Hello again, if you’ve been here before…and welcome if this is your first time dropping by! I’m Jaz, and these are my Eurovision 2019 reviews. If you’d like to catch up or need a refresh on the countries I’ve covered so far, check out Rounds 1-3, ASAP:
- Round 1 Albania, Cyprus, Latvia, Montenegro + Serbia
- Round 2 Australia, Georgia, Hungary, Romania + Switzerland
- Round 3 Croatia, Czech Republic, Estonia, Lithuania + North Macedonia
All up-to-date? Awesome. I’ll get going with Round 4 then, featuring Armenia, Belarus, the Netherlands, Norway and Russia. In this bunch is the bookies’ favourite, the bookies’ second favourite, a former Junior Eurovision co-host, a powerhouse vocalist and KEiiNO (look, they’re hard to describe in just a few words). It’s a mixed bag, but I was feeling generous when I reviewed them and may have handed out some very high scores. Want to know who got what? Well, there’s only one way for you to find out!
See what I think of Srbuk, Zena, Duncan, KEiiNO and Sergey’s songs for Europe (slash Australia slash the rest of the world) and share your thoughts in the comments.
Armenia + Eurovision = a bit of a sore point for me after my precious Qami did a DNQ in Lisbon. I do understand how it happened (though I will argue that it’s an amazing song until the day I die). But that was the first time ever a song in my top three hasn’t made the final. I’m used to songs I love finishing last in the final, but the Sevak situation was a fresh kind of hell I’d prefer not to experience again. Fortunately it isn’t going to happen with Armenia this year since a) Walking Out has a way better chance of qualifying, and b) I’m not super-duper invested in it to start with.
Don’t get me wrong, I do like it. I didn’t know what we were going to get from Srbuk once we finally got it, besides something along the lines of Half A Goddess. The ESC entry didn’t end up sounding like that at all, but that’s testament to this lady’s versatility. Walking Out is more of a soulful power ballad with an edge, but almost all of its attitude comes from Srbuk herself and her cracking vocal performance (literally…watch your windows towards the end). She tells a story with her voice as she swaggers through the song, letting frustration and anger build during the verses and then venting it in the chorus. Speaking of the chorus – with a few anticlimactic ones in the 2019 contest, it’s great to have something explosive from Armenia that’s bound to be sung along to by everyone who’s ever wanted out of a relationship (or anyone who’s just feeling angsty). It’s the centrepiece of the song, as it should be. But Walking Out doesn’t reach its climax with the chorus. That happens in the last thirty seconds thanks to Srbuk’s screeching. Impressive, in-tune screeching which makes the song a lot more memorable. You know what they say: go hard or go home.
As Armenia has gone hard, I don’t think they’ll be going home early this year. Qami’s staging must have been a misstep because I do trust them to stage the heck out of a song like this. Based on the music video, I’m expecting something powerful and artistic with an emphasis on strong choreography. And of course, a troupe of attractive men wearing tuxedo jackets over their bare torsos would be a welcome addition. Shirtless men involved or not, there’s no doubt Srbuk will start the SF2 party off with a bang (too bad Maruv can’t provide the bang for SF1). And assuming she nails her vocals for the jury shows and the broadcasts, this will have major woman power. I know I said I wasn’t obsessed with Walking Out, but I still think it kicks butt. You go, girlfriend.
In a line An attitude-packed theme song for pissed-off spouses and other angry people 2018 VS 2019 2018 – you know I’m qrazy for Qami Predicted result SF 5th-9th, GF 8th-14th My score 8 points
Like Armenia, Belarus will be looking to recover from a somewhat surprising (until we’d witnessed the performance) DNQ in Tel Aviv. The only similarity between ZENA and Alekseev, since she doesn’t have flowering plants penetrating parts of her body and won’t shake like a leaf on stage, is the scent of national final rigging they share. I know there may be no truth in the rumours, but like last year it seems only one act had a chance of winning the 2019 Belarusian NF. And that was ZENA, whose name I apparently have to type in capitals even though it looks like yelling. Junior Eurovision fans will recognise her as one of 2018’s co-hosts, and her experience presenting such a big show on such a big stage – in English – has helped a heap with her ESC journey.
Oh god…did I just use the term ‘journey’? Forget that, please. At sixteen, ZENA is confident performing to a crowd and to cameras; she can sing and dance at the same time (not flawlessly on both counts, but I’ll come to that); and she has no trouble with English pronunciation, which is a bonus when you’re singing a song as wordy as Like It. I thought Italy was supposed to be master and commander when it comes to maximum words per minute, but Belarus takes the title this year. The wordiness is one of the things I really like about Like It. This is such a fun song, and an underrated one in the fandom as far as I can see (which is about as far as my Twitter timeline). It’s catchy, energetic and age-appropriate without being too youthful to have adult appeal. The frantic verses are thankfully broken up by the more minimalist pre-chorus and chorus, the latter being so simple you could lip-sync it in your sleep…which isn’t a bad thing. And the whole song is catchy as heck. I wouldn’t be shocked if Zara Larsson came out with something like it (title pun intended).
On the downside, it’s a better studio song than it is a live song, but ZENA’s performances so far have been far from disastrous and just need polishing. She is one of those vocalists who can struggle until they get to belt out a big note. She handles those better, but who could blame her when there’s barely time to breathe during those verses? Apart from some vocal coaching, I’d also like to see some development in the staging come Eurovision rehearsals. It wasn’t bad at Eurofest, but kind of basic and could easily be amplified to match the much bigger event/stage space in Tel Aviv. All in all I see potential in this package, and I’d love to see it qualify. Sadly, though, I don’t think I’ll have any spare votes for Belarus by the time I’ve voted for my other first-semi favourites.
In a line Yes I’m gonna like it, yes I’m gonna like it 2018 VS 2019 This is a tricky one, but 2018…I think Predicted result SF 9th-13th, GF 16th-20th My score 10 points
The Netherlands have been pretty hot Eurovision property since 2013, when Birds (inexplicably) gave them their first top ten result in years – and paved the way for a string of successes including Calm After The Storm’s second place. Sure, Trijntje Oosterhuis-gate was an exception, but the less we mention that the more we can pretend it never happened. After a solid if divisive showing last year in Lisbon, the Dutch are back on form in 2019…and then some. We’re talking about the current and longstanding odds leader here: The Voice of Holland alumnus Duncan Laurence (who was coached on the show by none other than Ilse DeLange) and Arcade. To cut a long story short, this song is so good I didn’t even notice Duncan was butt naked in the music video at first – which for me, a straight woman with an eye for a sculpted male behind, says a lot.
To NOT cut a long story short, here’s the specifics of why I think Arcade is amazing. Starting out sparsely but creating an atmosphere fast is musically uncommon, but this song does it with ease. It’s arresting from the beginning, with the first line alone enough to send shivers down my spine. Then Duncan drops in with his delicate vocals – lighter than air but carrying the weight of loss and hopelessness at the same time – and tells us an emotional tale without a trace of the contrived, cheesy lyrics Waylon crammed into Outlaw In ‘Em. Everything that leads up to the chorus is fragile and beautiful, and then the chorus comes along and Duncan gets to let the pain loose while packing a punch of his own. It’s all ethereal and floaty and full of feelings, and stops you in your tracks (unless you’re a soulless cyborg). And on top of that, the metaphor that runs through the song actually makes sense. An arcade à addictive games à pennies in slots à winners and losers…well, it makes sense when you listen to the song. Unlike, for example, Malta’s cannibal/animal/miracle mish-mash of WTF from 2018.
We will have to wait until rehearsals start to know whether The Netherlands can win Eurovision 2019, but so far so good. That includes Duncan’s live performances, when he’s delivered a falsetto that has had me falling to the floor. There are certainly less obstacles on his way to the win than there are for the other favourites: Italy might not have the mass/jury appeal they need, the Swiss EiC performance raised doubts, and Russia is trying way too hard to their detriment. All of those countries are more likely to rank highly with juries OR televoters, not both – whereas the Netherlands has televoting appeal and jury boxes ticked. That’s thanks to a stunning song, an attractive and likeable performer (who we know has been blessed in the butt department) and the chance to use Arcade’s atmosphere to create a spellbinding stage show. Given that the man behind both CATS and Walk Along – who is somehow the same man – is in charge of this entry’s presentation, there’s a hit-or-miss risk. But with all the hype and Duncan’s status as favourite, I can’t imagine the delegation stuffing this one up. Amsterdam 2020 is a definite possibility.
In a line A ballad so beautiful, I could cry 2018 VS 2019 As much as I adore leopard print, it’s got to be 2019 Predicted result SF 1st-3rd, GF 1st-3rd My score 12 points
The 2019 selection season was full of surprises, and it often wasn’t the favourite act who took home ESC representation rights. In Norway, however, KEiiNO – made up of MGP returnees Tom Hugo and Alexandra Rotan, feat. the Norwegian Jon Henrik Fjällgren – won to the shock of nobody. Only Alexander Rybak could have beaten them (even if he’d taken part with a song called ‘That’s How You Play A Recorder Really Badly’ that lived up to its title). Spirit In The Sky is another light-and-fluffy entry from Norway, but it arguably has a bigger fanbase than That’s How You Write A Song did. I like both songs a lot, but while Rybak’s was a guilty pleasure I’m happy to own my enjoyment of KEiiNO’s.
It’s a banger, folks. A banger with JOIKING. It’s as if the aforementioned Jon Henrik Fjällgren teamed up with Jessica Andersson and Martin Rolinski for Melodifestivalen. Only this is Norway, and believe it or not, I can stop talking about Sweden for long enough to discuss a different country. So, Spirit in the Sky: what an epic combo of modern and traditional sounds it is! Tom kicks things off with a mysterious pre-verse verse (if that’s a thing) before Alexandra takes the lead and brews up the dancefloor filler chorus we just know is coming. Then Jon Henrik Fred gets joiking and makes Norway’s mark on Eurovision 2019 tattoo permanent. There are a handful of musical styles at play here – pop, dance, a touch of schlager and those ethnic elements – but they all work together as well as Tom, Alexandra and Fred. In this trio, nobody in particular carries the performance or outshines the rest of the group. Kind of like O’G3NE, but without the mind-boggling harmonies and sisterly synchronicity.
Lack of harmonies and blood relations isn’t going to stop KEiiNO from outdoing O’G3NE in the Eurovision final, I suspect. Their song is too catchy and iconic to finish outside of the top 10. I realise that the second semi has Norway performing between the deadly serious, straight-faced drama of Albania and the delicate, moving Netherlands…and some fans understandably think Spirit in the Sky will taste cheap and tacky in that sandwich. Personally I think it’ll be a breath of fresh air after a run of intense, down-tempo ballads, and it will stand out. I don’t expect another semi winner from Norway this year (and TBH I’m still not sure how it happened last year) but I am expecting a comfortable, deserved qualification and a result on par with Grab The Moment or Monster Like Me.
In a line Sensationally Scandinavian ethno-dance-pop 2018 VS 2019 2019. This is how you write a song Predicted result SF 4th-6th, GF 7th-10th My score 10 points
I think we all knew that this day would come: the day Sergey would return to Eurovision to avenge himself after 2016, The Year Russia Should Have Won According To Russia (and the televote). On the plus side, 2019 isn’t looking too much like 2016: Ukraine is no longer competing, Australia is at risk of a DNQ and sadly, Måns and Petra are nowhere to be seen. On the other hand, once again there are songs that might squeeze into the winner queue ahead of Russia based on Russia showboating and trying desperately hard to win. God knows – though he might have told Philip Kirkirov – what Sergey is going to have to do on stage this time to eclipse everybody else’s staging, but we certainly need to brace ourselves.
About the song…well, great expectations were heaped on Russia, I know. We all figured Sergey wouldn’t make a comeback with any old entry and would want to win, and with great expectations come inevitable tweets from Eurofans complaining about how underwhelmed they are. But really, a dated but dramatic and earwormy song elevated by impressive staging was Sergey’s M.O. in Stockholm, so we should have seen Scream and Kirkirov’s promise to knock our socks off coming. I’m glad the song isn’t a stylistic carbon copy of You Are The Only One. Instead it’s a big, theatrical ballad that belongs in a Broadway musical, and it’s bound to let Lazarev show off his spectacular set of pipes (because the man can sing) rather than keep him busy dancing and climbing up/falling off unclimbable walls. The instrumentation is grand and beautiful and makes me wish we could have a forty-piece live orchestra just for the occasion. I like the chorus, especially that ‘OH OH OHHHHHHHHH’ bit, which gives me goosebumps. And I appreciate the message of the song and how it more or less advocates men being allowed to cry. I totally support that.
But there are cons to those pros. Sergey may be in tears on May 18th, but not trophy-lifting tears. Behind all the drama of this track is little substance. It’s much ado about nothing. And I have trouble getting past the lyrics, which are so clichéd and excessively rhymey they sound like a poem I might have written in my diary when I was a pre-teen. I still see Scream as a possible winner, but I’d be disappointed if it did take the prize (let’s pretend Russia hasn’t won before with a returning male artist whose victorious song wasn’t as strong as their previous top three entry). Considering how statement the song is, Sergey’s talents and how impactful the stage show will be, Russia may be there or thereabouts, but the whole thing screams (HA) 2nd place max to me. There are plenty of better, more contemporary and less desperate-FTW songs competing, and if Russia did win it would be like it only happened because Sergey had an IOU. Should they do it, I’ll be happy for the man himself since I fell in love with him a little in 2016 (I went to his press conference where he was super sweet and humble and tripped up the stairs when he came in which was too cute). But Scream as a winning song? Net.
In a line A big, bold comeback that shouldn’t win by default 2018 VS 2019 2019, unless Sergey also gets an ill-advised mountain prop to sing on top of (or would that actually work for this?) Predicted result SF 2nd-5th, GF 2nd-4th My score 8 points
And that’s my five for today judged and scored! Stand by for me to change my mind on said scores at least three times before the contest arrives. At the moment, they look like this:
- The Netherlands (12)
- Norway (10)
- Belarus (10)
- Russia (8)
- Armenia (8)
Surprise, surprise – the favourite to win is also my favourite of these five. Sorry for being so predictable.
Now, an update on my overall ranking for anyone who’s interested (if you’re not, just make like Finland and look away):
- Hungary (12)
- Switzerland (12)
- The Netherlands (12)
- Estonia (10)
- Norway (10)
- Cyprus (10)
- Czech Republic (10)
- Belarus (10)
- Russia (8)
- Romania (8)
- Armenia (8)
- Serbia (8)
- Albania (8)
- Lithuania (7)
- Croatia (7)
- Australia (7)
- Montenegro (5)
- Latvia (5)
- North Macedonia (4)
- Georgia (4)
Hungary is holding on to my top spot, but how much longer will that last? Can Belgium, Greece, Iceland, Poland or San Marino take them down a place…or five? Will I ever stop asking annoying rhetorical questions? Find out during my next round of reviews.
Make sure you don’t miss a thing by following me @EurovisionByJaz across all the usual socials. And don’t forget to let me know how you’d rank today’s ESC 2019 entries in the comments.
Love love, peace peace!
It’s that time again, you guys! And by ‘that time’, I mean the time when all Junior Eurovision phobics have to go into hibernation for a few weeks while the rest of us talk about it non-stop.
Here’s the lowdown on the upcoming contest: Taking place in Minsk on November 25, it’ll be the biggest JESC ever, with 20 countries competing to succeed Russia as the winner. Among those countries you’ll find Australia (yes, we’re still crashing the party); hosts Belarus (who’ve participated in every single contest); Azerbaijan, France and Israel (competing for the first time since 2013, 2004 and 2016 respectively); and debuts from Kazakhstan and Wales – one of which I’ll be discussing today as I kick off my 2018 song reviews.
Obviously, it’s Kazakhstan (the title of this post was kind of a giveaway), and joining them under my musical microscope will be Azerbaijan, Belarus, Israel and Serbia. So let’s get going and see what Fidan Huseynova, Daniel Yastremski, Noam Dadon, Daneliya Tuleshova and Bojana Radovanović are bringing to the JESC 2018 buffet, feat. loads of Jaz Judgments™ so you know exactly where my loyalties lie.
Spoiler alert: I have more than one set of douze points to give away today, so I must be in a generous mood. Let me know if you are too and what you think about all five of today’s entries in the comments.
I’m a pretty lazy person by nature, and the reason I’m mentioning that now is because I was too lazy to Google Translate ‘Welcome back, Azerbaijan!’ from English into Azerbaijani. So plain old ‘Welcome back, Azerbaijan!’ it is. The Land of Fire has competed in two previous JESCs to date – debuting in 2012, having another go in 2013 and then giving up after neither Omar & Suada nor Rustam Karimov managed to make waves. Azerbaijan obviously didn’t believe in third time lucky back then, but maybe they do now…and on attempt no. 3, they’re this year’s Disney ballad providers.
That’s kind of appropriate given that all I think of when I see the title I Wanna Be Like You is that orangutan from The Jungle Book. This song is only similar in name though, and Fidan will probably be a much more effective voting magnet than an orangutan. Her song isn’t a divisive one, but it does pull me in two directions as there are things I love about it and things I really dislike. The good news first: overall it’s a good ballad, chilled-out and not too dramatic. Easy listening, basically. The music is well-written, the tempo is nice, and I’m a big fan of the verses. That leads me to the not-so-good news, which mainly revolves around the chorus. Repetition of the title + lots of yeahs and oohs + a child literally saying that their life goal is to be like someone else? All of that equals a half-baked, rather unsatisfying chorus that could be doing a whole lot more to promote self-confidence.
Okay, so I’m trolling a little with the lyrical content nit-picking…but the general fairy floss fluff that is the chorus genuinely bothers me. There’s also a strong whiff of cheesiness about the whole song, something it shares with the Netherlands (theirs is the scent of gouda, of course). But while I think the cheese somehow works in Max and Anne’s favour, I don’t think it does anything for Fidan. Being pretty darn adorable, she can almost pull it off, but my inner Cheese Detector never lets me ignore stuff that’s engineered to make you go ‘Aww!’. Still, she’s on track to deliver Azerbaijan’s best-ever JESC vocal performance, if her live vocals are even a patch on her studio vocals. To score their best-ever result might be a tougher task, even though their stats stand at 11th and 7th. Song-wise and IMO, 2018 is stronger than Arnold Schwarzenegger in the Mr. Olympia days. And I think there are better, more memorable ballads competing, all from equally talented female soloists – Australia, Kazakhstan and Macedonia specifically. A flawless vocal, great staging and a decent position in the running order could change the prediction I’m about to make, but before we know how the contest performance is going to pan out, I’m guessing 8th-13th is in Fidan’s future. That’s nothing to be ashamed of in a contest of 20 (and neither is 20th, kids) but if it’s a win Azerbaijan is after, they’ll be disappointed. For me, I Wanna Be Like You is almost a 7 point song, but just doesn’t get there. So here’s 6 points instead.
Not-so-secret confession time: Belarus is one of my favourite JESC countries. They may even be my absolute favourite, based on a few questionable contributions from Armenia and Russia and Spain’s refusal to make a comeback (THEY WERE SO DAMN BUENO!). That’s not to say that Belarus has 100% hit and 0% missed over the years, but come on: they’ve participated in every single edition, won twice and given us gems like Tantsuy (2003), Poy so Mnoy (2013), Sokal (2014), Volshebstvo (2015) and I Am The One (2017) along the way. And their staging is consistently slick. What’s not to love? And what doesn’t make you wonder why they kick butt at JESC but struggle at the ESC?
Anyway, I’m getting round to telling you whether or not their 2018 song – a.k.a. the host entry – lives up to the super-high Belarusian standard. Without further ado, I’ll go ahead and say that for me, HECK YES it does. What’s more, Daniel’s Time – a song title Belarus is obviously fond of – is my favourite entry this year. By one of his very 90s floppy hairs, but my favourite nonetheless. I’m not sure how popular of an opinion this is going to be, since the song style isn’t everyone’s shot of vodka (an alcohol analogy when discussing kids’ music? Nice one, Jaz). And I know those folks who followed the Belarusian NF were pretty peeved that Welcome To My Belarus didn’t win, but I think that was a little overrated. This, I love. I can’t even explain why (which isn’t going to help me review it), but I’m obsessed. Maybe it’s the balance it strikes between being youthful enough for Junior, but still mature enough to appeal to me (a 27-year-old) and my R&B sensibilities. Maybe it’s the mid-tempo, chilled-out vibe and contemporary radio sound. Maybe it’s Daniel’s ability to sing and dance without dropping a note or missing a beat. Maybe it’s everything. Like a hole for a Time capsule, I dig it. Also helping that along is the fluidity of the Belarusian-English mixture and Daniel’s flawless, non-distracting pronunciation (he was born and partly-raised in the USA, so I’m assuming his English is good).
Expect him – especially as he is the home boy – to bring it come show time. Belarus should never be discounted from the JESC race because even if you’re not a fan of their songs, they have a way of taking things to the next level on the night. Even I can see that Time isn’t going to score the country their third trophy, but I am hoping for a finish inside the top 10. The extra audience support the host entry gets is always a contest highlight for me – and it doesn’t hurt results-wise based on recent host successes. I’m totally on Team Time. Who’s with me? 12 points.
If their adult Eurovision win with Toy was Israel’s motivation to make another JESC comeback (they debuted in 2012, dropped out, then returned in 2016 only to give the Tbilisi show a miss) then I’m both very happy and very shocked. Happy because the more the merrier, shocked because Noam’s Children Like These couldn’t be more different to Toy. When you think about it, Toy could easily have been a Junior song, with a few lyrical changes of course. And similarly, Children Like These (a super awkward title that should’ve stayed in Hebrew) would definitely not be refused entry at the ESC for sounding too childlike.
That may be because it’s actually a cover (!!!) of a song from an adult singer, an infuriating fact that I’m choosing to ignore because I love, love, LOVE it. It reminds me of Israel’s 2008 Eurovision entry The Fire In Your Eyes, a song I was obsessed with back then and still love more than some members of my family. Unlike that, Children Like These isn’t looking overly popular with fans, but in every Eurovision event there’s something I fall head-over-heels for that hardly anyone else likes, so I guess this is the JESC 2018 version. Noam has something really special to pack in his suitcase pre-Minsk: a song that’s original, complex, mystical, ethnic, angelic, atmospheric…have I missed any adjectives? Even if you disagree with one or all of those I did use, you can’t deny that this is one of a kind in the line-up of 20. For me it’s far and away Israel’s best JESC entry ever, and that’s coming from someone who liked what they’ve dished up in the past. The delicate verses that are built on instrumentally as the song continues don’t follow a predictable path, but where they lead is worth the wondering and the wait. I’m going to go so far as to say that Children Like These gives me Origo-level feels – basically, goosebumps that sprang up before I even knew what the heck Noam was singing about.
Speaking of which, WHAT A VOICE! It would be criminal for the universe to make his voice break before/during JESC, so if that doesn’t happen and he sounds close to or the same as he does in the studio, we are in for an audio treat. Even so, and in spite of all my gushing, I don’t expect Israel to do much results-wise with this. It’s not straightforward or accessible enough to win over the masses, and the group of viewers it does work its magic on (I’m appointing myself team captain) won’t be big enough to give it a substantial scoreboard boost. But there’s still the potential for Israel to create a moment on the night, and as always there’s a chance I’m wrong about how they’ll do. I actually want to be wrong on this. 12 points.
I don’t know about you, but the most shocking moment of 2018 for me was when Kazakhstan was announced as a Junior Eurovision debutant. I did NOT see that coming, and it made the other debuts/returns seem pretty boring by comparison (sorry Azerbaijan, France etc). It’s always interesting to see what a brand new country brings to the table and whether or not they “get” JESC on their first try. Kazakhstan has certainly checked a bunch of boxes.
Firstly, they’re sending a stellar vocalist – and Daneliya, as a Voice Kids champion of Ukraine (I must have watched her audition a hundred times, it’s so incredible) has had the required TV time and live audience experience to take on Junior Eurovision with confidence. Someone who can nail every note without a hint of deer-in-the-headlights? That’s what you want. Talking about Ózińe Sen itself…now that’s a bit trickier. It’s not a typical power ballad, based on how Daneliya manipulates the verses with her voice and the unusual song structure. Those two elements combine to make this as exotic as it is epic – it sounds like it belongs on a movie soundtrack. It’s packed with all the dramatic moments one could handle in three minutes, plus a language change that definitely does it favours. All in all, there is something special here, and I do think Kazakhstan is a contender for the win.
I’ll believe that even more if their JESC staging is anything like the NF staging. They have recruited the man responsible for Russia’s ESC 2015 performance to sort it out (thumbs up for that) but he’s also the same guy who thought that Yulia Samoylova’s wheelchair-disguising mountain was a good idea. If Ózińe Sen is presented more like A Million Voices, then we’ll all be able to breathe a sigh of relief. And, the resulting place for Daneliya will be more likely to mirror Polina Gagarina’s than Yulia’s (though you’d have to screw things up in a major way to not even qualify to a final that has no semis). To sum up, Kazakhstan have kicked a big goal; Daneliya is amazing and so is her song; and together they’re possible winners. There are a few songs I prefer to this one, but I can’t ignore its power. 10 points.
Serbia started their JESC campaign off strong back in 2006 (with the iconic, ridiculously multilingual Učimo Strane Jezike) and followed it up with a few great results – including two best-ever 3rd places achieved in 2007 and 2010. Just lately though, they’ve had some bad luck in the contest, losing their way a bit and not necessarily understanding how modern Junior Eurovision works. I’m not sure that has changed at all with Bojana’s Svet – which might translate to ‘world’, but only has me thinking how in the world I’m going to fill up sufficient paragraph space talking about it.
One comment on the Youtube video for the song caught my eye by using the word ‘relaxing’. Now, relaxing is nice – who wouldn’t want to be lying in a hammock on a South Pacific beach, sipping a pina colada and being fanned with palm leaves? But when ‘relaxing’ is being used to describe a competition song – and I agree that Svet is so chill it’s practically comatose – it can be a negative. Despite being a big ballad performed by a female soloist, this entry has none of the heartwarming sentiment of Piši Mi or the dynamic drama of Lenina Pesma. What it has instead is the plodding gait of an arthritic pony, and a bunch of musical moments that are supposed to be jaw-droppers but come off more like head-scratchers since they’re shoehorned in to the song so randomly. Now don’t get me wrong, I don’t hate this. There are parts of the melody and instrumentation that I enjoy, and Bojana is a quality vocalist. But the lethargy of Svet in general, plus the fact that I have trouble picking out the chorus (and if you’re missing a hook, you won’t catch any fish…or votes, in this case) leaves me feeling sleepy and unsatisfied at the end of the song. Not to mention that Serbia just doesn’t stand up compared to the JESC 2018 countries that have brought out bigger (confetti) guns in the ballad department.
Some of those ballads will rise and others will fall, and I cannot see Svet fighting its way through to emerge on top of the pile. Or anywhere close to the top, for that matter. I’m not going to lay my ‘Who’s going to come last?’ card on the table yet, but for me Serbia is there or thereabouts in the 17th-20th range. And I can’t help giving them my lowest score so far. 5 points.
Well, I’m sorry to end on a negative note – but that’s the way the cookie (sometimes) crumbles. And this was still a very high-scoring round to get things started. Here’s my first mini-ranking of the JESC 2018 season if you want proof!
- Belarus (12)
- Israel (12)
- Kazakhstan (10)
- Azerbaijan (6)
- Serbia (5)
I can almost guarantee that nobody else would have the same top two when it comes to these countries, but as a Eurovision fan you have to agree to disagree (or seethe quietly to yourself when you discover that someone who clearly has no taste despises a song you adore). There’s a definite quality gap between Kazakhstan and Azerbaijan IMO, but Azerbaijan – and even Serbia – could grow on me over time (Belarus pun unintended, but WHOOMP there it is). Stay tuned to see me change my mind 700 times before the contest actually happens.
Next time, for Round 2 of my JESC 2018 reviews, I’ll be turning my attention to Armenia, Georgia, the Netherlands, Portugal and Russia – so if you love (or hate) any of their songs, you won’t want to miss that. Subscribe in the sidebar to receive email alerts when I post something new, and/or join me on Facebook, Twitter and Instagram @EurovisionByJaz to keep yourself in the Paula-and-Ovi-piano-shaped loop. And once you’ve done that, drop by the comments box below and give me your verdict on today’s songs. I’m desperate to know what you think and not ashamed to say it!
Hence why I just did.
Okay, I’m leaving now.
Just as there’s diversity in the musical line-up of every ESC, there’s also diversity in terms of how well each song is performed live. I realise I’m telling you something you already know even if you’re a casual Eurofan (as opposed to a hardcore year-round obsessive, like me and most of the people who put up with my lengthy Eurovision ramblings). But I’m trying to segue into the topic of today’s post, dammit! And that topic is the performances from Lisbon that left a little – or a LOT, in some cases – to be desired.
Bad backdrops, inappropriate props, lacklustre lighting, catastrophic costumes, vomit-inducing vocals…for a handful of countries, things just didn’t come together (STOCKHOLM SLOGAN PUN ALERT). Following on from my way more complementary Top 10 performances of 2018 post, here’s the other end of the spectrum: the biggest mistakes made and/or overall worst performances of the year from where I was sitting (on my couch). I don’t mean any disrespect to the artists mentioned or to their delegations…but sometimes, one’s inner bitch just HAS to come out.
Croatia: (All) lights and (no) shadows
I’m starting off with something small that bothered me about a performance in Portugal. As picky as I know I can be, there are times when a tiny detail drags down staging that would otherwise have seen a country’s contest package all wrapped up with a pretty ribbon on it. Take Croatia, who positioned the beautiful Franka on stage in an equally gorgeous gown (albeit one with a pattern that drew too much attention to her pelvic area) in front of a mic stand, where she proceeded to werk the camera and sass her way through a totally competent rendition of Crazy. So far so good, right? Sure – except Crazy is a moody, sexy boudoir ballad that begged for a moody, sexy lighting scheme (think dark shadows, spotlights and a dash of red), and it did NOT get what it wanted. Without the required combo of Austria, Belgium and Latvia’s lighting, Croatia’s three minutes looked ‘meh’ – almost like Franka was rehearsing and her team still had changes to make. It seems a bit weird that a country can throw everything at their performance one year (and I mean EVERYTHING, Jacques) and then miss the mark twelve months later. Maybe 2019 will be the year Croatia finds a happy medium?
Greece: No drama = no good
Yianna Terzi: another attractive female soloist with excellent dress sense and great hair who delivered on her end of the ESC bargain this year – a.k.a. she put in an applause-worthy, almost studio-perfect performance. It was what happened around and behind her on the Altice Arena stage (by which I mean nothing) that screwed her over. Seriously, I know Greece don’t have a lot of cash to splash on their song contest presentations…but Oneiro Mou is more dramatic than Silvia Night when she didn’t qualify in Athens, and as such deserved less simplistic stage treatment. It was one song that emphasised the lack of in-built LED screens in a bad way, given that I’m guessing Greece couldn’t afford to ship in (nautical pun intended) their own á la Germany and Malta. That’s not to say that the right prop or (again) lighting scheme wouldn’t have helped boost them into the qualification zone. What I’m saying is that as patriotic as they were, Yianna’s white dress and blue hand (presumably intentional, but maybe she was just cold) were not enough. Her song needed drama served up hot, but sadly, I think it was undercooked.
Russia: A mountainous mistake
Raise your hand if you didn’t think I was going to mention this! Obviously I can’t see you guys right now (my mass spying devices are on the blink at the moment) but I don’t think I need to – nobody has their hand in the air. It was awkward, ridiculous, and I must say laughable enough when Russia waved their CGI wand over poor Yulia and turned her into a mountain for the I Won’t Break music video. But did we think they’d come up with something less WTF for the live show? I did, but that may have been wishful thinking. It turns out that disguising a wheelchair (unnecessarily) with a prop mountain live on stage looks even more ridiculous than doing it via a computer generated alp. Also, what does a mountain even symbolise in relation to this song? Probably overcoming obstacles, blah blah blah, but that was not clear (and three minutes doesn’t give viewers a lot of time to analyse potential deeper meaning). It was uncomfortable to watch and literally uncomfortable for Yulia. Add ropey vocals and some random dancers into the mix – who arguably got more screen time than she did – and it’s a) hard to believe that Sergey Lazarev and his impeccable staging = Russia’s last representative; and b) easy to work out why Russia failed to qualify for the first time with this.
Belarus: Gothic horror goes wrong
I’ve said this a billion times before, but I don’t watch Eurovision rehearsals. If I’m getting up at 3am for something, I want it to be a surprise! But I do listen to and read every little rehearsal description from the press centre and on my Twitter feed – total abstinence is impossible. My point is, when I heard what Belarus had in store for the ESC staging of Forever, I was super psyched. On paper, the rose handover, brief game of archery and Alekseev’s gruesome prosthetics sounded OTT, but also OMG YES. If you can’t do stuff like that at Eurovision, where can you? It’s too bad then that in the end, the whole concept came off as a bit of a joke. For starters, Alekseev was shaking so much he could barely pass the rose to the camera guy (and the whole jerky rose rotation was pure cringe). The on-screen petal explosion was timely but tacky. And that bed-of-roses-on-the-back reveal was…well, I still thought it was cool in a gross, ‘WHAT IN THE NAME OF NAVIBAND AM I LOOKING AT?!?’ kind of way. But it wasn’t as effective as I think Belarus wanted it to be…and I definitely couldn’t take it seriously. Many fans might have questioned the light-up space suit Alekseev wore when he won the Belarusian NF, but in hindsight, packing that in his suitcase for Portugal might have been a smart idea.
Romania: The Humans + a bunch of dummies
It still feels strange knowing that Romania lost their 100% qualification record this year – but after the bizarre staging brought to us by The Humans, is it really that surprising? Romania has never misfired so badly before, but that’s what happens when you take a song with the potential to be elevated by an awesome stage show (which is exactly what went down with Moldova) and have it performed in the presence of creepy department store mannequins. There’s a reason horror movies have been made about those things, and since Goodbye isn’t a song that’s supposed to scare the crap out of people, I have to ask…what were they thinking? It didn’t work for Switzerland in 2007 (but at least Vampires Are Alive had a pre-existing creep factor) and I can’t imagine what possessed the Romanian delegation to give it a try. The main purpose those faceless freaks served was distracting us from the performance elements that did work – Cristina’s risqué dress and epic vocal power, for instance. They didn’t help to fill the stage (except with fear) or tell the story of the song, that’s for sure. And to think that last year, cannons that weren’t allowed to be fired and an awkward kiss were Romania’s biggest on-stage issues!
Macedonia: MY EYES!!!
If you hadn’t guessed, I’ve been working my way up to the worst of the worst staging disasters of Eurovision 2018…which is why I haven’t mentioned Macedonia until now. They are the masters of messing up live performances of great songs, and the streak of self-sabotage continued in Lisbon. Eye Cue hit the city armed with a multiple-personality song that needed clever staging – and cool costumes, of course – to pull everything together. Tragically (in a first-world-problem sense), as with Spain last year, it all went wrong in alarming fashion. The fashion, in fact, was the single most horrific thing we were forced to look at, as the otherwise stunning Marija wandered aimlessly around the stage in a bright pink, backwards tuxedo jacket with inexplicable armpit cutouts. When she whipped it off mid-song, I thought a crisis had been averted…only to witness the most unflattering half sweater/half swimsuit monstrosity the world has ever seen. The only saving grace in a performance that was as neat and tidy as the top shelves of my closet (i.e. not at all) was the vocals. Oh, and Marija’s shoes – they were dope. Just not dope enough to save Macedonia from their Barbara Dex destiny…
Which Eurovision performances disappointed/shocked/scared the s%*t out of you enough to become your personal “worsts” of the year? Let me know in the comments below…and from one overly-judgmental person to another, don’t hold back!
THE EBJ EUROVISION 2018 REVIEWS: Round 8 (Belarus, Montenegro, Norway, Russia, Sweden + Switzerland)
Well, I did it! 43 reviews down, ZERO to go.
As you may/may not have noticed, I didn’t start my Eurovision reviews this year until mid-April. Over the past 28 days or so, I’ve worked my butt off and written an average of 1.5 reviews every single day – in between going to work, cooking enough food to keep myself alive and occasionally interacting with other humans socially. Sure, I haven’t ironed for a month, my floordrobe has to be seen to be believed, and I have unpaid bills stacked up to the ceiling…but Eurovision is priority number one. Everything else can wait.
I hope at least one of you has enjoyed my 2018 ramblings. If you’ve enjoyed them so much you want to go back and read them again before the contest kicks off – or if you’ve found me for the first time and want to catch up – here are all the links you’ll need for fast access:
- Round 1 feat. Armenia, Cyprus, Hungary, Malta + The Netherlands
- Round 2 feat Azerbaijan, Estonia, Poland, Romania + Spain
- Round 3 feat. Albania, Finland, Greece, Lithuania + Moldova
- Round 4 feat. Australia, France, Georgia, Ireland + Latvia
- Round 5 feat. Austria, Bulgaria, Croatia, Portugal + Ukraine
- Round 6 feat. Belgium, Czech Republic, Germany, Israel, Macedonia + San Marino
- Round 7 feat. Denmark, Iceland, Italy, Serbia, Slovenia + the United Kingdom
And then there were six. Before we dive headfirst into Eurovision week, I need to talk about Belarus, Montenegro, Norway, Russia, Sweden and Switzerland. Is there a douze-worthy song up the sleeve of Alekseev, Vanja, Alexander, Yulia, Benjamin or Zibbz? Maybe there’s a few, as far as I’m concerned. If you want to know what I think and how I scored their entries, keep reading – and for the final time, scroll for the poll to vote for your favourite!
My thoughts Sometimes rumours become truths, and that’s how Alekseev ended up representing Ukraine at Eurov…wait. That’s not right. It could have been Alekseev flying the blue-and-yellow flag this year, had he not pulled out of the Ukrainian selection to try his luck in less merciless Belarus. That’s not where the drama stopped (it practically went on Forever). But, many debates in the Eurovision community and withdrawals by fellow Eurofest contestants over the age of this song (i.e. was it eligible to go to the ESC as per the EBU rules and regs) later, Alekseev is in Lisbon after all. And he’s there armed with the original melody and English lyrics of a Russian-language song that was definitely publicly performed prior to September 1st. That date rule is a bendy one, isn’t it? And I’m down with it on this occasion, because I freaking LOVE Forever. This song is everything I want in an old-school Eurovision power ballad. It’s dynamic, dramatic in that classic Eastern European way (Work Your Magic comes to mind as a reference point), has a massive chorus which in turn has two massive money notes in it (which spawned the iconic Twitter account Alekseev’s Mouth) and, like a few other songs this year, takes me back to the ESC glory days of 2004-2008. The octave change in the first verse is an attention-grabbing opening to the song, one that’s hypnotic in its bold, loud moments, and spellbinding in its softer moments. And the melody throughout is haunting enough to give me the shivers. Now, I know what you’re thinking: This is clearly not at the forefront of modern music and isn’t exactly a masterpiece, so why am I making it out to be The Best Song Ever? Well, I don’t have a good answer to that. All I know is that if you could get Eurovision songs delivered like pizza, and I ordered an epic lights-and-shadows power ballad with a sprinkling of cheese, Forever is what I’d expect to be delivered to my door. The only things I’d pick off it, if it were a pizza, are a few questionable lyrics. ‘No need to worry, rain falling down, it’s our happiest story and there’s no one around’ ain’t the stuff of lyrical legends. I’m also bamboozled by Alekseev’s ability to blast his way through Let’s Get It Started by the Black Eyed Peas, in English without any trace of an accent (for his Voice Ukraine audition….you MUST YouTube it!), despite the fact that a few years later his singing English is heavily accented. That’s what makes me wish, since the EBU would probably have allowed it, that he was singing this song as Navsegda on Tuesday night. Not that anyone’s going to be listening to what’s coming out of his (Twitter-famous) mouth when he’s got a BED OF BLOODY ROSES protruding from his back. If the sight of that is as laughable as the press are telling us (us = me ‘cause I don’t watch rehearsals), Belarus are on the borderline of qualification. I suspect they might be sacrificed in this deadly semi, and that will upset me forevAAAAAAAAAaaaaaaaaaah.
2017 VS 2018? I wasn’t a huge fan of Naviband’s song (don’t hate me), so 2018.
My score 10.5
My thoughts I realise that anything Montenegro sent to the ESC straight after Space would have seemed like a stark contrast – but to go for a majestic Balkan ballad, right off the back of a song that referred to wet dreams, is a plot twist and a half. Bringing us the best possible Montenegrin option (their NF was pretty shocking) is Vanja, and if Inje wasn’t missing the magic ingredient that makes a Balkan ballad sensational (Željko Joksimović as composer) I’d be praising the Eurovision gods for its presence in Portugal. As it is, I’m kind of feeling it. It’s a slow-moving, slow-burning number that doesn’t quite explode into a climax worth waiting for (to use Slavko-approved language) but feels grand anyway. If Lejla by Hari Mata Hari is a Chanel, Inje is a Wal-Mart…but that’s only by comparison. Still, I normally go so (dancing Italian) ape over big Balkan ballads, I was wondering why exactly I couldn’t go crazy over this one. I’ve come to the conclusion that it’s due to what isn’t there rather than what is – because what is there is adequate, if not remarkable. It’s slightly too slow-paced to whip up excitement; the melody of the chorus is simplistic when I personally prefer my BBs to be extra-rhythmic; and there are times when I could call it boring, even though I don’t want to. I guess I want the whole thing to level up. Like last year, when I loved the camptastic Space but wanted more from Slavko’s performance (wind/dry ice/a horde of hot, half-naked, oiled-up male dancers seductively waving huge, feathered fans), I like Inje, but I’m asking more of it than it wants to give. I want more drama, more atmosphere and more complexity (I’m very greedy, I know). I’m waiting now to see if the performance fills in some of the gaps – maybe when I’m watching it, I’ll get the spine-tingles I so desire. Or not, as Montenegro’s had as many staging misses as they have hits. They do have a capable, confident performer in their corner, which is a giant plus. Vanja may not be in the same smouldering category as Željko Joksimović, or be quite as compelling as Knez (and unlike Knez, is not an expert at making doves disappear and sawing people in half) but he holds his own. And he’s surprisingly hilarious on social media: a fact that may not help him succeed in the contest, but has won him a lot of admirers thanks to his snappy Inje-hater clapbacks. Vanja? More like VanJAAASS. Because he’s such a dope dude, I regret to predict a DNQ yet again for Montenegro, even knowing that every time they’ve sent a Balkan ballad in the past they have made it to the final. Third time unlucky, I reckon. This song would be a nice addition to the final 26, so if I’m wrong, I won’t complain.
2017 VS 2018? The disco-dance power and smuttiness of Space wins.
My score 7
My thoughts Any Eurofans out there who thought ESC record-holder Rybak wouldn’t end up representing Norway this year were very naïve. I know, because I was one of them. That was in spite of his irresistible performance of That’s How You Write A Song winning me over, after I’d already made the most drastic change-of-mind possible on the song itself. It went a little something like this: Listen No. 1 (with high hopes): ‘What the HELL is THIS?!?!? It’s TRASH, is what it is! You should be ASHAMED of yourself, Alexander!!!’. I was so disappointed, I could have cried myself to sleep that night (but didn’t ‘coz I’m a grown-ass woman and pulled myself together). Then came Listen No. 2, my reaction to which was (inexplicably): ‘Holy crap, this is AMAZING!!! I have never known the true meaning of musicianship until this moment!’. Okay, so I’ve dramatised that reaction a tiny bit to show you how much of a 180-degree turn I did. But boy, did I change my tune. I can’t even remember why I was so appalled in the first place…maybe because the song is a humungous throwback to an era that isn’t yet retro-fashionable again. I no longer care about that, and I definitely don’t care that Alex’s instructions for writing a song are wildly inaccurate. I’m too caught up in the bubblegum fun of the mid-tempo disco music, simple lyrics that make for a karaoke dream song, inevitable violin solo, and showstopping final third. I even love the scatting…what have I become? The onscreen scribbles may have been borrowed from Francesca Michielin, but they’re used more interactively á la Bulgaria in Kyiv, and look great on TV. If you’re thinking I need a reality check and should throw in some negatives to prove I haven’t gone completely insane…too bad. I swear, if anyone other than Rybak was peddling this track, I wouldn’t have come around. It’s not because he is who he is, with that Eurovision legacy, but because he has the ability to sell the song like his life depends on it. And I’m not just buying it – I’m throwing fistfuls of kroner at him while screaming hysterically. He instructs us to ‘believe in it’ in the THYWAS chorus, and he seems to practice what he preaches, pouring boundless energy and charm into his live performances. And he still looks so youthful (more on that in a second) that his childlike enthusiasm is infectious, not creepy. The thing I do find annoying about this, Alexander, is that you couldn’t wait another twelve months to make your (possibly) triumphant comeback TEN years after Fairytale. Nine years just bugs me. Also annoying (as it doesn’t apply to me), how has this guy barely aged, when he was 23 at the time of his win and is about to turn 32? Potential humanoid cyborg alert! More importantly, I might have to issue a potential two-time Eurovision winner alert while I’m at it. I can’t believe I’m even saying it, but Norway’s shift to 2nd in the odds after Rybak’s first rehearsal show how dangerous he could be. A safe top 10 result is more likely, but I am yet to discount this entry from the first-place fight.
2017 VS 2018? It’s another case of ‘I love them both equally and could never choose!’.
My score 10
My thoughts When Russia gives Eurovision their all, they go BIG (baking sweet treats live on stage and everything). When they really want to win the contest, it’s crystal clear. The only thing big about Yulia’s 2018 entry is the papier-mâché mountain she’s been forced to sing it on top of (the hills are alive…with the sound of mediocre music). And what’s crystal-clear about I Won’t Break is that, while Russia did good by keeping their promise to Yulia after last year’s Drama (drama so sizeable it deserves a capital D), they didn’t do good by her when they came up with this as her comeback track. It goes without saying that this song runs rings around last year’s almost-entry Flame Is Burning. But that’s not saying much, and unfortunately, plenty of the same problems remain. Once again we’ve been presented with a song that is a) unexciting and uninspired, b) belongs in a different decade, c) features wannabe-inspirational lyrics about strength and resilience and how there is light even in the darkest of places, blah blah blah, and d) in a language that Yulia is obviously not 100% comfortable with and cannot clearly pronounce with genuine feeling (which she shouldn’t be expected to). All of this is just on a smaller, much more bearable scale. I mean, I can sit and listen to I Won’t Break without wanting to punch a hole in the wall. But it’s still light years away from making a Best of Russia at Eurovision play list on Spotify. The beat is good, and I like the melody and the way it develops. But the lyrics are vague and clichéd, and overall the song is just not that interesting – it’s one of those you can imagine playing in the background of an Olympics montage (in this case, moments in which athletes triumphed over adversity) and that’s rarely a sign of imminent ESC success (Heroes aside). My biggest issue of all with this entry is that insistence – by whom, I’m not sure – that Yulia sings in English. It’s not her comfort zone. But for all I know, she was the one who insisted on it. I have to wonder, after trying so hard to win in Stockholm and losing to Ukraine, of all places (and Australia, but I don’t think Sound of Silence bothered them much compared to 1944), what happened to Russia’s A-game? Did Sergey accidentally leave it in the stage wings of Globen, where it was picked up on the sly by Christer Björkman and added to Sweden’s already stellar Eurovision toolkit? With the right song and the right approach, Yulia could be portraying Russia at their ESC best, and even though I Won’t Break makes Flame Is Burning sound…well, just as bad as it was, it still only gives her half a chance of success, if that. Yet we know Russia can do amazing things on the Eurovision stage. They certainly have the funds for it. I’m sure that mountain cost a pretty penny, but it wasn’t a wise investment piece. Is it a gimmick that will help them reach the lofty peak of the final, or is that 100% qualification record of theirs about to be destroyed? I can’t decide, but this must be the most dangerously close to a DNQ that they’ve ever been. I want Lazarev-level Russia back next year, please.
2017 VS 2018? There is nothing that isn’t better than Flame Is Burning.
My score 7
My thoughts Sweden may not be alphabetically last in this round of reviews, but this is my 43rd review for the year – i.e. I wrote it after the Swiss one below. I decided to save Sverige for as long as possible, like I was eating a particularly delicious slice of chokladkaka and leaving all of the frosting until last. Why? Well, if you’ve read literally any of my posts before, you’ve probably picked up on my Swedophile status: they’re my favourite Eurovision nation, I speak a fair bit of Svenska and am always teaching myself more, and I’ve traveled to Stockholm twice in the past two years (for the ESC in 2016 and for the Melodifestivalen final in 2017). Needless to say, I’m biased as heck when it comes to the country’s contest entries, and you won’t be shocked to discover that Dance You Off is my #1 song of this year’s comp. Some Eurofans hate it and think it’s trash; others aren’t bothered either way; and then there’s people like me who think it’s INCREDIBLE and actually cried a little when Benjamin won Melfest in March (okay, so I might be the only person who cried). I understand why the song doesn’t appeal to everyone, but I’ll tell you why it appeals to me. Firstly, Benjamin’s musical stylings are right up my street, and I love every song he’s released prior to this – Do You Think About Me, One More Time and last year’s Melfest entry Good Lovin’ in particular tap into the polished, slick and summery dance-pop I have a weakness for. Then there’s the resemblance between Dance You Off and two cracking songs by another of my favourite artists, The Weeknd – Can’t Feel My Face and I Feel It Coming. Those two songs and DYO all take inspiration from the late 80s and early 90s, and mesh those influences with late 2000s pop trends to create effortless cool. THEN there’s my tendency to fangirl over anyone who can whip out some falsetto and smooth dance moves simultaneously (I am aware that Benjamin is too young for me and has insanely hairy Italian arms, but I can still admire his talents, right?). You can add to that simple, but at times downright genius lyrics – ‘Treated you good, we were gold, I dug you like you were treasure’ = OH YES. Last but in no way least, there’s the fan-bloody-tastic staging concept that sees Benjamin bring a music video to life on a stage within a stage. Visually, this is so impressive – the first time you see it especially, but I’ve watched this performance more than any other and I’m still in awe. Unfortunately, because Sweden is criticised more harshly than any other Eurovision country if they don’t have a surefire, mass appeal winner on their hands, I feel this entry is receiving more hate than it deserves. But in a nice act of revenge, it will probably do better than a lot of people think. Don’t discount the fact that many people will see Dance You Off in all its light-up glory for the first time during Thursday’s semi, and even if they don’t like the song, the staging is easily spectacular enough to suck up votes like a vacuum. When Sweden inevitably reaches the final, they might not do quite as well as they have the past two years (though I believe this should do better than 5th) but there’s a top 10 place with their name on it. I hope that some day soon, Sweden stops being punished by Eurovision fans for their streak of success (even if it’s for selfish reasons because I’m sick of seeing hate comments directed at my favourite songs). Regardless…Team Ingrosso, NU KÖR VI!
2017 VS 2018? 2018, but they were both jättebra.
My score 12
My thoughts Ahh, Switzerland. The land of Lys Assia (RIP), excellent cheese and chocolate (what more do you need?), and consistent choosers of the best possible Eurovision entry from their NF. Sadly, they’re rarely rewarded for that last national trait – maybe because their best offering can’t quite compete with the best offerings from most other countries (harsh but true). The Swiss actually had two awesome, you-better-pick-that songs in this year’s Entscheidungsshow, and one of them was indeed Stones. There’s something about this song that is just plain cool and very likeable. It’s Americana-inspired soft rock that’s 100% authentic, 0% artificial – unlike the other Americana song we have in Lisbon via the Netherlands. Corinne and Stefan do spend half their time in Los Angeles, so there’s the explanation for that. It’s brimming with attitude, and the lyrics are definitely on track to being my favourite of the year – they’re especially tight in the chorus, but original and well-rhymed all the way through. The only part I’m not a fan of is the precursor to the final chorus, where it’s rammed down our throats that these two ‘ain’t standing alone’. It’s a little cheesy and not on par with the rest of the song, but that last chorus and the mic-drop ending later, and all is pretty much forgiven. Even though I’m an Australian whose studying days are over, this song makes me want to go on college spring break just so I can attend a party feat. warm beer in those classic red cups, and hopefully scream-sing it at the top of my lungs before jumping off a balcony into someone’s swimming pool. I’m not going to, but dang, the pull is strong! I love that vibe. Stones in general is laid-back and relaxed but has bite, and it’s a good combo. It’s not right up there with my most beloved songs of 2018 – not right now, at least – but as I’ve said before, there are only a few I truly dislike this year and this one is well above those in my ranking. Of course, if Switzerland had sent Compass by Alejandro Reyes, they’d be firmly inside my top 10 and wouldn’t have to worry about being booted out. I’d also be more confident of a qualification then, but with Zibbz I’ve been back and forth. I feel like they can, and therefore might be sacrificed from semi numero uno. There are so many powerful acts and big-hitters up against them, and Switzerland does not have a great recent track record (they last qualified in Copenhagen). However, I have heard good things about their rehearsals, and with this year looking more unpredictable by the minute, I wouldn’t be shocked to see them slip through. It’ll be 9th-14th in the semi, I think – and if it’s 9th or 10th, the final result is likely to be lower than left-side scoreboard. Just being involved in Saturday night, though, would be a step closer to leveling up for a country that’s been sent home early three years in a row.
2017 VS 2018? 2017 by a Stones-throw (my god, I’m hilarious).
My score 8
And that is that! THANK THE LORDI. Before I go and have a lie down because this race to smash out 43 reviews in a month has exhausted me beyond belief, I’ll give you a look at today’s ranking:
- Sweden (12)
- Belarus (10.5)
- Norway (10)
- Switzerland (8)
- Russia (7)
- Montenegro (7)
In news that will surprise no one, Sweden tops my list with an easily-earned douze. Belarus and Norway are not far behind. This was a generally high-scoring lot of songs, and I’m glad I got to end on a positive note.
If you’re wondering when I’ll unveil the entire EBJ ranking for 2018, wonder no more: it’s happening ASAP. Definitely before the first semi final, and probably alongside my predictions for SF1 – so keep an eye on my social media over the next few days if you don’t want to miss a thing (I’m @EurovisionByJaz everywhere).
Now it’s time for you to do your Eurovisual duty:
Feel free to post your personal ranking of all six – or even all 43 songs in the Lisbon line-up – in the comments. If you have thoughts on anything ESC-related, basically, I’m happy to hear them.
Okay, I’m seriously going to go pass out now. I’ll be back before it’s too late (a.k.a. before that first semi begins) with my promised predictions. Who’s in and who’s out? At this point, I’m still confused about that, so I’ll get back to you…
Welcome to Eurovision week – it’s going to be a great one!!
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.
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!!!
The Songs of Eurovision 2017 So Far: First impressions, 2016 vs 2017, my top five + vote for your favourite!
Happy First of February, everybody! As scary as it is that a full four weeks of 2017 have already gone by – it’s practically a permission slip for us all to Get Frighten like Lolita Zero – February is an exciting month on the Eurovision calendar, so maybe we should all “get excite” instead.
January just ended with the presentation of Kyiv’s logo and slogan (‘slogo’ to those of us who don’t have time for excess syllables):
It isn’t the most attractive logo (or the greatest slogan) in ESC history as far as I’m concerned (the colour scheme in particular is pretty drab). However, it has the potential to look slick in show-motion, as part of the postcards, and plastered all over posters/lanyards/t-shirts/toilet paper (an untapped item of merchandise that could, ahem, wipe the floor with the rest). So shall we give it a chance to shine – or not – before we throw it in the trash via salty Twitter sessions? Yes? Okay then.
In other end-of-January news, the allocation draw for the semi-finals took place yesterday, and has divided all of the non-automatic finalists into either the Tuesday or Thursday night shows. This doesn’t mean that much at the moment. Still, I’m happy to have Sweden in the first semi alongside Australia (despite the fact that they’re obviously tough competition) because we’re pretty friendly, and unless it’s third time unlucky and Australia sends something diabolically bad to Ukraine, we’re likely to get a little boost of points from last year’s hosts. If we don’t, the entire country will have a mob of angry Aussies (or perhaps just me) to answer to.
With the theme art unveiled and the allocation draw done and dusted, we can now move on to the millions (slight exaggeration) of national finals mapped out for this month – including the magnificent Melodifestivalen, which starts this Saturday. For now, though, there are five seen-and-heard songs in the race to be the next 1944…and that’s such a neat little number, I’ve got to take advantage of it. So here, have some opinions on the fabulous (and not-so-fabulous) five songs chosen to date for the 2017 contest. And stick around to the (possibly bitter) end to vote for your favourite before five becomes…more than five. #mathsskillz.
Bonjour, Albania, Belarus, Finland, Georgia and the United Kingdom. I’m about to criticise you like crazy.
Botë by Lindita Halimi (Albania)
When discussing Albania at the moment, we’re fully aware that the song we’re talking about now is probably not the song we’ll be talking about in a month or two. That’s because Lindita and her crew are currently revamping it and preparing for its English-language unveiling (not because the Botë writers are going to pull a Diell on us and actually force her to find a different song to sing in Kyiv). In its at-this-second state, Botë is classic Albania – a big, brassy power ballad in possession of a mysterious beauty. Even if any of that changes when the final version is presented, Lindita will still sing the absolute crap out of it without breaking a sweat. If she doesn’t qualify to the ESC final, I feel like someone’s going to get punched (not by me, but by her. The girl is fierce).
My current score 8 points.
Better than Fairytale? As one of the few living and breathing fans of Fairytale, I’m not 100% certain, but I think Lindita trumps Eneda. She’d definitely beat her in the boxing ring.
Historyja Majho Žyccia by NAVI (Belarus)
Like Finland, Belarus chose wisely from their NF line-up when they could easily have made a dreadful decision (in my opinion…which as always, is the right one). NAVI’s brand of fun folk-pop is wrapped up in a neat, cheerfully-decorated package with Historyja Majho Žyccia. Even though it will stay in Belarusian (which makes me want to do a little ethnic/highly embarrassing dance of joy) we’ll all be able to sing along to the various heys and hos that up the cute factor throughout. I’m not head-over-heels in love with this song – it could be the genre, which isn’t my favourite, or just a missing bit of pizzazz – but I like it a lot, and I’m interested to see how it performs at Eurovision.
My current score 7 points.
Better than Help You Fly? This is like comparing 1944 with Wadde Hadde Dudde Da (don’t try to tell me that Stefan Raab masterpiece isn’t stuck in your head now). Basically, it’s a tough call, but I’m saying yes.
Blackbird by Norma John (Finland)
I was holding out a little hope that this track would win UMK, but until I saw the performances, I assumed Emma had it in the bag. Or that Finland would think ‘f%#k it’ and pick Günther & D’Sanz. Fortunately, they pleasantly surprised me by doing neither of those things. Blackbird has plenty of people pretending to puke whenever it’s mentioned, but for me, it has a bit of the magic of A Monster Like Me plus the raw emotion of Silent Storm. That amounts to something special, if not spectacular. Some pre-ESC crafting of the staging concept should elevate it to semi top ten status, but it’s early days and most of Norma John’s competition is a question mark. They might blend into the background, or make a statement with their subtlety. If you ask me, it’s Option B!
My current score 10 points.
Better than Sing It Away? As a party-starter/dancefloor-filler, nope. In every other department, yep.
Keep The Faith by Tako Gachechiladze (Georgia)
Tako nearly made it to Moscow in 2009 as part of the peeps that brought us We Don’t Wanna Put In. To be honest, I’d rather listen to that disco-flavoured, thinly-veiled dig at Russia’s main man than this melodramatic, been-done ballad. When you’re watching a song being sung, and you’re thinking about how sparkly the singer’s dress is and how voluminous her hair is and where you can buy a lipstick in that exact shade because it’s gorgeous…but not about the song itself as it kind of sends you to sleep, that’s bad news. And that, my friends, was me watching Tako do her thing at the Georgian final. One person’s trash is another’s treasure, so I know Keep The Faith has its fans. I’m just not one of them at this point.
My current score 5 points.
Better than Midnight Gold? No way. Bring back the drug references and epileptic lighting sequences.
Never Give Up On You by Lucie Jones (United Kingdom)
Was it my number one (like, the only treasure I’ll ever have) choice of the six You Decide songs? Not before the comp. But I’ve got to admit, this song has grown on me very rapidly after only a few listens and a look at Lucie’s pared-back performance from Friday night (in which she sang like a songbird, wore an amazing velvet dress and reminded me a little bit of Lena circa 2010 if Lena had taken a Valium before stepping onto the Oslo stage). It’s an almost-exceptional, well-worded minimalist ballad that Emmelie de Forest has co-created here – and may I remind the haters that every single song she’s written that has made it to the ESC has won the contest? True fact.
My current score 10 points.
Better than You’re Not Alone? Definitely. Joe + Jake were a much less hyperactive and more sensible-haired version of Jedward, which can only be a good thing – but Lucie is a step in a more successful direction.
For those of you who made it through all of the above, here’s my top five:
- United Kingdom
How long will it be before somebody, if anybody (*sneezes in a very timely fashion with a ‘SWEDEN!’ instead of an ‘AACHOO!’*) steamrolls over the UK and parks in my personal top spot?
I have no idea.
Here’s an easier question to answer:
If you want to justify your poll pick or say something snarky about a song you don’t like (this is not a bitchiness-free zone, so go ahead), drop by the comments below. Also, feel free to send your personal top five my way so we can compare our rankings while secretly wondering why the heck each of us has THAT song in first/last place.
Until Saturday, when the clouds part and a heavenly glow covers Gothenburg because it’s Melfest Semi One Day (can’t you hear the angels warming up their vocal chords in anticipation?)…
Say Fri-yayayay! Not only is it now the weekend (cause for celebration in itself), but it’s also the true start of the Eurovision 2017 national final season. What’s happened before tonight was the warm-up, and now that we’re all stretched and dying to get going…well, things are getting going. So that’s good.
In case you can’t tell, I’m not a fully functioning, able-to-string-a-decent-sentence-together human person at the moment. My working week was pretty exhausting, and my extra-curricular plate is more overloaded than the Buranovskiye Babushki’s pie tray. Still, I couldn’t bear to miss out on making some rash judgments and ridiculous predictions re: tonight’s NFs, which I’ll regret later.
Speaking of tonight’s bits and pieces (and tomorrow’s), what’s on?
- Friday Belarus’ Eurofest (feat. Napoli, NAVI + Nuteki); Georgia’s unnamed NF
- Saturday Hungary’s A Dal (Heat 2 feat. Gigi Radics); Lithuania’s Eurovizijos (Heat 3 feat. Vilija)
There’s something for everyone in there, even if you’re saving your girlish screams for the Scandinavian selections (like me). Let’s talk about the shows that are putting the ‘final’ into ‘national final’ by actually producing entries for Kyiv.
A very mediocre Georgian marathon (or ‘Why This Post’s Title Was Belarus-Centric’)
I’ll get straight to the point here – I’m NOT reviewing or predicting this year’s Georgian NF.
That’s partly because I’m pressed for time, but also because I was so uninspired by the stuff in it that I can’t be bothered. The impression I got from hearing all 5000 (approximately) tracks, one after the other, is that waking up at an ungodly hour to watch them be performed would be like tuning into a parallel-universe version of the ESC 2007 semi final, in which every single competing song is Time To Party by The Jet Set.
I.e. a terrible plan not worth sacrificing sleep for.
But hey – first impressions never last. I’ll give a second chance to whatever becomes the winner.
Also, I apologise for flicking my bitch switch up to max in the paragraph above. I’m just being honest, though.
Nudity + wolves = so 2016…but what’s next for Belarus?
Where do you go after the Ivan Incident? Anywhere that erases Giant CGI Babygate from our memories is fine by me.
There are 13 (ooh, lucky/ooh, unlucky – pick a side) songs battling it out tonight to represent Belarus in the not-very-far-away land of Ukraine. Among them are a few that could certainly improve on the DNQ of Help You Fly, given some polishing time. How convenient, then, that it’s January, and Eurovision’s not until May! No excuses, Belarus.
After another year of excruciatingly amateur (oops, must’ve hit that bitch switch again) auditions – seemingly held in a studio with all the acoustic calibre of a shoebox – here are the finalists.
- Children of the World by July
- Be Stronger by Alexandra Tkach
- Follow The Play by Vladislav Kurasov
- Historyja Majho Žyccia by NAVI
- On The Red Line by Isaac Nightingale
- Wild Wind by Kattie
- Take My Heart by Nuteki
- Let’s Come Together by NAPOLI
- Voices In My Head by Nikita Hodas
- We Should Be Together by Angelica Pushnova
- We’ll Be Together by Anastasiya Sheverenko
- Heartbeat by Lermont x Julic
- #mylove by PROvokatsiya
There are a few returning artists in the mix – including NAPOLI, who peddled My Universe at both Eurofest and Poland’s Krajowe Eliminacje last year. Will any of them finally get the chance to move to the next stage (literally)? I’ll tell you what I think in a minute. But first…
My top 13
Because compiling rankings is as natural as breathing to us Eurofans.
- On The Red Line – It’s on the red line but off-the-wall, and that’s what I like about it. This doesn’t sound like anything I’ve heard before, and there’s not a cringely, clichéd lyric to be heard. I’m YAASSSing all over the place about that.
- Historyja Majho Žyccia – NAVI, once again, are bringing all kinds of adorable to the Belarusian NF. This is the only non-English track on offer and that instantly makes it stand out. It’s super catchy, cute, and full of happy in a folksy way.
- Take My Heart – I think this is my favourite musical attempt-to-make-it-to-Eurovision of Nuteki’s. It’s not going to win any awards for originality, but it’s a good example of energetic mid-tempo pop rock in the We Are The Heroes
- Be Stronger – There’s something about the sweet lyrics and vulnerability in Lexy’s voice and look (I don’t know how old she is, but she looks like she’s still in school) that has me reaching for the tissues when I hear this. It makes my heart hurt in a good way.
- Follow The Play – This sort of pop ballad is right up my street, but it’s a bit passé at Eurovision (and everywhere else) in 2017. Dima Bilan and his ’06 mullet would probably agree.
- Children of the World – This is a blatant rip-off of Nick Jonas’ Chains, only with much cheesier lyrics crammed in. And yet I don’t mind it. WHAT’S WRONG WITH ME?!?!?
- Voices In My Head – I’m torn on this one. I quite like the alternative vibe (this song is the hipster vegan café of the music world) and Nikita’s vocals, but the spoken word sections don’t speak to me.
- Heartbeat – I can’t tell whether this is a good song sung badly, or a bad song made worse by crappy singing. In summary, ???
- We Should Be Together – Dated, predictable dance-pop does not rub me up the right way…anymore (I think I can use the phrase “I’m too old for this s%#t’ and really mean it at this point in my life).
- Wild Wind – Donald Trump is about to be inaugurated as US President. Ergo, there’s so much depressing stuff happening in the world already that we don’t have room in it for such a melodramatic, morbid ballad about unfortunate weather conditions to go to Eurovision.
- We’ll Be Together – I’m pretty sure that this is a decent song…but Anastasiya’s voice is so bizarre (has she swallowed a sponge at some point?) that it’s a distraction.
- Let’s Come Together – Of the 75 songs competing in Belarus with the word ‘together’ in the title, this is by far the worst. It’s obvious that NAPOLI is desperate to get to Eurovision, but three solid minutes of clichés isn’t going to do the trick.
- #mylove – Nope. To the hashtag, the melody, the style and the words, I say ALL OF THE NOPES.
Who SHOULD win? This is basically the same as asking me ‘Who do you personally want to win?’, and my answer would be (based on the ranking I typed out two seconds ago) Isaac Nightingale, NAVI or Nuteki. To my tastes, these three (plus one or two others at a push) are diamonds in the rough that is this national final. Isaac has the least chance of actually winning, as I’ll admit that On The Red Line isn’t exciting enough to demand attention (which would translate into votes). I’d love NAVI to win since they’re the sole reps of their native tongue in the entire show, and to see that win out via such a sweet song would make me smile. Nuteki’s entry this time around doesn’t set the world on fire like it’s a piano belonging to The Makemakes, but it’s competent and catchy and karaoke-friendly – multiple boxes of mine are ticked by it.
Who WILL win? *drumroll* Let Jaz’s horrendously inaccurate NF predictions begin! I’m not a betting woman (mainly because I am so bad at foreseeing the future that I’d be constantly broke if I was) but NAVI, Nuteki or Napoli (yeah, I know what I said before) are the names I’d drop some dollars on.
Ask me to single one out FTW, and I’d say…
Last but not least, I’m going to throw in a random underdog, because why the heck not. It’s Lermont x Julic. Don’t ask me why; just know that, like Justin Timberlake, I got this feelin’…inside my bones.
SUDDEN ENDING ALERT!!! I’m going to say my goodbyes now, before I fall asleep on my keyboard and risk waking up tomorrow with ‘QWERTY’ imprinted on my forehead. Hit me up with your opinions on and predictions for this weekend’s NFs in the comments, if you have any. Don’t be shy!
If you’re settling down with some snacks and a potentially pixilated stream from somewhere in Europe, enjoy. I’ll see you on the other side when we have two more songs to welcome (with open arms or middle fingers, we’ll see) into the Eurovision family.
Love, love, peace, peace out!
I bet you didn’t see this coming. Regardless and right on schedule, round three of the EBJJJ judgments has arrived!
Today, it’s time for a few of last year’s JESC success stories; host country Malta; and Italy (who neither did brilliantly in 2015 or are hosting like they COULD HAVE in 2015) to be picked apart by me and my posse of Europop aficionados. Prepare for highs, lows and mixed emotions, people.
Without further ado, let’s jump in to judging Klesta, Alexander, Fiamma and Christina’s songs for Europe. And Australia. And any other country that happens to be broadcasting JESC this year.
My thoughts Last year, I staunchly supported Mishela Rapo and her dibi-dibi-Dambaje as they ventured forth into the bloody musical battle that is…not JESC (blood-drawing = not so child-friendly, and probably frowned upon by the EBU). The haters did hate, but she went on to finish 5th, equaling the best-ever ranking in a Eurovision event that Albania secured with Rona Nishliu in Baku. Funnily enough, their Junior entry for 2016 reminds me of Suus, for several reasons. But am I intending to sing its praises the way I did with Dambaje (and yes, Suus, once my ears became accustomed to Rona’s tuneful but still very loud wailing)? The answer is ‘kind of’. In my opinion, there’s more to like about Klesta’s Besoj than there is NOT to like about it, but it isn’t flawless. Let’s start with the good stuff, though. A mature, sophisticated and B-I-G ballad bursting out of a precious-looking little girl (in glasses, no less) has been a secret to JESC success lately – think Gaia Cauchi’s 2013 win or Slovenia’s song from Lina Kuduzović last year. So there’s that. Then there’s the fact that this ballad features multiple moments of melodic magnificence throughout, particularly between the choruses. The choruses do have their strengths, as they’re a dynamic contrast to the softness of what surrounds them, exploding out of nowhere and allowing Klesta to reach her full vocal potential (surprising unsuspecting viewers in the process). It’s a statement song, that’s for sure. But I have to point out its flaws if I want to get all of the cattiness out of my system before these reviews reach their conclusion, and these are the most obvious: firstly, the somewhat strange use of English in amongst the Albanian – ‘believe’ popping up in that first chorus instead of ‘besoj’ is too random for my tastes. Secondly, the second half of the chorus, where most of the power is packed, is OTT enough to give me the beginnings of a headache by time the song’s over. Still, my personal ratio of like to dislike here is about 85%:15%, which ain’t bad for Albania. It just means that the more people who feel the way I do, the more likely they’ll have to settle for a less impressive result than last year’s. I’m not sure if it would be a help or hindrance if Klesta took even more cues from Rona Nishliu and appeared on stage with her hair forming part of her costume…
My score 7
The EBJ Junior Jury says…
- Dara, Australia – 6
- James, UK – 6
- Joshua, Australia – 12
- Matthew, Ireland – 7
- Michael, Australia – 4
- Penny, USA – 10
- Rory, Ireland – 10
My thoughts This is old-school Junior Eurovision right here, folks! From 2003-2010 (ish), pre-teen pop was the core of the contest. Nowadays, we’re lucky to get two or three tracks per year that bring back those memories (the trio of 2016 being Belarus, The Netherlands and Serbia). Alex’s homeland came third in 2013 with something similar, and I’m guessing he’d like to do the same or better. Sadly, I’m about to burst his bubble, because Muzyka Moikh Pobed is only okay, and certainly no Poy So Mnoy (then again, what is? That was BOSS). It’s a mid-tempo, pretty well-sung and performed song with a reasonably catchy chorus, and I do get a kick out of it – just not a hard one. More like a gentle poke with the toe, if you were after specifics. There’s nothing about it that’s memorable, even though comparing it to anything else in the competition would be like comparing Lordi and Boggie. It would make a great Sing It Away-style opener for the show because it’s energetic and sets the mood switch to ‘Party Time!!!’, but can then promptly be forgotten about by everyone and eventually putt-putt to a halt in 13th place because it’s disposable. I don’t want it to fail – if an outcome like that would be considered a fail – but I don’t see it having the steam to climb much higher. That doesn’t mean Europe should stop sending kid pop: it can be done in a memorable way that still scores serious points. It just means that…well, you can’t take a top 5 spot every single year. Unless you’re Armenia.
My score 6
The EBJ Junior Jury says…
- Dara, Australia – 5
- James, UK – 7
- Joshua, Australia – 10
- Matthew, Ireland – 5
- Michael, Australia – 8
- Penny, USA – 7
- Rory, Ireland – 5
My thoughts Nobody does class like Italy. It consistently ensures they get great adult Eurovision results (when they don’t, those are the exceptions, not the rule) and even won them the Junior Eurovision title on their very first try in 2014. Fiamma Boccia’s ballad, which is an ode to her mother (see, Axel Hirsoux…it CAN be done in a non-creepy way!), is nothing if not classy. Yet it still manages to be age-appropriate for the twelve-year-old, who actually looks younger than her years (she may be asked for ID upon entering the Mediterranean Conference Centre for the first time). To be honest, I thought Cara Mamma was an unfortunate sweet-and-savoury combo of sugar and cheese back when it was presented, and if it was entirely in English (against JESC rules, I know, but I’m talking hypothetically here) I probably still would. But further listens have somehow changed my mind, and I’m really digging it now. It is sweet, but the Italian, as always, adds an aspect of beauty that’s very appealing. The chorus is soaring and melodic without being overblown or melodramatic. And the softness of the verses that is echoed when the song winds down gives me a satisfying feeling that the entry has come full circle, returning to its roots and making it more meaningful. Italy also makes excellent use of the little English they’ve opted for, as it doesn’t feel like it was crammed in just to increase the song’s accessibility. Fiamma is pretty darn cute, and has an emotional presence – at least in her music video – that reminds me of Alisa Kozhikina, who represented Russia the year Italy won JESC (albeit with a ballad that was too mature and melodramatic for my liking, but still finished 5th). I think she has one of the best ballads of the year up her sleeve, but with tough competition coming from Albania, Bulgaria and Poland, she needs to pull off a top-notch performance to give herself the best shot of outdoing the others. I’d like to see her do well, and I bet her mother would too (her father, who’s probably feeling a little left out, may be less supportive).
My score 8
The EBJ Junior Jury says…
- Dara, Australia – 5
- James, UK – 12
- Joshua, Australia – 7
- Matthew, Ireland – 10
- Michael, Australia – 8
- Penny, USA – 8
- Rory, Ireland – 4
My thoughts Malta has been hyped a heap at Junior Eurovision recently, and usually they live up to that hype by winning or doing very well indeed. Destiny’s Not My Soul wasn’t my favourite entry last year (far from it, in fact), but she certainly fulfilled expectations, and did deserve to win as far as I’m concerned. But if Christina Magrin does the double on home soil with the frequently-fangirled-over Parachute, I will be FURIOUS. To cut what could be a long story short, I hate this song. So much so that I’ve taken to calling it Parashite (hoping that Christina never finds out, because I’m not a monster who wants to hurt a child’s feelings). I seem to be in the minority, but to me the song is annoying, vacuous, derivative crap. And what the heck is up with that ‘Ew ew ewhew ewwwww’ part of the chorus? I mean, yes, it accurately describes my attitude towards the whole thing, but what does it add to the track? It’s like the writers couldn’t for the life of them think of any more lyrics for that section, so they decided to string out the last syllable sung instead in the most irritating manner known to man. All in all, this is bubblegum pop that should stay stuck to the underside of a school desk somewhere. Maybe this rant makes me a distant relative of Satan himself, but I have to tell the truth! I will admit that Christina is a great singer, as is everyone under the age of sixteen who calls Malta home. But her vocal gymnastics can’t somersault the song into my good graces. Worryingly, the last time I felt this strongly about a Maltese JESC entry in a negative way, it was 2013 and Gaia Cauchi’s The Start went on to win with ease. So if Parachute does the same¸ y’all can go off and celebrate and I’ll just be crying in a corner, cursing the juries under my breath.
My score 2
The EBJ Junior Jury says…
- Dara, Australia – 5
- James, UK – 10
- Joshua, Australia – 6
- Matthew, Ireland – 12
- Michael, Australia – 6
- Penny, USA – 8
- Rory, Ireland – 3
And with that controversial ending to today’s round of reviews (direct all hate mail to me and expect a falsely polite reply within six to eight months), there’s now twelve down, five to go for the EBJ Junior Jury.
Our ranking after scoring this group of four looks like this:
- Albania (7.75)
- Italy (7.75)
- Belarus (6.62)
- Malta (6.5)
It’s the ballads that have reigned supreme, with Albania and Italy equaling each other’s scores. Albania gets the top spot on countback, but the gap between the two is barely there. Belarus and Malta keep each other company in the lower half, with very little separating them as well.
How do they all fit in to the full EBJJJ ranking for 2016? Well, you’ll have to wait and see – but don’t worry, there’s not long now until I reveal all. The final five left to be reviewed are Australia, Israel, Macedonia, The Netherlands and Serbia. Maybe we’ve saved the best until last….maybe we haven’t. Either way, you won’t want to miss it.
Did Albania deserve to take out today’s top honours, or should Malta have been the cream of the crop á la Destiny? Perhaps Italy or Belarus have won you over instead. Let me know what you’re thinking in the comments!
Yes/ja/oui, et cetera – it’s already time for another round of reviews here on EBJ! And since this second installment isn’t much less epic (a fancy way of saying ‘ridiculously long’) than the first one, I’ll make this intro fast…by stopping it right here. You guys know how these posts go.
Remember, you can reacquaint yourself with the 2016 EBJ Jury at any time via the meet and greet page up there *points in the appropriate direction*. Today’s reviewers = my mum (she’s back!), Fraser from ESC TMI, and yours truly – meaning it’s an all-Aussie, all-awesome affair. We’ve had our say on the Eurovision entries from Belarus, Cyprus, Georgia, Italy, Sweden and Switzerland. Our excessive compliments and/or abusive tirades are in, as are the scores from all of my other slaves…er, I mean helpers. So now I present to you the entire EBJ Jury’s assessments of IVAN, Minus One, Nika Kocharov & The Young Georgian Lolitaz, Francesca, Frans* and Rykka. Which act will emerge victorious? And will they knock France off the top of our leaderboard? If you want the answers to those questions, plus a whole heap more, then read on!
*Am I the only one who thinks Francesca and Frans should hook up purely because their couple name writes itself? I’m dying to use #Franscesca in a tweet or two (hundred).
Mrs. Jaz The beginning of this song caught me off guard (even though I didn’t know what would follow it). As interesting as it is, that intro sounded strange to me, and not in a good way. As Help You Fly continued, I was also unsettled by the high note-filled choruses that IVAN is so fond of – choruses that could be his downfall if he doesn’t nail them at Eurovision (if he’s even a millimetre out of tune, it could be painful for everyone with functioning ears). However, on the whole, I quite enjoyed Belarus’ entry. It’s catchy and radio-friendly, and would be easy to sing along to, if I knew any of the lyrics! I’m told that IVAN’s slightly disturbing wish to perform starkers with wolves will not be granted by the ESC powers that be, and that’s definitely the best part of this package…so to speak.
Fraser Howling, wolves…ooh, this is Eurotastic! I do love how projections can make any song look super professional. IVAN has a fabulously expected, deep Eastern European pop voice – one that, in most other countries, would not be used for this style of song. Somehow it all seems to work. The song is easy to sing along to, and not bad as a bit of background music. I’m struggling to see how Help You Fly has anything to do with wolves…but hey, this is Eurovision, so who cares! Belarus have not made it through to the final for a few years, but if IVAN presents this naked on the Eurovision stage surrounded by wolves, maybe they will. That’s their best chance.
Jaz It seems that taste in music doesn’t totally run in my family, given that I do like the intro of Help You Fly – a song that I named the one I’d least like to win the Belarusian final a while back. Clearly, I’ve come around since then. If you’re wondering what’s up with IVAN’s wolf obsession (especially when an eagle obsession would make more sense), then that intro at least incorporates a howl into HYF, and sets an intense, mysterious and minutely-ethnic tone for the rest of the song, which sits on the right side of the rock genre. Initially, I found the chorus irritating, and couldn’t even remember how the verses went. But after listening to it a time or two recently, I’ve found myself appreciating it for what it is – a solid Eastern European rock effort, with lyrics that manage to be inspirational without inducing any gagging (which is always good). It’s a little too lethargic to trouble its semi’s top 10, so I’m not sure it’ll qualify. But if IVAN gets to grips with the knowledge that the naked + animal thing ain’t going to happen, and intensifies his NF staging (the background graphics there were edgy and complementary), you never know. Failing that, he might burst (not naked) out of a giant disco ball, and subsequently straight into Saturday night. It worked for Alyona Lanskaya, didn’t it?
The EBJ Jury says…
- Ali 6
- Fraser 4
- James 5
- Jaz 7
- Martin 5
- Mrs. Jaz 7
- Nick 1
- Penny 7
- Rory 5
- Wolfgang 1
Belarus’ EBJ Jury score is…4.8
Mrs. Jaz ‘Coz this is thrillerrrrr….thriller night!’ Oh wait – it isn’t? Well, it sure sounded like it at the start. Though that is where any resemblance to Michael Jackson’s music ended, because this track is only okay, in my opinion. I preferred Belarus to Cyprus. Alter Ego is pretty catchy too, and it has a good beat, but it’s rather repetitive and not as instant. I think I’d need further listens to appreciate it, but as I got bored halfway through this one (I zoned out and did some online shopping during those last 90 seconds) I’m not too keen to hear it again. If Jaz wants me to give it another go, she might have to use some force.
Fraser Well, this is a bit of a surprise. Everything about Minus One’s Alter Ego is against my normal style of music, but there is something that’s a bit ‘easy-listening soft rock’ that I like about this. Wolves are big this year – maybe Minus One and IVAN can do a naked mashup with wolves, or re-enact ‘Dances With Wolves’ on the stage. Naked. Please? Actually, looking at the video, it’s probably best if they all keep their clothes on. Honestly, I think Cyprus may have a chance of getting through to the final with this song. It’s catchy enough to sing along to, and that may just get them somewhere.
Jaz Thomas G:son strikes again! Though it must be said, Alter Ego isn’t his best-ever Eurovision effort. Then again, neither an uplifting power ballad nor a club banger (the kind of songs he does best) would have suited Minus One, who’ve bounced back from a defeat in the 2015 Cypriot NF to represent the island in Stockholm. What the band and G:son have created is a song that ticks a lot of boxes, but still seems to be missing something – something that says ‘Vote for this!’. It’s all just a bit…flat. Having said that, it does have a great driving beat, and a two-part chorus that adds variety. The Killers-slash-Nickelback vibe also has appeal (no, I don’t mind Nickelback. You got a problem with that?) and I particularly enjoy the ‘Howlin’ for youuuuuuuuu’ part (SVT should just change the ESC slogan to ‘Come together…with wolves’ already). In summary, I suppose I’m in two minds (or perhaps I’m thinking one thing, and my Alter Ego is thinking another). This track is more than halfway up on the good-quality song scale, but I also believe it doesn’t pack enough punch to reach the highest heights. Ultimately, I’m happy that it doesn’t send me to sleep like Cyprus’ entry did last year, but I’m not exactly impressed by it.
The EBJ Jury says…
- Ali 7
- Fraser 2
- James 7
- Jaz 6
- Martin 7
- Mrs. Jaz 5
- Nick 4
- Penny 7
- Rory 7
- Wolfgang 5
Cyprus’ EBJ Jury score is…5.7
Mrs. Jaz Wow – what a throwback! You’d never guess this was the Georgian entry based on how Brit-pop it sounds. Oasis would be proud to have Midnight Gold as one of their own hits if the Gallagher brothers weren’t such…well, you can insert your own insult here. The song’s clearly not cutting-edge, but I like that Georgia have taken a deliberately retro route rather than an accidentally stale one. The result is something that stands out (though maybe not for the better in the eyes and to the ears of many Eurovision fans). If I may channel Austin Powers for a moment, I’d say it’s pretty groovy, baby!
Fraser Immediately this sounds like some average 90s Brit-pop band is making a comeback. There is nothing that sounds remotely Eurovision about it. I’m bored already. I think Noel Gallagher is on bass guitar, and his talents are better used elsewhere. Did I mention I’m bored? Sorry Georgia, this is not your year.
Jaz I try not to feel guilty about fangirling over ANY song – why should you feel bad about liking what you like? But…if I could call anything a guilty pleasure this year where Eurovision’s concerned, it would have to be Georgia’s Midnight Gold. As it’s far from being a fan favourite, I have a strong feeling that I’m not “supposed” to enjoy it. And I’d be lying if I said I expected it to succeed, or even get out of its semi. But I really, really like this song! What’s even weirder about that is the fact that alt-rock is a genre I hardly ever choose to listen to any other time. Apparently, though, it can be slotted into the ESC line-up and I’ll fawn over it like it’s Måns Zelmerlöw attending a nude party thrown by Sir Ivan of Belarus. Everything about the song is close to bizarre and certainly edging towards bonkers territory – and I love it. The catchy guitar riff, ambiguous zero-cliché lyrics, and general freshness of the genre in the Eurovision context have well and truly won me over, folks. And I refuse to be ashamed about it! I’m letting my freak flag fly, and quite possibly a Georgian one too.
The EBJ Jury says…
- Ali 10
- Fraser 1
- James 2
- Jaz 8
- Martin 4
- Mrs. Jaz 7
- Nick 6
- Penny 7
- Rory 8
- Wolfgang 1
Georgia’s EBJ Jury score is…5.3
Mrs. Jaz I’M IN LOVE. This is gorgeous, and makes me want to get married again just so I can use it as my wedding song. Obviously I had no idea what Francesca was on about until the English chorus kicked in, but I figured it was something romantic, and I guess I was right (although the Italian language can make any subject matter sound romantic…this could have been an ode to conjunctivitis and I’d still be swooning). The melody, plus her combination of crystal-clear and raspy notes (she’s got a great range) made me feel the emotion of her words without even trying. I’d willingly listen to this one again, at my fantasy second nuptials or not.
Fraser Italy can do no wrong. This is fabulous. Maybe it’s just that anything sung in Italian sounds hot! Francesca’s voice is youthful, modern, and soothing. I fell in love with this song after San Remo, and it has grown on me more and more ever since. I’m not sure there was a need to add in the English lyrics halfway through the song, as it was good regardless – but it is competing in Eurovision, and you need to make sure you get votes from as many people as possible. I expect that this will finish within the top five songs this year.
Jaz Oh, Italy. What would Eurovision these days be without you? A lot less classy, that’s for sure, and in the case of 2016, that lack of class would be accompanied by a lack of spine-tingles, and a lack of exclamations such as ‘Oh no, I’ve got something stuck in my eye *sniff*’. No Degree of Separation is, put simply, stunning. My only criticism – which I’d like to get out of the way so I can carry on gushing – is that it wasn’t an instantaneous goosebump-producer for me, like Grande Amore was. It took a few plays of the 100%-Italian version for me to fall in love, but the song did pique my interest straight away, as elegant Italian piano-pop always does. And now, with the (barely) bilingual version off to Stockholm, I have high hopes for Italy once again. Francesca’s choice to insert an English chorus and make it known by its English title for ESC purposes will pay off, I reckon. That second chorus adds an element of understanding to a song that was already seeping with sentimentality. The fragility of Francesca’s voice is perfectly paired up with the themes and style of the song. The structure of it is dynamic without shoving itself down anyone’s throat. I’m besotted, basically (in case you couldn’t tell). With an entry that reminds me of Gabrielle Aplin’s version of The Power of Love, and suitably ethereal/off-beat staging, I think Italy could and should do very well with this. But I am a teensy bit biased.
The EBJ Jury says…
- Ali 12
- Fraser 10
- James 12
- Jaz 12
- Martin 5
- Mrs. Jaz 10
- Nick 5
- Penny 6
- Rory 8
- Wolfgang 10
Italy’s EBJ Jury score is…9
Mrs. Jaz I get the feeling I’m not supposed to find that ‘no’ at the end of Sweden’s song amusing, but I did anyway. And, after all, I spent most of the three minutes thinking ‘Clearly, he’s not sorry!’, so it’s a relief that he admitted it. I did quite like this one. It’s interesting, and that made me pay attention rather than drift off daydreaming (or online shopping). If I Were Sorry is a bit repetitive – let’s just say I had no issues with working out its title before I was told what it was. But lyrically, it grabbed my attention, and I think Frans’ unique accent is an asset.
Fraser Well, well, well…what happened to schlager? It appears that Sweden has grown up and moved on. Maybe I should too? From the first time I heard this song in the field of Melodifestivalen entries, I knew it was going to be the Swedish representative. It wasn’t my favourite song in the field, but it’s a song of today. With a pared-back, youthful and emotional song, Frans will have a huge following of teenage girls which will automatically get him some votes. But I hope the rest of Europe get IIWS too. It didn’t do as well as some others with the international juries in Melodifestivalen, which was surprising. I guess we will have to wait and see how Frans goes on the huge Eurovision stage. My fingers and toes are crossed for him!
Jaz A minute ago, I said I was biased about Italy. Well, now it’s time to talk about our hosts with the most – so hold on to your underpants, because a tsunami of bias is headed your way! There’s a reason I knew, the second Heroes won Eurovision 2015, that 2016 HAD to be the year I trekked across the globe to attend my first contest. I. LOVE. SWEDEN. In and outside of the ESC (though the outside mainly refers to Melodifestivalen). That’s not to say there haven’t been times when I’ve disliked their entries (La Voix, I hate with a passion), but for the most part, the country can do no wrong in my eyes. So, despite my earlier desires for Oscar Zia or Molly Sandén to represent Sweden, I am a fully-fledged Frans fan. If I Were Sorry is in the mould of Sweden’s recent host entries – i.e. just You – in that it’s more organic, less precise, and simplified in comparison to the stuff they send when they’re competing on foreign ground. But there’s no doubt Sweden are still in the race with this, as the Spotify streams and betting odds are testament to. I don’t think Frans will deliver his country the seventh win Christer Björkman is hoping for (I’m sure he can wait until 2017 or 2018) but what I’m hoping for is a strong top 10 finish with this very-2016 toe-tapper. I can’t see the IIWS staging changing much from ye olde Melodifestivalen times – so the song and its presentation are really going to need to capture the public and the juries when it counts, as they captured the Swedish public and (some of) the international juries back in March. The song is certainly endearingly sweet and quirky enough – not to mention unique enough in the 43 – to find that favour. Perhaps my plan to scream the roof off the Globe Arena whilst wearing a shirt with Frans’ face on it will have a positive effect on the outcome?
The EBJ Jury says…
- Ali 7
- Fraser 12
- James 6
- Jaz 10
- Martin 8
- Mrs. Jaz 7
- Nick 7
- Penny 8
- Rory 1
- Wolfgang 7
Sweden’s EBJ Jury score is…7.3
Mrs. Jaz Very nice, Switzerland. I like this a lot. I was lured in from the abrupt beginning all the way through to the end, and I loved the sound of Rykka’s voice throughout. Her diction is beautiful. I’m a ballad fan if said ballad fits my definition of ‘decent’, and Last of Our Kind definitely does. It sounds like it should be the theme to a romantic drama movie or something – as in, what Ellie Goulding’s Love Me Like You Do was to Fifty Shades of Grey (not that I’d know anything about that). Backing an intense scene between two extremely attractive leads, the song would shine.
Fraser Rykka is a surprise for me. Her song feels like a step back into the end credits of a movie from 1989 (I know she even says that, but it really does). It’s a really nice song that I find myself singing along to in the car. The only thing is, I don’t always understand all of the lyrics she’s singing – maybe it’s just her accent. The recorded version is a lot stronger than the live of course, but I really hope that Rykka has a lot of practice before May. If her performance is on point, she may just sneak through to the final. BTW, if she could do something about those eyebrows, it would be greatly appreciated.
Jaz Each and every year, the Swiss NF is made up of a handful of mediocre songs (and often one or two that start with ‘r’ and end with ‘ubbish’) plus one that is slightly less mediocre than the others (but is still crappier than the crappiest Melfest entry of that year). The latter always wins, but I don’t always dig it. Where am I going with this? Straight to the shed for a shovel, peeps, because I totally dig The Last of Our Kind. It’s one of several Sia-esque songs heading to Stockholm, and that gets it an automatic ‘YAAAASSSS!’ from me. The melody and lyrics we hear before that first chorus are stunning, and overall the song is like a particularly ethereal dream that I don’t want to wake up from. I do think that the verses are stronger than the choruses, perhaps because they’re less repetitive (you and whoever you’re singing to are the last of your kind, Rykka…we get it). But there’s nothing wrong with a little repetition – and nobody’s going to forget the song title fast, that’s for sure. I’d love Switzerland to succeed with this, but I’m not entirely confident they will. Still, I have total confidence that they made the right choice by selecting Rykka as their representative…and let’s not forget what happened the last time a Canadian stepped up to fly the Swiss flag (although a tense battle for the win between Switzerland and the UK is super unlikely in 2016). While Fraser has all of his digits crossed for Sweden, I’ll have mine crossed for Canada…slash Switzerland.
The EBJ Jury says…
- Ali 6
- Fraser 10
- James 5
- Jaz 10
- Martin 7
- Mrs. Jaz 8
- Nick 4
- Penny 5
- Rory 1
- Wolfgang 12
Switzerland’s EBJ Jury score is…6.8
With a slightly above-average score for Switzerland locked in, that’s six more songs I can now file away under ‘Reviewed’. As you might have noticed, there wasn’t a massive difference of opinion between the three of us critiquing today – but survey those scores again, and you’ll see basically every number from 1-12 pop up at least once. That variety has left us with these results:
- Italy (9)
- Sweden (7.3)
- Switzerland (6.8)
- Cyprus (5.7)
- Georgia (5.3)
- Belarus (4.8)
Close, but not close enough! If you’ve forgotten the results of Part 1 (or have dropped by randomly and didn’t see them at all) then I can reveal that Francesca has failed to overtake France on the EBJ Top 43 table. But she’s topped this round of reviews, so that’s something – maybe I’ll send her a congratulatory card.
Next time, two British bloggers will join me to discuss Albania, Estonia, Germany, Lithuania, the Netherlands and…San Marino (there’s SO much to say about San Marino). Feathers and curse words will (probably) fly, so you won’t want to miss that.
In the meantime, let us know what you think of our winner and of our losers. Do you agree that No Degree of Separation is a stunner, or are you anti-Italy this year? Is the Georgian entry just bonkers enough in your opinion, or way too cray-cray for your taste? If you’re thinking it, type it in the comments. My mother would really appreciate it.