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BENDY POLES, PORTUGUESE DEATH DROPS AND NOT-SO-PERFECT STORMS | My take on Tel Aviv’s first semi-final!

Just like that, Eurovision 2019’s semi final numero uno is done and dusted and we have our first ten finalists for the year. As always, the show came and went faster than I thought possible, which wasn’t the worst thing since I was keen to get back to bed after a late night and the unfortunate 3am wake-up. The things we do for Eurovision when the time zone isn’t in our favour…

Anyway, I’m guessing you didn’t drop by to hear me complain about something that I actually don’t mind doing because EUROVISION. So instead, I’ll dive straight in to reviewing the semi from start to finish. Splash!

 

First, a few asides about the less attention-grabbing stuff that happened:

Show pros The opening vignette feat. mini Netta (cute) and the Toy reprise from grown-up Netta that followed; the dancetastic postcards (Georgia’s may have been my fave); the overall look of the stage and the lushness of the LEDs. 

Show NOs The hosts (there’s no Anke/Filomena type among the four) and their banter (pretty cringey); some residual dodgy camerawork; a couple of qualifiers I’ll name and shame later.

If only they sounded as good as they looked.

 

Now, let’s talk about the all-important bits and pieces: the performances and the results!

 

 

The performances: From not-so-good to great

I was going to run through the 17 in performance order, but then I thought ‘Why not offend as many people as possible by dragging their favourites and complimenting their most disliked entries excessively?’. Just kidding. But this is my personal scale of SF1 acts from ‘fail’ to ‘nailed it’.

Montenegro Poor D mol. They did what they could with Heaven, and if I was reviewing a high school talent comp or an episode of Glee, they’d rank higher. But it’s the biggest song contest on the planet we’re talking about, and this performance was not up to par. Questionable costumes, messy vocal moments and a song that could have been rejected by S Club 7 circa 2001 = not what it takes to make a Eurovision finalist.

Finland Icon status alone also isn’t enough to guarantee qualification, as Darude discovered last night. Look Away wasn’t statement enough to stand out in a field of 17, even though the superstar DJ and Sebastian managed to deliver a three minutes much, much better than those we saw at UMK. Finland just wasn’t meant to make it to Saturday night this year. Blame it on Sebastian’s mind-boggling jeans if it makes you feel better, Darude.

San Marino I’m going to do exactly what Serhat’s been telling me and say na na na to this massive slice of cheese. With I Didn’t Know being the Creepiest Song Ever™, it was no mean feat for him to outdo the ick factor from 2016 – but he did it. This performance was a step up from San Marino’s last year, but the whole thing gave off ‘desperate wedding singer hired out of guilt because he’s related to the bride and really needs the work’ vibes.

Belgium Eliot is a precious cinnamon roll and gave Wake Up an admirable go for someone so young and relatively inexperienced. He was just missing the very fight that he was singing about. Maybe it was nerves, not that he was visibly vibrating with the shakes á la Alekseev or anything. Another handicap was the song itself, which as we all know never really takes off. It couldn’t keep my attention away from Twitter and on my TV screen, I’m afraid.

Estonia I wanted this to be the same combo of charming and slick that saw Storm…well, storm to victory in Eesti Laul (thanks to the televote). But it was very rough around the edges – not quite a hot mess, but edging into that territory. The camera loves Victor and so do I, but he was barely hitting his high notes, something he acknowledged after the show. The green-screen weather is still one heck of an eye-catching gimmick though. Better luck on Saturday.

Georgia I’d heard there was some fierce staging afoot for Georgia, and I was not disappointed. The backdrops added a heap of intensity and atmosphere to the song, and I must say that Oto’s outfit was a huge upgrade from the hand-me-down disaster he was sporting on Georgian Idol. He sang well and connected with the camera like a pro, but as I suspected, what happened on stage wasn’t enough to make Keep On Going top 10 material.

Cyprus Was Tamta’s Replay a solid opener for the semi? Kind of. I was underwhelmed by Cyprus in general, with Tamta putting on a performance worthy of that time Mariah Carey could barely be arsed to get through one televised song and put about 37% enthusiasm into it. Also, the wet-hair-don’t-care/beyond thigh-high boots/crystallised leotard look was all kinds of wrong from where I was sitting. Maybe not Barbara Dex bad, but in that neighbourhood. The song itself saved this.

Slovenia I was worried about how Zala and Gašper’s closed-off intimacy would work on a much bigger stage than that of EMA. Truth be told, I didn’t think it did. The galactical backdrop was beautiful though, and I love Sebi so unconditionally that I’m willing to convince myself that the lack of down-camera connection was different rather than dysfunctional for Eurovision. The highlight has to be Zala’s vocals, which were as hypnotic and otherworldly as ever last night.

Poland Here’s a classic case of a song I’m not a fan of impressing me when performed live. All my traumatic memories of Lukas Meijer’s 2018 vocal car crash faded away, as Tulia treated us to a studio-perfect rendition of Pali Şie feat. a striking twist on traditional Polish costumes. They weren’t the most engaging artists and their singing style would have turned people off no doubt, but they were aurally flawless and my ears will be eternally thankful.

Hungary I’M NOT GOING TO CRY, I’M NOT GOING TO CRY, I’M NOT GOING TO CRY. I won’t mention why I’m holding back tears yet, like you don’t know. Wonderful, wonderful Joci gave me everything I wanted from Az Én Apám, sinister floating man-faces and misplaced fire curtain aside. This song hits me right in the heart and with Joci’s signature performance style (emotional, authentic and quietly powerful) that was always going to be the way when I saw it in this semi.

Belarus Cyprus better be grateful that Belarus drew a different final half, because ZENA – at age sixteen – somehow managed to out-Tamta Tamta. Her vocals were so-so at times, but when the staging is so fun, the choreography is killer and the performer’s personality is bigger than us (heh) who really cares? Not me. I enjoyed everything about this, and hoped it might have done enough to qualify once ZENA had done her Spice Girl kick at the end. Spoiler alert: it did!

Greece This was not the perfect package I was praying for, but I may just be feeling extra critical today after the semi did not turn out how I’d hoped. Thumbs down to the condom-shaped prop and overly-busy staging; thumbs up to the feminine florals and colour palette, and of course to Katerine’s drop-dead gorgeous vocals. Was this the semi winner? Not quite, IMO. But Greece put the kind of effort into Better Love’s presentation that they should have put into Oniro Mou.

Serbia Speaking of gorgeous vocals…Nevena unsurprisingly nailed every single one of Kruna’s notes, big, small and in-between. Her voice is amazing, she is stunning and the whirlpool graphics gave the performance more life and emphasised how high-def this year’s LED screens are (unless they just seem to be super high-quality in the wake of no LEDs in Lisbon). Our girl has sure come a long way, especially in the fashion department, since 2013.

Iceland If you were able to push through the feeling of having all your senses assaulted by Hatari, then you would have loved this as much as I did. It was the national final performance tweaked and refined, with better vocals from Matthias and Klemens, and that was all these guys needed to bring to Tel Aviv. I couldn’t help laughing at the contrast between Iceland in last year’s first semi and Iceland this time around. This is proof that it pays to be adventurous (unless you’re Portugal).

Czech Republic It was party time from the second Lake Malawi’s Albert said ‘Can you hear it?’ and flashed his exceedingly pearly whites right at me. That’s what it felt like, anyway. I have no complaints about this fun, colourful (in a Belgian sort of way) and confident performance. Great camera effects and crystal-clear money notes too. This was like a rejuvenating vitamin B shot, which we all needed after sitting through a block of anti-party songs.

Portugal Before I even talk about last night’s results, I feel compelled to say that PORTUGAL WAS ROBBED. I could have watched Conan and his death-dropping sidekick do their thing all evening, and I really felt like it was on the right side of weird – the lack of cutlery glued to Conan’s face probably helped. Excellent colour scheme, lighting and vocals and an overall feeling of artiness that wasn’t too arty…WTF went wrong? This was dope!

Australia Yes, my favourite performance of the night was from my own country. Bloody oath, mate. You can call it bias, but Kate had me feeling prouder than I’ve ever felt before – and very nervous – as she swung to and fro five metres in the air, living out the ultimate fairy princess fantasy while delivering on-point operatic vocals. Zero Gravity has undergone a glow-up and a half since Australia Decides, and it’s now in contention for a great result this weekend *happy-cries in Australian*.

 

 

That was all of the performances, which as I said flew by in what felt like five minutes. I have a few awards to hand out to the star performers and standout visuals of the night:

Best vocals Poland

Best staging Australia

Best costume Australia

Best personality Belarus

Best overall performance Australia

Sorry/not sorry for the Aussie overload. What can I say? I’m feeling phenomenally patriotic. Let me know which performances were your personal favourites (and least favourites…go on, spill some tea!) in the comments.

 

 

The results: A lot of predictability plus a few surprises

After the recaps, previews of Israel, Spain and France, more awkward host banter and an inexplicable Bruno Mars cover by Dana International (I would pay to NOT have to hear that again), it was time for us to get some answers. Just who would make it out of this less competitive but still curiously unpredictable semi? In announcement order – which is totally random and not at all engineered to make us sweat – it was Greece, Belarus, Serbia, Cyprus, Estonia, the Czech Republic, Australia, Iceland, San Marino and Slovenia. Belgium, Finland, Georgia, Hungary, Montenegro, Poland and Portugal were sent packing.

Let’s get the bad news out of the way first: no Hungary, and no Portugal. Those were the two eventual DNQ countries that I’d been desperate to see in the final, Hungary in particular. I can understand why Joci’s performance might have been too uneventful for some, but the fact that he’s Hungary’s only non-qualifier since 2009 – after giving them such a great result in 2017 – breaks my  heart. I adore him, and Az Én Apám will be sorely missed by me on Saturday night. Portugal, on the other hand, proved too bizarre to make the cut and that makes me mad. Especially when San Marino managed to qualify, which has none of Portugal’s creativity, originality and artistic merit. I try to take the results as they come, but that is a hard pill to swallow.

On the plus side, Australia and the Czech Republic went through – and I’m thinking we may have won this semi. It’s got to be between Kate and Hatari, with Katerine hovering on the edge. Estonia’s qualification had me sighing with relief, and I’m hoping Victor can brush up his vocals for the final and prove he belongs there (it’s all very Isaiah at this point). Belarus and Slovenia were my happy shocks of the night, though ZENA’s reaction was the kind I like to see. Zala and Gašper looked like they’d been given a voucher for a free Subway sandwich or something, not a ticket to the final of the world’s most-watched song contest.

In terms of my predictions – which you’ll be able to find all week on my Facebook, Twitter and Instagram @EurovisionByJaz – I managed to embarrass myself yet again by predicting 7/10 before the show…and 6/10 after I’d seen the performances. Here’s hoping I can redeem myself when it comes to SF2. How did you do?

 

 

That’s a wrap on my semi final one review, guys. If there’s anything you want to say about what went down last night, slide into my DMs comment box and get it off your chest. Were you happy with the results? What were your personal highs and lows? Do you think we saw the 2019 winner in this semi? Like John Lundvik, I wanna know.

I’ll see you on the other side of the second semi, for another post-show discussion. In the meantime, enjoy your Eurovision week as it continues, and as we get one step closer to crowning our next contest champion!

 

 

 

 

THE TEL AVIV REVIEWS | Round 5 feat. Belgium, Greece, Iceland, Poland + San Marino

TWO WEEKS TO GO!!! How we got so close to Eurovision 2019 so fast I’ll never know, but I’m not complaining. The always amusing stand-in rehearsals have started, and within one week the real-deal rehearsals will begin. Maybe then we’ll know who’s actually going to win the thing, because it’s far from being predictable at this point…for me, anyway. You Netherlands/Iceland/Italy superfans out there might disagree.

Speaking of Iceland, they’re one of the countries I’m judging today as I continue cramming in all 41 song reviews before May 14th. They’ll be joined by Belgium, Greece, Poland and San Marino in a majorly mixed bag of tracks, but that was bound to happen when Iceland was involved.

Check out my thoughts on/scores for Eliot, Katerine, Hatari, Tulia and Serhat, then share your own in the comments. Who’s floating your boat and who has your ship sinking?

Sorry about the nautical metaphors…they’re so Lisbon 2018.

 

 

2015-2017 had Belgium going from Eurovision strength to strength, like they were on a set of monkey bars and had a hell of a grip as they swung from one rung to the next. It was only a matter of time until they won the whole thing, right? Well, funnily enough it was A Matter of Time that saw them lose grip and fall flat on their face. 12th in their semi last year was their worst result in a while, but now the responsibility is back in the hands of RTBF – the broadcaster that gave us Loïc Nottet, Blanche and two 4th places. Eliot’s Wake Up has even been penned by Pierre Dumoulin, co-writer of City Lights. I feel like Belgium might want to mimic Blanche’s result here, but have they really got the goods to do it?

My first impression was no, and my current impression is still no. I do think Wake Up is a good song with great moments. When it opens with those otherworldly, 1980s-esque synth sounds, it sets us up to believe we’re safe in the hands of something special. For me, that feeling stays strong through the first verse, because it is an excellent one – catchy and complete with a beat that promises an epic chorus. Unfortunately, that’s when things become the opposite of epic. The stellar chorus teased by the start of the song never comes. I know every person on the planet has said the same thing, but doesn’t that ring alarm bells? It seems to be universal that the chorus doesn’t measure up to the rest of the song or make it more exciting, when it should be the part that actually does make you Wake Up (not have a quick nap as you wait for it to be over). Obviously not every single song has a statement chorus, which is fine on Spotify or on the radio – but in a competition, you don’t want to be underwhelming. It’s a shame because everything else about this song is totally whelming! I love the 1980s-meets-2010s feel, (most of) the melody and the lyrics. And I can imagine cool, artistic staging making this memorable in Tel Aviv.

Eliot isn’t a risk-free performer, based on lives we’ve seen so far. He does have a lot of potential though, and can pull off a solid vocal. I just want him to be more confident and more charismatic on stage, and own the song so it doesn’t overshadow him. He has Blanche’s songwriter behind him, but he needs to channel Laura Tesoro when it comes to taking charge of his performance. Belgium is opening the first semi’s second half – a positive – and performing before Georgia, which is also a positive (just not for Georgia). But then comes a string of songs ranging from ‘considerably more interesting than Wake Up’ to ‘I will never forget what I just witnessed as long as I live.’ And that, to quote Blanche (who I’ve mentioned a lot in this review) puts Belgium in the danger zone. I would like Eliot to qualify, but I worry that a Sennek sequel – a.k.a. another 12th place – is in his future.

 

In a line Slick, sophisticated synthpop with a sadly forgettable chorus 2018 VS 2019 2019, even with that sadly forgettable chorus Predicted result SF 8th-12th, GF 17th-20th My score 8 points

 

 

 

 

Remember when Greece was the untouchable, golden country of Eurovision? I’m old and do recall those days, but if you were born after 2000 you actually may not. The era was 2004-2011, when they won once, finished in the top three twice and never ended a contest’s final night lower than 9th. Then things took a turn for the (much) worse, from 2014 onwards in particular. Greece did manage to cling on to their 100% qualification record post-2011, until they lost it in Stockholm. THEN, after a bounce-back in 2017, they fell in the semi-finals again last year. So that’s where we’re at now, and I suppose I should stop giving you an unnecessary Greek history lesson and talk about Better Love.

The Duska discussion should start with me saying this is my favourite Greek entry in ages – and it’s not like I’ve hated their recent contributions. Continuing the tradition of bringing a great song when represented by a Greek-Canadian, Greece has got to be onto a good thing with this (you could say they’ve found the secret combination for success *insert canned sitcom laughter here*). Better Love is an amazing track that puts a bunch of other power ballads to shame. It’s well-written, builds musically and melodically, and manages to stick in my head in a way that’s usually reserved for up-tempo dance bangers á la Cyprus and Switzerland. The lyrics are simple and pretty minimalistic, especially in the chorus, making it easy to sing along to. I also like the balance Better Love strikes between sounding original and sounding familiar enough to be accessible – Portugal, on the other hand, might struggle because of their overwhelming originality (but that’s a debate for another day). What I LOVE about this song, and what makes it as magical as it is, is Katerine’s distinctive vocals. They hook me from the moment she says ‘Live for the mess’, which is good advice and I do it all the time where my bedroom is concerned. And when she hits those high notes in the chorus, and the even higher notes in the bridge…wow alert!

The elephant in the room now I’ve mentioned vocals is Katerine’s pre-party performances. They were sketchy from what I heard, but I’m not too worried about that being an issue at Eurovision. That’s because every other live of hers I’ve seen has been flawless; there’s still time for these things to be brushed up; and even vocals that sound awful in an arena or other live venue can sound fine on TV (that I know from my own ESC experience). So Katerine gets the benefit of the doubt from me, and if she does sound good on TV then that’s what will matter in terms of results. Can you tell I’m desperate to defend this entry? Greece has a brilliant song on their hands, and if it sounds good and looks good – recreating the arty/nonsensical video feat. lots of pink tulle might work – they should be back in top 10 for the first time since 2013.

 

In a line Power ballads don’t get much better than Better Love 2018 VS 2019 2019 Predicted result SF 1st-3rd, GF 6th-11th My score 12 points

 

 

 

 

Who in the world could have predicted the transformation Iceland would make between 2018 and 2019? Last year they gave us an angelic cinnamon roll (look it up on Urban Dictionary if you need to) performing a love love, peace peace anthem that was about as iconic as a glass of water. This year they have presented us with anti-capitalism, BDSM-dressed performance artists with a penchant for screamo-heavy industrial synthpunk (I think). Holy crap. I feel like Ari is too sweet and innocent to witness Hatari in action. SOMEBODY SHIELD HIS EYES!!! The funny thing is, the Hatari boys seem to be fairly sweet and innocent themselves when they’re doing their day jobs or taking selfies with schoolkids – basically whenever they haven’t been sewn into black latex. But on the stage belting out Hatrið Mun Sigra, it’s a different story. A scary one that shouldn’t be told before bedtime.

I need to tell a story of my own to explain why this song isn’t as appealing to me as it is to a lot of Eurofans. Screamo (if that’s the right term for vocals that require post-performance lozenges) is an off-putting technique and not something I actively listen to, and I know what’s mainly to blame. In general, it’s an assault on the ears…but when I was a kid, I was scarred for life by the credits of a music show we have in Australia called Rage. They don’t freak me out now like they used to, but watch them here and then imagine you’re a child who’s snuck out of their room in 2am darkness to watch music videos on TV only to be terrified back into it fast. I’m telling you this because Hatrið Mun Sigra reminds me a lot of that clip, with all of the aggressive screaming. Though I like the rest of the song, I can’t totally get past the scary parts.

Pushing my fear aside, I get the obsession with this. The industrial style of the music is not unlike Margaret Berger’s I Feed You My Love, and that’s a plus. The song has a hypnotic beat and a slick sound that I really like, and the contrast between the floaty chorus and the hardcore verses – then how they’re layered over one another at the end – is interesting to say the least! I also get a kick out of a song called ‘Hate Will Prevail’ representing a country who, 12 months ago, implored us to treat each other well, help, heal and ease the pain etc. I just wish Iceland had drawn the same half of the first semi as Montenegro so they could have performed after Heaven (for Christer Björkman’s love of the sawtooth approach and for our entertainment). I have no doubt Hatari will qualify from where they are in the semi, though HMS is not a song juries will flock to – it will be relying on a massive televote on both nights. Can Iceland pull a Poland 2016 and shoot up the final scoreboard after a low jury vote? I think they can. Time will tell…and hate will prevail.

 

In a line Like skydiving, this is terrifying but enjoyable at the same time 2018 VS 2019 2019 – BDSM trumps bland Predicted result SF 4th-6th, GF 5th-13th My score 8 points

 

 

 

 

Coincidentally, every country in this round of reviews failed to qualify last year. In most cases that was understandable, and Poland is no exception. Light Me Up is a great Euroclub song that I still listen to on the reg. But whenever I think of Gromee’s snake dance and Lukas’ incredibly inadequate vocals, a shudder runs through my entire body and I have to lie down for half an hour. So it’s a relief now to have Tulia, a group of girls we can rely on to deliver vocally…and to NEVER EVER snake dance. I appreciate Poland going in a different direction this year, right down to internally selecting instead of holding a national final (rumour has it they couldn’t afford one since they’re hosting JESC in November). You certainly wouldn’t catch me dancing to Pali Şie in the Euroclub unless it had been severely remixed.

But – and you might have sensed a ‘but’ coming – although I applaud Poland for trying something new, I can’t get on board with this song. It did help when I learned that Tulia’s vocal technique is a legitimate one where they aren’t supposed to be harmonising. Sadly, that doesn’t stop my untrained eardrums recoiling from the sheer force of what sounds, to me, like yelling. I don’t want to trash Tulia because what they do, they do very well. It’s just not my cup of tea. I know they have plenty of fans who will support them and like the sound of all those voices singing the same notes at the same time, so I don’t feel too guilty. Granted, it’s not just the vocals that I can’t get into. The melody of the song has a spark to it but it never lights a full-on fire (of love) in me like the ominous one in the videoclip. I find the chorus too simplistic, especially when the English lyrics drop. And I think Pali Şie is quite same-same all the way through: it doesn’t lose steam but it doesn’t gain traction and really go somewhere either.

None of the above means I’m not fully prepared for Poland to win me over with their Eurovision performance, by the way. From what I saw at EiC, Tulia slayed those vocals (don’t sue me, Wiwibloggs…that word was necessary) and their costume choice was what I expected – extra polished and extra Polish. We know they won’t be coping with choreography while trying to keep their voices in check, so there’s no reason for them to sound questionable. Visually, ‘ethnic with an edge’ is how I hope for the song to be staged, and if it is I wouldn’t be surprised by a qualification. Should Poland go through, I’ll be happy for them and pleased that Europe (and Australia) embraced something so different. If they don’t, I won’t be mad about not having to hear Pali Şie in the final. My a-Poland-gies.

 

In a line I’m a harmonies girl in a (usually) harmonised world, and this is too much for me 2018 VS 2019 2018 Predicted result SF 9th-13th, GF 19th-23rd My score 5 points

 

 

 

 

When Serhat was announced as San Marino’s rep for 2019, I immediately felt like the dumbest person alive for not seeing it coming. Sure, the principality had only recycled Valentina Monetta in the past (unless you count the JESC recycling of Michele Perniola and Anita Simoncini) and it was more likely to be her name they dropped than anybody else’s. But still, Serhat became so iconic back in 2016, he should have been a predictable returnee. It was a matter of when, not if – and here we are with Say Na Na Na, a.k.a. Serhat Strikes Back, a.k.a. the sequel to I Didn’t Know minus monocle. To tell you the truth, I don’t know what to think of this entry and that’s partly because I don’t know how seriously to take it. I’m leaning towards ‘not very’.

Say Na Na Na is every stale Eurovision cliché possible packed into three minutes, without actually having been lampooned by Love Love, Peace Peace (props to San Marino for entering a throwback and finding a loophole at the same time). It’s cheesy, it’s dated, and if anyone other than Serhat was performing it, they’d be definite DNQ material. But somehow – and I have no idea how – it kind of works. This guy certified himself as the ESC disco king as soon as the original I Didn’t Know was swapped for the remix, and his reign continues with this terrible yet enjoyable track. It’s the guiltiest of pleasures, with lyrics like ‘Don’t forget my number, call me any time, I will always tell you life is beautiful and fine’ (which makes Serhat sound like the least helpful psychologist ever) sending the cringe factor through the roof – while set to such a catchy tune that I can’t help singing along. The chorus in particular is an earworm and a half, and will no doubt have the contest crowd obeying Serhat’s command to say you-know-what.

I think we can all foresee the staging treatment this will get, and if it’s anything like the music video or Serhat’s Stockholm performance, it’ll be a massive step up from last year. The fact that San Marino has been given the pimp slot in SF1 suggests the EBU is happy for them to be our freshest memory. That’s quite the confidence boost. It doesn’t mean qualification is a given – just ask Triana Park – but it’s rare for the last song out to stay in the semis. That, combined with Serhat finishing 12th in 2016, has me shook at the prospect of this actually making the final. I don’t 100% agree that Say Na Na Na should qualify, because it’s far from being one of the best 10 songs in semi one. But Serhat himself? Well, I can’t deny that I’d happily have him qualify just for the hilariousness of it, and as a reward for selling the shiz out of another substandard product.

 

In a line A throwback track just as wonderfully awful as Serhat’s last 2018 VS 2019 2019, without a doubt Predicted result SF 9th-13th, GF 18th-22nd My score 7 points

 

 

 

 

25 down, 16 to go! I have no choice but to whip through these reviews faster than John Lundvik down a 100m track in his sprinting days. It is now the end of April, after all (HOW?!?!?).

Here’s the mini-ranking for today’s round:

  1. Greece (12)
  2. Belgium (8)
  3. Iceland (8)
  4. San Marino (7)
  5. Poland (5) 

And here’s where Greece etc fit in to my overall list at this point:

  1. Hungary (12)
  2. Switzerland (12)
  3. The Netherlands (12)
  4. Greece (12)
  5. Estonia (10)
  6. Norway (10)
  7. Cyprus (10)
  8. Czech Republic (10)
  9. Belarus (10)
  10. Russia (8)
  11. Romania (8)
  12. Belgium (8)
  13. Armenia (8)
  14. Iceland (8)
  15. Serbia (8)
  16. Albania (8)
  17. Lithuania (7)
  18. Croatia (7)
  19. Australia (7)
  20. San Marino (7)
  21. Montenegro (5)
  22. Latvia (5)
  23. Poland (5)
  24. North Macedonia (4)
  25. Georgia (4)

Do we have anything in common so far? Is there anyone who doesn’t have Georgia bringing up the rear (sorry Oto)? I’m curious, so let me know in the comments.

 

Watch out for my Austria, Denmark, Malta, Moldova and Portugal reviews later this week, and have your opinions at the ready…

 

 

Until then,