This time, I’m attempting to transport you to a magical world in which Australia has been competing at Eurovision for at least a couple of decades. I’m not saying I wish we had been – I just wanted to ramble on about some Aussie music from the 1990s/2000s that I love, while somehow relating it to Eurovision.
This is the result, in no order other than chronological: five awesome Australian songs I’d have sent to some past contests, if we’d been invited to the party pre-2015.
Oh, by the way…just assume that the following tracks would have been trimmed down to the EBU-regulation three minutes.
! (The Song Formerly Known As) by Regurgitator (1998)
Make way for one of my favourite party songs of all time, people! You may not see the logic in that description, but if you can separate the slightly bizarre music video (which is actually super-sane by Regurgitator standards) and the burst of profanity (I know it’s not an f-bomb, but a more explicit word for ‘popo’ isn’t exactly common ESC fare) from the song itself, that might help. ! is grungy and danceable at the same time, and curiously, never seems to date – 1998, 2008…who could pinpoint a year of release with 110% confidence if they weren’t already aware it was a 90s number? There’s something to be said for a song that has musical integrity and timelessness, but doesn’t for a second take itself too seriously.
How would it have fared at Eurovision? There’s no doubt it would have stood out in Birmingham, but would it have challenged Dana International’s Diva for the trophy? Realistically, nope. I do think it could have been top five material, based on the fact that it would have been unlike any of its competitors. Plus it would have RAISED THA ROOF, keeping celebratory spirits sky-high.
The Animal Song by Savage Garden (1999)
Savage Garden = the shining light of the Aussie music industry during the mid-1990s and early 2000s. That is, until members Darren and Daniel decided they didn’t like each other all that much (but that’s another story). Their back catalogue features a string of songs that would have made perfect Australian Eurovision entries – but as someone drawn to jungle jingles (i.e. any songs that could have played over the Lion King credits) I have to settle on The Animal Song as my pick. I can visualise this on the stage in Jerusalem so clearly. There’d be shirtless drummers. Lots of lights, in the absence of LED screens to display safari vistas. Tons of awkward-but-beautiful shots of Darren singing to the camera as the audience lose their collective shiz in the background. I am so sad that I will never see all of that happen.
How would it have fared at Eurovision? Call me biased, but I reckon this could have pipped Charlotte Nilsson at the post. It’s bigger, it’s more of an anthem, and it sounds much less like a Christmas carol.
Hearts A Mess by Gotye (2007)
Most non-Aussies would recognise Gotye as the painted man-face of Somebody That I Used To Know fame. That smash hit of a song could easily have been my selection here – but Hearts A Mess (yes, the lack of apostrophe is intentional) is a more haunting option, and would probably have been more striking on a stage á la Europe’s biggest. This song is a slow-burner, not unlike the classic Balkan ballads that Željko Joksimović can’t stop sending to Eurovision (which we ALL salute him for). It might be minimalist, but it grabs attention for that very reason; it’s dynamic, dipping in and out of soft and explosive moments; and it was lovingly recorded by Gotye in his bedroom. You can’t tell me the transition from a bedroom to the ESC, had Australia been invited to participate back in 2007, wouldn’t have made sense. Well, you can, but I won’t listen.
How would it have fared at Eurovision? Well, a shadowy lighting scheme and contemporary dancer or two would have worked wonders…but aside from scoring big with Belgium (Gotye’s homeland), I think this would have been a little too alternative to have viewers voting en masse.
Cosby Sweater by Hilltop Hoods (2014)
Here’s a song that would have been more or less destined to fail had it been sent to Eurovision last year the year before last (*shakes fist at 2016 for making me look foolish*), much like Trackshittaz’ Woki Mit Deim Popo in 2012 and, to a lesser extent, Who See’s Igranka the following year (I’m still seething over that Montenegrin near-miss). Hilltop Hoods’ Cosby Sweater is kind of like a love child of those two tracks, if that child had a super-Aussie accent. I love it, and I’d love to have seen it compete in Copenhagen for entertainment purposes. The Hoods are great live performers with expertise in crowd-rousing, and I expect the live audience would have responded very well – and/or with a ‘WTF?’ – to this ode to ugly jumpers (as we usually refer to them Down Under).
How would it have fared at Eurovision? Terribly, like I said. Europe would not get it. Rap/hip hop rarely does well at the ESC unless Greece sends it. At least one of said ugly jumpers would have made it onto the Hallerne stage, though, meaning Australia may not have won the contest, but would probably have won the Barbara Dex Award for 2014. Sorry, Vilija.
Do You Remember by Jarryd James (2015)
To finish off this Friday Fast Five, I present to you one of my favourite releases of 2015 – a twist on your traditional break-up ballad, feat. a mixture of pop, acoustic and r & b sounds, and a thumping, very hypnotic beat. Do You Remember is about as cool as Aussie music can get, I reckon, and one indication of that is the fact that it charted in Europe (i.e. Belgium, Germany and Switzerland – countries that can recognise smoothness of the highest quality even when it’s unrelated to chocolate production). I wouldn’t be surprised if, no matter what staging treatment it received, this song remained better as a recording than as three live minutes. However, as X Factor judge Guy Sebastian proved last year when he gave Do You Remember to one of groups on the show, it can work as a performance piece. If Guy had been unavailable to do Eurovision no. 60, I would have happily watched Jarryd James march into the musical battle armed with this.
How would it have fared at Eurovision? With the success of “out-of-the-box” stuff from the likes of Belgium and Latvia last year, I think this could have done reasonably well – though maybe not as well as Tonight Again, which is more energetic (meaning it could fight against the army of ballads present in Vienna) and instant. Top 10 wouldn’t have been out of reach.
EBJ Extras On A Night Like This by Kylie Minogue (2000); Zebra by John Butler Trio (2003); This Boy’s In Love by The Presets (2008); Open Season by Josef Salvat (2014); Shoulda Coulda Woulda by Elizabeth Rose (2015)
That’s me done, apart from the hours of hoping I’ve got to do now – hoping that at least one of these five songs tickled your fancy. If there was something you’d have liked to see/hear on the ESC stage in a parallel universe, let me know with a click below!
And, if you’ve got suggestions of Australian songs – or songs from another competing country’s archives – that would have made epic Eurovision entries in their day, head on down to the comments section pronto.
Until next time, keep on having a great start to 2016!
COMING UP I hope you’re feeling hungry for all things Swedish! With Melodifestivalen, my personal highlight of NF season, not too far away, I thought it was time to get nostalgic and get ranking. The result? A three-course banquet feat. some supersized servings of Scandipop. That’s right – I’m preparing to count down my Top 50 Melfest Songs, 2006-2015. I hope you’ll join me with your own ranking at the ready.