Does anyone else think it is RIDONKULOUS that we’re just over four weeks away from Eurovision 2018? Where dafuq does time go? I know it’s like thunder (thanks to the teachings of Uzari) but that aside, it’s a mystery.
My point – today, anyway – is not so much that Lisbon is so close, but that Kyiv is nearly a year old. It seems like the 2017 contest happened a few months ago at most, and realising it didn’t has me SHOOK.
The silver lining is that we can now gaze fondly (or not so fondly) back at last year’s show, and the things that made it one to remember, before version 2k18 arrives. And that’s exactly what I’m doing today, in case you misunderstood the title of this post: counting down my top 10 most memorable moments from Kyiv. And yes, the definitive ‘the’ in the aforementioned title is misleading, since the following list is based on my opinions. You know what I’m trying to say.
If it’s been a while since your last 2017 rewatch, consider this a refresher – and if you want more memories, you can check out my other Kyiv-related countdowns (e.g. my best and worst performance lists). But for now, keep reading and see what I think made last year’s contest quite the memorable one. And afterwards, vote for your favourite unforgettable moment!
#10 | Blackbird, don’t sing (in the grand final): Finland fails to qualify
There are some things that pop up at Eurovision every year without fail: WTF stage props, backup singers being the secret stars of the show, awkward conversations between the hosts and Jon Ola Sand…that sort of stuff. Also occurring every year is at least one final result or DNQ that the Eurofan community just cannot get over and will vent about on social media for months. When it comes to the most shocking scoreboard-related event of Kyiv, I was torn between Austria’s televoting zero in the final (how could that happen to the precious angel that is Nathan Trent?!?) and Finland’s failure to even make the final – and ultimately, I just can’t go past Norma John’s Blackbird getting the boot. The song had me at hello (i.e. the first time I listened to it and heard the line ‘Now you remind me of something I’ll never have’, I broke out in goosebumps and burst into tears simultaneously) and I’ve watched the performance back a bunch of times looking for reasons why it didn’t go through. Spoiler alert: I CAN’T FIND ANY. Finishing 12th in last year’s first semi, Finland would have had to knock out Georgia (11th) and Greece (10th) to reach the Saturday night, and almost a year later I still believe they should have. Let’s see if they can qualify this year for the first time since 2014, with big gun Saara Aalto (even though that won’t compensate me for all the Kleenex I’ve used crying over Blackbird).
#9 | A meme-orable smooch: Alex Florea gives Ilinca a kiss to remember
Okay, so this one was less painful than Finland’s DNQ – maybe not for Ilinca, but for the rest of us. If I’m honest though, the celebratory smooch Alex forcefully planted on her was more iconic. I don’t have anything against it, exactly. The guy was caught up in the moment and what happened, happened (a lot like something else celebratory I’ll be mentioning later on in this list). But the image of Ilinca’s squashed-up face is burned into my brain, and obviously I had to gift you guys a GIF of it above in case any of you had managed to block it out. I need you to laugh-cringe with me all over again!
#8 | Firebrace yourselves! Isaiah’s nightmare high note
Don’t get me wrong: I was totally supportive of Isaiah last year (from 2015 onwards I’ve been a member of the ‘defend your own country’s entry to the death’ club), and even though I’m still unsure how Australia ended up in the top 10, I’m proud of him and his team for managing it. But even I can’t deny that several seconds of his semi final performance – and you know which seconds I’m referring to – can now be labeled as one of the worst vocal slip-ups in ESC history. Isaiah was only seventeen back then, and since the rest of his time on stage was infinitely more ear-friendly, I don’t want to shame him. But OUCH. Just ouch. Well, ouch with a little laughter thrown in because I’m a terrible person (the kind who will also laugh when they see someone fall over in the street…but I do feel bad about it, if that helps). Sensibly, there was no attempt in the final to hit that same note, so maybe our eventual 9th place was Europe rewarding us for not damaging millions of eardrums any further. PS – If you’re wondering why I didn’t think Spain’s vocal car-crash moment was memorable enough for this list, well…it didn’t come as much of a shock, TBH. It was more of a nail in the coffin for poor Manel, as opposed to something that almost destroyed an otherwise good performance.
#7 | Two genres + three Jacques = one heck of a performance from Croatia
When you think of the most outstanding acts of Eurovision 2017, you might think of winner Portugal, the return of Epic Sax Guy for Moldova, or Francesco Gabbani and his (pretty worse for wear) ape not quite meeting expectations for Italy. Or, your mind’s spotlight might shine straight down on Croatia, with a performance that stood out from the rest for every reason imaginable. As if the whole ‘one man singing two songs solo’ thing wasn’t enough to attract our attention, Jacques took the LED selfie trend to the next level with two massive Houdek heads representing the pop and opera sides of My Friend (as did his half-and-half costume). Plus we got to witness an onstage instrumental duel that reminded me of Harry Potter VS Draco Malfoy in The Chamber of Secrets; pyro for days; rainbows and six-foot sunflowers; and…have I forgotten anything? The kitchen sink must have been in there somewhere. You might not have liked My Friend much as a song (I didn’t) but you have to admit that Croatia created something unforgettable during their three minutes.
#6 | Nappies and nuptials: Jana Burčeska reveals she’s pregnant…then gets proposed to!
Macedonia may not have qualified (again) last year, but Jana probably didn’t mind much given she had a lot of other stuff to celebrate on the night of her semi. A pregnancy announcement via pre-performance postcard was new ground for Eurovision – and then came the on-air green room proposal from Jana’s boyfriend Aleksandar (during which one of her fake fingernails fell off…#romance). Two out of three good things on one night ain’t bad! Jana went on to give birth to a baby girl and went all meta-ESC by naming her Dona. And we all went on to remember her acceptance of a marriage proposal as the most dramatic thing to happen in a Eurovision green room since Eric Saade called Petra Mede a MILF back in 2013.
#5 | Fast food and fireworks: Salvador’s sensational victory speech
You didn’t think I was going to leave this out, did you? Salvador made headlines beyond Eurovision bubble borders with his post-win declaration that “Music is not fireworks, music is feeling.” His was a speech far less sassy than Conchita Wurst’s, but much more controversial. Even though it was spur of the moment, I can’t help admiring the guts of a guy who’ll get up on a stage in front of thousands (with millions more watching him on TV), at the world’s biggest pop music contest, and say “We live in a world of disposable music; fast food music without any content. I think this could be a victory for music…that actually means something.” The implications were pretty negative, and neither Salvador’s fellow artists nor fans were very happy with the statement. But I can see what he was trying to say, as someone who appreciates meaningful music just as much as musical fluff engineered purely to get butts on the dancefloor. If he’d had time to get his thoughts together, he might have been able to articulate his message in a way that didn’t send the Eurovillagers after him with flaming torches and pitchforks – but that wouldn’t have made for such a memorable moment.
#4 | A wet-eyes reprise: The Sobral siblings’ emotional end-of-show duet
Now, back to the Salvador who melted our hearts in Kyiv. After his sister Luísa – composer of Amar Pelos Dois – had filled in for him during rehearsals to ensure he was contest-ready, it was only fitting that she’d be invited to join him for his winner’s reprise. I didn’t know what to expect of this since, as usual, I’d avoided the rehearsal footage like it was an obligation on Eurovision night. Three minutes later, I was encrusted in the salt of my own tears and half wishing the song had been performed as a brother-sister duet the entire time (though given the subject matter, some lyrical changes would have been required). Over the years we’ve seen choked-up reprises and incredulous reprises, but we’d never seen one quite as stunning as this.
#3 | Two for one on best-ever results: Bulgaria and Moldova make history
If some mystical bearded Eurovision prophet had told you a few years ago that the 2017 top three would be Portugal, Bulgaria and Moldova, would you have believed them? I know I wouldn’t have. And yet that’s the trio we found ourselves faced with at the top end of the scoreboard last year. I’m not done with the winner talk yet, so the bronze position on this list is purely devoted to Kristian Kostov and the Sunstroke Project, who earned their respective countries’ best results ever. After failing to qualify for six years in a row (2008-2013), Bulgaria took a two-year ESC break before returning in fantastic fashion with 4th place in 2016 – only to outdo themselves in Kyiv by finishing 2nd. Moldova, meanwhile, had three DNQs behind them – and a standing peak placing of 6th from 2005 – when returnees the Sunstroke Project secured the third-highest lot of televoting points, which boosted them into 3rd position. Nearly a year on, I still do a happy dance when rewatching the results sequence that led to these Bulgarian/Moldovan milestones.
#2 | The butt of the joke: Jamala’s uninvited guest bares (almost) all
Since Jimmy Jump decided to join Spain’s performance in Düsseldorf, nobody else had been game to stage-invade at Eurovision (thank the Lordi). That is, until last year. An infamous Ukrainian prankster – draped in an Australian flag, which meant we copped the blame + bad rep for a bit – thought it would be a smart idea to make an actual arse of himself during Her Royal Highness Jamala’s grand final rendition of I Believe In U. I’m glad he didn’t ruin the atmosphere of 1944, but I’d still like to take that flag and whip him on the bare butt with it for doing something so immature. Luckily, being the classy lady and seasoned performer that she is, Jamala didn’t even bat an eyelid when that crack appeared in her performance (double entendre intended). This was another ESC 2017 event that made headlines worldwide and in some cases, overshadowed reports of Portugal’s historic win – so as cr(ass) as it was, I can’t deny that it was unforgettable.
#1 | Amar Pelos Dois does the trick: Portugal wins Eurovision for the first time
But of course! Pre-2017, the last country to win Eurovision for the first time was Azerbaijan (after a whole FOUR YEARS of trying…not that I’d call Running Scared a good try), but Portugal? Well, they’d been waiting over half a century to see how sweet victory tasted. It was a fairytale ending to the 2017 contest, but not one that everyone saw coming. Italy was the fan and betting favourite this time last year, winning every pre-contest poll and leading the odds…until a last-minute leapfrog by the Portuguese saw Francesco’s obvious win become not so obvious. But did we all really believe Salvador could Salvado it instead? I’m pretty sure I didn’t until the douze points started rolling in, one after the other. The public vote could have changed everything, but it didn’t: Portugal won that too, making them the first country since Austria in 2014 to top the jury and televote in order to win. You can’t challenge dominance like that! As a result of their result (HAHAHA) we’re off to the sun, sand and sea of Lisbon in a month, and we all get to witness the ESC Portuguese-style for the first – and hopefully not the last – time. Excelente.
So, that’s my ranking – but as always, I want your opinion.
Did I miss your favourite moment out completely? Let me know (nicely) in the comments.
Until next time, when my 2018 reviews will finally begin (with verdicts on Armenia, Cyprus, Hungary, Malta and the Netherlands, FYI)…
Bonjour! I’m back with another round of Eurovision 2017 song reviews (what else would I be doing at this time of year?). I hope you have a spare three to five hours to read through them all.
Just kidding. It’ll take two hours, max.
This is the halfway mark, so if you’d like to catch up on the countries covered by me and my mum (who’s still here delivering verdicts from a first-impression, non-obsessive fan perspective) so far, I’ve linked them below for your convenience. Hey there, people who are just as lazy as me!
- Round 1, feat. Azerbaijan, Denmark, Georgia, Hungary, Norway + Portugal
- Round 2, feat. The Czech Republic, Estonia, Germany, Lithuania, The Netherlands + Poland
- Round 3, feat. Albania, Cyprus, Latvia, Macedonia, Malta + Switzerland
Now it’s time to cross six more countries and their awesome/average/abysmal songs off the to-do list. Today’s role-call: Bulgaria’s Kristian, France’s Alma, Italy’s Francesco, Romania’s Ilinca & Alex, Serbia’s Tijana and Sweden’s Robin. It’s the ESC equivalent of the popular kids’ table in a high school cafeteria, basically (with a few of the kids absent or in detention).
Have your opinions at the ready so when you get to the end, having found at least twenty comments you disagree with, you can say what’s on your mind – we want to hear everything.
Let’s get going!
My thoughts Let’s face it, Poli Genova left Bulgaria’s 2017 artist with shoes to fill bigger than that gigantic clog every tourist makes a point of posing with in Amsterdam. Stepping up to the plate (or into the huge-ass shoe) as a 17–year-old boy and the first ESC competitor to have been born in this millennium (#ifeelold), you’d think Kristian Kostov should be scared. But not only is Bulgaria currently the second-favourite to win the whole contest, they’ve brought in the bets with an absolute stunner of a ballad. Beautiful Mess is all beautiful and no mess. It’s almost like a down-tempo, male version of If Love Was A Crime: ultra modern, melodically memorable and full of lyrical determination (and similarities, right down to ‘together we’re untouchable’ versus ‘our love is untouchable’). It’s even gone down the same route of including a strangely alluring sample as a hook. As a result, I love it for many of the same reasons that I loved – and still love – ILWAC. I wouldn’t say Bulgaria has tried to carbon copy Poli’s super-successful entry so much as build on it, since it did do so well for them. Oddly, though, despite them being higher in the betting odds than they were in 2016, I don’t think Kristian can nab them another 4th place. He’s a brilliant performer with an almost studio-perfect voice, and twice the charisma of some of his fellow teen acts (Blanche, I’m looking at you in particular) but there is something missing from Beautiful Mess that, in a year of Italys and Swedens, will stop it from climbing quite that high in my opinion. However, I’m happy to be proven wrong. Did you hear that, universe? 10 points.
My mum says… I have to agree that the only Bulgarian mess is the one mentioned in the lyrics. The song is…well, beautiful. It’s interestingly worded for a romantic ballad, and heavy on the emotion without being weepy. Kristian has a voice and an ability to convey that emotion way beyond his seventeen years! I’m impressed. 10 points.
Bulgaria’s score 10.00
My thoughts Ooh la la! Speaking of countries that have ridden a wave of 2016 musical awesomeness into 2017, here’s France. Armed with Alma instead of Amir this time (á la Italy’s move from Francesca to Francesco) they’re bringing some sexy, summery tropical pop to Eurovision in a year with nothing else like that competing. I adore this song. I did have the original, all-French version at an even more heavenly status, and I’m still a little miffed by the switch to a slightly lame English chorus; but the ESC version of Requiem still ticks most of my boxes. Like the French pop I tend to favour, it’s not too predictable, but the catchy chorus sticks and stops the song from becoming inaccessible. And, I must admit, the English makes it easier for moi to sing along as I flamenco haphazardly around the house. Alma is a gorgeous girl/woman (she’s a little older than me hence IDK what to call her) and a good performer, but I have doubts about France’s ability to stage Requiem in a way that doesn’t make us all say ‘Mon dieu!‘. They did a nice job on J’ai Cherche last year, but they can’t be trusted implicitly to NOT screw things up presentation-wise, unlike Sweden or Russia (RIP) for example. They’re dealing with a song that could come across trés terrible with the wrong choreography, dodgy dancers, unsuitable costume choices, etc. However…if they pleasantly surprise me, I will sit quietly and watch them collect just enough points for a non-embarrassing, possibly excellent result. 10 points.
My mum says… I’m not sure if I like this or not, which tells me it might not be the most instantaneous entry in Eurovision this year (of course, it could just be me not feeling the amour). I like the drama it brings in its own way, and I did visualise myself walking Parisian streets with armfuls of Chanel purchases (I don’t know who’d be paying for all of that) while it was playing. But I felt it was a little disjointed, almost like two similar but not similar enough songs stuck together. Maybe it’s an acquired taste? 5 points.
France’s score 7.5
My thoughts If, just a few short months ago, you’d told me that Italy would somehow manage to present us with a dancing gorilla as part of their Eurovision act and have it be classy in that typical Italian way, I would have tossed a bowl of al dente spaghetti into your lap (the obvious reaction for someone in a state of disbelief). But, almost 100 million YouTube views and a shedload of OGAE Poll points later, we have the delightful Francesco and Occidentali’s Karma heading off to Kyiv…and he’ll probably be leaving with a Kosta Boda mic trophy in his human (not ape) hands. I’ll come right out and say that his song isn’t one of my absolute, unconditionally-loved favourites for 2017 – it’s drifting around the 6th to 10th zone in my overall ranking. But I, like 99.99% of people with functioning ears who’ve listened to it and/or seen Gabbani + gorilla in action, have succumbed to the irresistible, joyful and majorly memorable nature of the track. It’s effortlessly effervescent and sugary fun without being overly sweet, like a pint glass of pink lemonade. Every part of it is a hook to hang on to in itself, and the audience involvement created by the ‘Namaste, ale!’ is genius (although I can no longer finish off a yoga session in a peaceful way because I feel compelled to shout that every damn time). Francesco himself is personable and walks the fine line between a serious and tongue-in-cheek performance whenever he’s on stage, which should secure the affections of juries and televoters. Unless the significance of the man in the monkey suit is lost on a massive amount of people, I don’t see any stumbling blocks in the way of Italy winning their first Eurovision since 1990. And it could be a ‘fairytale’ ending for them in more ways than one, if you know what I mean. So, can I see myself happily eating gelato in Milan next May? Si.. 10 points.
My mum says… So this is the big favourite? It’s not my favourite out of the songs I’ve heard so far, but I can understand why so many fans love it en masse. I think it’s instantly likeable, unlike France, and you don’t need to speak Italian to feel Francesco’s joy and energy. The music’s very funky and happy too. I would so dance to this after a few too many glasses of Prosecco. 7 points.
Italy’s score 8.5
My thoughts Just when I thought we were never going to get a Eurovision entry that combined inspirational hip-hop with interludes of yodeling, along comes Yodel It! – the one we’ve all been waiting for. Or was that just me? Okay, so I’m being a bit sarcastic. But that doesn’t mean I’m about to reduce yodeler Ilinca and sing-shouter of uplifting lyrics Alex Florea to sobbing heaps of depression. In theory, this song should be the biggest disaster in music history, and hands-down the worst song of the 2017 contest (even with Croatia and San Marino’s offerings considered). But in practice, by some miracle (proudly presented by Paula Seling & Ovi), it works. I feel like it would take a solid six months in a science lab to figure out how, but what Ilinca and Alex are bringing to the table individually is like chocolate mousse and pickled herring – yet the combo is as complementary as peanut butter and jelly. Maybe that’s because the yodeling kicks in almost immediately, so by the time the first chorus is over, the shock has subsided – there’s no minute-long wait for the OMG moment like there was with Norway’s 2-for-1 Icebreaker last year. The fact that there’s little bursts of yodeling in amongst Alex’s catchy and urban verses/chorus – rather than a yodel marathon at any point – has to be helping too. That technique has been used at Eurovision before with varying degrees of success: Austria couldn’t qualify with it in 2005 (in Kyiv…is that a bad omen?) but Belgium finished fourth at Junior Eurovision in 2009 doing the same (though when a kid with flowers in her hair does it, it’s harder to hate). So, especially given how split-down-the-middle Yodel It! has Eurofans, there’s no telling how much better Romania’s ESC will be in 2017 than it was in 2016 – but hey, at least there’ll make it to the host city this time. I personally think it’s so ridiculously fun that the Romanian go-to of 11th-14th place isn’t out of reach…and neither is the top 10 if enough people with point-giving power ‘get’ it. Get it, love it, and yodel it. 8 points.
My mum says… If this is the closest thing to a token comedy duet in this year’s contest then I guess that’s a good thing, but I’m not a fan. Yodeling in general tends to turn me off, and that apparently isn’t affected by pairing it with another style of singing and a less traditional type of music. The whole thing sounds like it would work okay on a kids’ TV show – and I can’t say it’s not unique – but I’ll pass anyway. 3 points.
Romania’s score 5.5
My thoughts Serbia may have shot themselves in the foot by making us wait as far into March as possible (without actually being the last country to present their entry) for Tijana’s In Too Deep. Although that technique does attract attention, it means that if the song in question is anything less than sensational, it will be branded ‘not worth the wait’. Having said that, though I don’t think this one IS sensational, I’m not disappointed by it either. It may be even less “Serbian” (in an ethnic/stereotypical way) than last year’s Goodbye (Shelter), but I’m actually really keen on everything else about it. The music has variety and depth, the lyrics are just on the right side of simple (about a millimetre away from Cliché Central), the chorus is crash-boom-bang powerful, and Tijana has the vocal prowess to handle it all. I’m intrigued by the mix of styles going on here – it’s not as polar-opposite obvious as Romania’s, but there’s electropop/symphonic power ballad/dubstep elements woven together into a tapestry that I’d be happy to hang on my wall. Sure, it’s not daring or challenging or particularly original – and Serbia should thank their lucky Eurovision stars that Nano’s Hold On won’t be in Kyiv – but it’s comfortably safe, not the boring sort of safe. If I were staging In Too Deep, there would be wind machines, a floaty-yet-fierce dress for Tijana that could be blown about by said wind machines like Anggun’s in 2012, an aerial hoop artist or two (maybe Tijana herself could be swinging in a hoop as she is in the music video…) and some cool lighting, and voila – that’d be a well-wrapped package. But I’m not staging it, sadly, so it’s up to Serbia’s IRL stage director to not screw up what should be a simple equation of good song + good singer = good result in the grand final. When I say ‘good result’, I’m thinking 9th-15th, and in the final, that’s nothing to be ashamed of. 8 points.
My mum says… I’d definitely hit repeat on this one! I really like it. It’s not flawless, but the music and lyrics are both high-standard, and together they make a catchy couple. Tijana’s voice is great too. There’s something about the sound of it that reminds me ever-so-slightly of Jamala’s, though it’s not quite in the same league. Neither is the song – it’s a bit hard to follow in 1944’s footsteps, I imagine – but it gets a thumbs up from me. Oh, and 8 points.
Serbia’s score 8.00
My thoughts I was going to flick through ‘Not Being Biased For Dummies’ before reviewing Sweden, but I was too busy practicing Robin’s foot shuffle on my treadmill, and then I had to go to the emergency room and stuff…so I just didn’t get the chance. So, as I’m someone who not only supports Sverige unconditionally every year (they were my adopted country to cheer for before Australia was competing, and TBH I still prioritise them over Australia) but also traveled to Stockholm for the Melodifestivalen final and watched I Can’t Go On win it, you should prepare for a rose-coloured review. Here goes: I LOVE THIS. It wasn’t even my favourite song in the Melfest final (the aforementioned Hold On was) but as I always end up loving at least 75% of the Swedish hopefuls, that’s irrelevant. Co-written by Robin Stjernberg – his stamp is all over this track – it’s three minutes of slick, sexually implicit (as opposed to Montenegro’s sexually explicit song) funk-pop with a Justin Timberlake vibe (only way less fluffy than Can’t Stop The Feeling) and it is everything I expect from a Swedish Eurovision entry. Is it insanely catchy from go to whoa? Yes. Was it perfectly polished and contest-ready from the very beginning? Ja. Is the performer incredibly attractive? Obviously *swoons*. And to top it all off, it comes equipped with staging that will be a talking point from when it opens the first semi final (!) to whenever Sweden next manages to outdo themselves. It’s clear that one year of stripped-back production was all they could put up with. It’s also clear that The Land of Cardamom Buns (how I miss them) hasn’t lost their touch when it comes to conquering the ESC without any effort whatsoever – it just comes naturally. Conquering in a year feat. Occidentali’s Karma is a tough task, though, and I suspect Sweden will find themselves on the podium – 4th or 5th at the lowest – but not number one. Robin finishing second at Eurovision on his second attempt to get there has a nice ring to it, and I think that would be a result gladly accepted by a country hungry to take their six wins to seven, but maybe not this soon after hosting. As for me, I’m unsurprisingly giving I Can’t Go On a freaking beautiful set of DOUZE POINTS!
My mum says… Even I’m biased when it comes to this one, since I was sitting right next to Jaz in Friends Arena when Robin won Melfest. Wiktoria was my personal pick to represent Sweden, so I’ve had to come to terms with I Can’t Go On going on (will jokes like that ever get old?) instead. Still, I can’t fault Robin or his act too much. His voice isn’t the strongest, especially at the start when he’s backstage – maybe waiting in the wings keeps the nerves higher than normal. But who’s going to be thinking about that when he’s dancing with four other handsome men on travelators, while performing such a catchy, hit-material song? It’s not a song of substance, but it isn’t meant to be and I don’t think every song should be. Sometimes you just want to listen to some fun music that makes you want to move (in my case, on solid flooring) and Sweden has given Eurovision 2017 an excellent example of that. I’ll be singing along to ICGO for months in my mind, and I reckon plenty of other people will be too. 8 points.
Sweden’s score 10.00
And just like that, another six songs bite the dust. Here’s today’s overall ranking (with a tie broken by yours truly because MY BLOG, MY RULES!!!):
- Sweden (10.00)
- Bulgaria (10.00)
- Italy (8.5)
- Serbia (8.00)
- France (7.5)
- Romania (5.5)
For once, it actually seems shocking that Sweden’s sitting on top of a Eurovision-related scoreboard, since Italy had the chance to push them out of the way. But Francesco’s topped so many polls and rankings already, he’s probably getting bored. You’re welcome for the change, Mr. Gabbani (and gorilla).
There are still 18 songs left to review here on EBJ, with just a few days until delegations arrive and rehearsals start in Kyiv. I’M SO EXCITED SLASH STRESSED! Next time, the spotlight will be on Armenia, Austria, Finland, Moldova, San Marino and Slovenia. Whether you love or hate what Artsvik, Nathan Trent, Norma John, Sunstroke Project, Valentina & Jimmie and Omar Naber are packing in their suitcases (song-wise, as their respective choices of underwear are another matter entirely) you won’t want to miss it!
Seriously. I’m guessing my mother’s reaction to Spirit of the Night will be priceless.