Hi there, and welcome to the second episode of my Junior Eurovision reviews for 2017! A few days ago, Round 1 saw Cyprus, Georgia, The Netherlands and Poland get COMPLETELY CRUCIFIED by yours truly (JK, I was actually very nice). With the Tbilisi contest creeping closer and closer, there’s no time to waste – so I’m back with Round 2 today feat. Albania, Italy, Macedonia and Portugal. If you want to be a tree-hugging, choice-making Youtuber who dances through life (and let’s face it, who doesn’t), this post is perfect for you.
Keep reading if you want to know what I think of Ana Kodra’s Don’t Touch My Tree, Maria Iside Fiore’s Scelgo, Mina Blažev’s Dancing Through Life and Mariana Venâncio’s Youtuber. If you don’t, then I have to wonder why you’re here in the first place.
Cue reviews in 3, 2, 1…
Watch it here
Last year…Albania sent a belter of a ballad called Besoj to Malta – but as adorably shouty as Klesta Qehaja was, she couldn’t sing her way higher than 13th.
The 2017 verdict Some people love it, some people hate it…the slightly weird music Albania often sends to ESC and JESC, that is. Music that isn’t particularly ethnic but is somehow stamped PROPERTY OF ALBANIA – think One Night’s Anger by Hersi. Unusual melodies and a mighty fine atmosphere (which mostly disappears if the lyrics are switched to English) are the key ingredients, and miniscule vocalist with surprising grunt in her vocal Ana Kodra (potentially Albania’s version of Anastasiya Petryk) has a song packed with both. It’s a message song too – presumably about the environment and human mistreatment of it, but to be honest it comes off as Ana being totes possessive about a tree that she legally has no personal claim to whatsoever (it’s not ‘Please be careful around this particular tree ‘cause I like it a lot’, it’s ‘DON’T TOUCH MY TREE IF YOU WANT TO SEE 2018!!!’). Yeah, the aggression is a little off-putting – as are the English lyrics which are possibly the worst and most awkward in the entire contest this year. However…I quite like this anyway. Who else is in the minority with me? *fist bumps all three of you*. As with most Albanian Eurovision-related songs, I can’t really put into words why I like it, but I just do. The melody of the verses is as distinctive as the melody of the chorus, and there’s a tribal feel to the beat and the music that I’m always drawn to (JESC examples = Moldova 2013, and funnily enough, Albania 2015). Ana herself needs to be more in control of her live vocal and be more commanding on stage, especially if she’s stuck out there by herself as per Albanian Junior tradition – that would be a big improvement on the overall effect of Don’t Touch My Tree. But regardless of the negatives and the fact that I know this is going nowhere in the comp, I’m a fan. Call me crazy if you want – it’s probably true because I talk to myself constantly.
Song score 8
Artist score 6
Final score 7
Watch it here
Last year…Unexpectedly, Fiamma Boccia’s Cara Mamma charmed itself into 3rd place. Bravo!
The 2017 verdict Here’s a brief history of my reactions to Italian JESC entries, because one of them is the same as the reaction I’m having to Maria’s Scelgo. 2014 (Vincenzo Cantiello’s Tu Primo Grande Amore) – fell head-over-heels instantly and may have cried when it won; 2015 (Chiara & Martina’s Viva) – never made it out of ‘this is meh’ territory; 2016 (Fiamma’s Cara Mamma) – didn’t think much of it at first but began to hear the appeal after a second or third listen. Now, in 2017, things haven’t come full circle since I’m apparently having another Fiamma moment with Maria. Ranking (then 15) entries after listening to Scelgo once, I had it last – not because I hated it, but because I liked everything else more. Then I decided I needed to give it a fair go as I’d listened to the likes of Russia 50 times and the situation was becoming a bit unfair. So I did, and all of a sudden this song seemed…better. It’s got that typically Italian way about it of sounding like there are twice as many words to be sung than actually fit into the timeframe of the track, but that’s part of the charm. The melody is interesting but not too complicated, and the chorus does have an earworm-y quality to it. I’m not 100% sold on the way they’ve mixed languages, but I love how it’s done right at the end, with the line ‘I choose not to be afraid’ finishing things off in a sweet, cohesive way. As always, this is a classy effort from Italy, but I doubt it will pull in the points to score as well as Cara Mamma (surprisingly) did last year. I just don’t think it’s going to capture juries (or voters…YASSS WE GET TO HAVE OUR SAY AGAIN!) to the same extent. And I get the feeling it could be quite messy live, but I’ll be happy to stand corrected.
Song score 8
Artist score 8
Final score 8
Watch it here
Last year…With a brilliant song but maybe not a brilliant song for Junior Eurovision – Love Will Lead Our Way – Martija Stanojković made it to 12th place. I guess love couldn’t lead her all the way.
The 2017 verdict This is all too familiar. From JESC 2016àESC 2017àJESC 2017, Macedonia has sent a string of high-quality, current and catchy pop songs to Eurovision events – but the first two just didn’t work in a competition context. I think last year’s JESC entry was too mature for the contest, right down to the dance moves. Dance Alone suffered from a similar issue (but when you’re too adult for adult Eurovision, some serious reevaluation is required!). Now the same fate seems to be looming for Mina. Dancing Through Life (alone, Jana-style? Not alone, Aram Mp3-style? WE NEED ANSWERS!) is without a doubt – in my opinion, obvs – an epic EDM track with so many hooks crammed into it, you could hang up the coats of the Buranovskiye Babushkis AND all of their extended families. Verses? Catchy. Choruses? Catchy. Chant-along oh-oh-oh bits? CATCHY. The genre is also perfectly suited to Mina’s voice, and with the pounding pace and explosive money note, has all the energy you could want in a song without the ‘hyped up on red cordial’ feel that can crop up at JESC. Sadly, overall this entry belongs more at Eurovision than where it is competing – and unless Macedonia can find a way to make the performance super young and fresh (which would probably jar with the song) I’m worried it’s not going to perform very well on the scoreboard. Sophistication can and does succeed at Junior, but there’s a grey area where youthful stuff works and more mature stuff works. Outside of that, there are songs that are too childish and songs that are too grown-up. Russia, for example, has struck a balance between the two, but Macedonia hasn’t quite managed it. Dancing Through Life is a better prospect than LWLOW, but I will be shocked if it ends up in the top 5. Personally speaking, I love it.
Song score 10
Artist score 8
Final score 9
Watch it here
Last year…nada. 2017 will mark Portugal’s third appearance at Junior, and we last saw them compete in 2007 (when, for the record, Jorge Leiria came 16th with Só Quero É Cantar).
The 2017 verdict I can’t be the only one who was excited at the prospect of Portugal returning to JESC, after a Poland-esque hiatus. Their very first adult contest win clearly gave them the motivation to give Junior another go, and hopes were high in the Eurofam that they’d deliver something of comparative calibre to Amar Pelos Dois. What we got instead was a kids’ edition of The Social Network Song (if I even need to say ‘kids’ edition’). This time, Youtuber will go all the way with its title intact, which is as sketchy as the EBU allowing Dami Im to sing ‘FaceTime’ when we all know they meant the Apple kind. Potential double standards aside, I have a hard time believing that this song was not composed by Ralph Siegel – that’s how cheesy and passé it is in 2017. However, it was extra cheesy and passé when we heard the demo version performed (if I remember rightly) by the actual adult composer. Mariana, as a child, makes it more palatable and even slightly enjoyable. But the cringe-factor of the “funky” tune and barely-more-than-a-single-word chorus remains. The poor girl can only do so much to salvage the situation. It’s even more of a shame because her voice is strong and she has great control over it. If she can project some more confidence and sell Youtuber to the best of her ability in Tbilisi, she might avoid last place (she’s very precious and I don’t want her to end up there). Ultimately, though I don’t hate this with a passion and acknowledge that it has one or two decent moments, I have to call a spade a spade – this is one of the weakest entries of the year, and it will struggle. I just hope a bad result doesn’t put Portugal off trying again in 2018, because they are capable of great things. Learn from your mistakes, guys!
Song score 6
Artist score 7
Final score 6.5
Eight down, eight to go – someone high-five me, quick! I feel like I’ve been pretty generous so far with my critiques and scores (maybe it’s my inner Father Christmas). Then again, this is Round 2 of 4 and there are plenty more opportunities for me to be unnecessarily cruel to children. Yay!
Here’s the ranking for this round:
- Macedonia (9)
- Italy (8)
- Albania (7)
- Portugal (6.5)
Macedonia takes this one out, with Italy not far behind. Will that be at all reflected in reality next weekend? Considering the tendency of my favourites to drop just out of winning range, probably not.
Speaking of favourites, it’s time for you to choose yours:
And don’t forget to leave your own mini-ranking in the comments. Let’s see if we agree on anything or if you’re wrong 😉
NEXT TIME Keep your eyes peeled for Round 3 of the JESC 2017 reviews, feat. Australia (I’ll try to keep a lid on my bubbling bias), Belarus, Malta and Ukraine. Who’s done wonders and who’s disappointed? You’ll see my perspective very soon!
Until then, much love love and a whole lotta peace peace…
Portugal, proposals and some pretty terrible predictions: My post-semi + pre-final thoughts on Eurovision 2017!
Well, Eurovision week has flown by faster than Belgium’s betting ranking dropped after the first round of rehearsals (fortunately for Blanche, they’ve crept up again). The countdown to the grand final is on, and at the last minute, Kyiv 2017 has become a bit less ‘Where in Italy are we going next year?’ and a bit more ‘Where else could we be going next year?’. But more on that later.
First, I’m going to take a quick look back at the semi finals. They may not have lived up to Stockholm’s in terms of slick production, interval entertainment value and host awesomeness (Petra, Måns, and Edward af Sillen’s genius scripting skills left three sizeable pairs of shoes to fill) but they definitely delivered on great performances from 36 countries on a sensational stage, and on qualifier shocks.
Semi Final 1: Treadmills, twirling braids and bye bye Blackbird
The best of Ukraine was on show on Tuesday night, with rapper Monatik kicking things off; Verka Serduchka playing a part (I’m always happy to see the namesake of my car, Vercar Serduchcar); and reigning champ and all-around goddess Jamala nailing performances of 1944 and Zamanyly. That was all on either side of/in-between the 18 acts competing for the first ten final tickets, of course.
This was the weaker semi final as far as my personal favourites were concerned – and I do think there were more disposable songs on offer, which made parting with them less painful. That was before I knew what was to come when our non-green-room hosts Vova (I may have misheard that nickname for the majority of the show) and Oleksandr announced the qualifiers. But before I have a good old groan of ‘WHY, GOD, WHY?!?!?’ about that, here are my top 5 performance highlights of the night.
- Sweden Yeah, like you didn’t know this was coming. As a Swedeophile who saw Robin win Melodifestivalen in the flesh, I was never going to be anything less than psyched to see him at Eurovision. I Can’t Go On was a great show opener, and Mr. Bengtsson made all the right moves. We expect perfectly polished performances from Sverige, and that’s what we got.
- Finland Norma John are another act that made barely noticeable changes to their national final performance for ESC purposes. They didn’t need to overhaul Blackbird’s presentation, because it already had all the power it needed to be stunningly heartbreaking. At least, that’s what I thought.
- Moldova I’d single out the Sunstroke Project as my absolute evening highlight. Everything about Hey Mamma on the Eurovision stage was on point – energetic, irresistible and fun without being tacky, AND it had a costume reveal. I danced my butt off to this one, and burned a lot of calories in the process. Thanks, Moldova!
- Cyprus Theft of Loïc Nottet’s backdrop aside, Cyprus made a massively positive impression on me, which is just what I was hoping for as a Gravity Kudos to Hovig for finding the point of balance (pun totally intended) between singing in tune and working one’s way through complicated choreography. You can’t say the man’s not multitalented.
- Armenia The most impressive thing about this was Artsvik’s hair, which had obviously been braided by angels who then moved along to work their magic on O’G3NE’s vocal chords. That’s a compliment, because her costume, vocals and staging were all excellent. The whole package did justice to what’s one of the most unique songs in the 2017 contest.
Other performances to note include Georgia’s – Tamara blew me away even though I’m not a big fan of Keep The Faith ; Montenegro’s, during which Slavko’s sass level was off the charts, but his spinning braid stole the show; and Iceland’s, because Svala wore Baby Spice platform sneakers and actually looked good (something I aspired to back in 1998). Sadly, none of these three countries made the cut when it came to qualifier crunch time. So who did? And more importantly, how accurate were my pre-show predictions?*
*If I’m honest with myself, I know you probably don’t care how right I was…but I do, so let me be narcissistic for a second.
I pulled Poland out of my predicted ten at the last second, but in favour of Cyprus. Finland was already on my list as a certain qualifier, so it’s safe to say that I didn’t see their DNQ – Finland’s third in a row – coming. And when I watched Norma John’s performance again, looking for reasons as to why they didn’t make it, I couldn’t see any (partly because I was weeping over the emotional lyrics and my vision was blurred). This fail to advance will go down in history as one I will NEVER be able to figure out. I figure Finland must have finished 11th or 12th, which we’ll find out soon after the final, but even that doesn’t make sense to me. So if you have the answer, I’m begging you to tell me what it is so I can get some closure!
Finland excepted, I was happy with the results of this semi. Australia managed to make it through (possibly by the skin of our teeth) which was obviously a huge relief, and it gave me the warm fuzzies to see Moldova (who last made it to the final in 2013) and Portugal (they haven’t seen a Saturday night since 2010!) qualify.
How much pleasure, and how much pain – if any – did the semi final one blood puddle (it wasn’t a full-on bloodbath, after all) give you? How did your predictions pan out? Let me know in the comments.
Semi Final 2: A pregnancy, a marriage proposal and another early exit for Estonia
Three things happened during Thursday’s second semi final that I hadn’t expected, and none of them had anything to do with the eventual qualifiers. The first was that Vova and Oleks actually attempted to live up to Love Love Peace Peace, which was a bad idea (though I appreciate the effort and the Ukrainian feel their musical number brought to the proceedings). The second – and third – were the two Major Life Event Checklist boxes that Jana Burčeska managed to tick off in one night (as I sat on my couch in a very glamorous pair of pajamas with only a farting dog for company). As you know, she revealed her pregnancy via her video postcard, only to be proposed to about an hour later by her boyfriend in the green room. It’s lucky Macedonia DIDN’T qualify, because she might have exploded with happiness (and that’d be a lot harder to clean up than the confetti that’s apparently banned from this year’s show).
Jana’s performance didn’t do much for me, but there were plenty that did. Here are five of my second semi highlights:
- Hungary Origo is my favourite entry of the year, and Joci did everything I was hoping for on a stage much bigger than he had to work with at A Dal. Nerves didn’t affect him, the fire jets added more visual interest and the use of the satellite stage for the violinist worked like a dream. FLAWLESS.
- Denmark Umm, speaking of flawless…after Joci came blonde bombshell Anja, who may have done exactly what she did in DMGP (down to wearing the same red dress, which was a welcome change from the clown swimsuit she wore during rehearsals) but nailed every second of it. I love Where I Am too, a lot of that has to do with Anja’s powerful delivery.
- Croatia Yes, this was a personal highlight! I couldn’t help being amazed at Jacques’ ability to sing a solo duet live with ease, but the comic relief of his performance is what made it stock in my memory. The half-and-half costume, those turns from “pop” camera to “opera” camera…it was exactly what I was hoping to see (and laugh at continuously for three minutes).
- Norway This was very similar to what won JOWST the right to represent Norway, but it was SO much slicker. And after a success slump with Agnete in 2016, it was fantastic to see Norway present such a cohesive and current package. I also really like Aleksander’s hat, so that helped.
- Bulgaria Even though I’ve seen countless Junior Eurovision performers take to the stage with confidence and talent beyond their years, there’s something compelling about Kristian Kostov, who’s a little older but still the youngest artist in the adult contest this year. His voice is amazing, and his stage persona is ‘cool as a cucumber’, and packed with genuine (or well-faked) feeling.
This semi served up far more than five epic performances, and others I’d say fall into that category include Austria’s, because it was beautiful and adorable in equal measure; The Netherlands’, what with O’G3NE’s incredible sisterly harmonies; and San Marino’s. Yes, I said San Marino’s. What can I say? Valentina and Jimmie were having so much fun on stage, they almost made Spirit of the Night seem tolerable. It wasn’t a night of good spirits in the end, though, since they didn’t progress from the semi. Here’s who did (like you didn’t already know) compared to who I thought would go through.
Yet again, I had Norway in only to drop them out at the last minute, replacing them with Croatia. As I said, I’m super glad JOWST did qualify, but I feel super sorry for Estonia, who couldn’t shake off the Shock DNQ Syndrome they developed last year. But this time, I found it easier to figure out what went wrong. Verona didn’t work live in the way they’d opted to present it, and the dynamic between Laura and Koit was…well, weird. Koit’s über-dramatic facial expressions were up there with Croatia’s entire performance in the hilarity stakes, and have now become a meme, so that’s something.
I have to admit, although I do love Verona as a song, I didn’t bat an eyelid when it didn’t qualify because I was too busy doing a celebratory dance over Austria, Bulgaria, Denmark and Hungary.
Did any of the second semi’s winners get you on your feet (with excitement or shock value)?
And final-ly…some grand final opinions and predictions
The 2017 final has turned out to be a banger, musically-speaking. There are strings of songs in the running order that’ll barely give us time to take a breath.
Israel will be an ovary-bursting opener – so much so that we might still be fanning ourselves when Poland (in the dreaded second slot) takes their turn. Moldova through Denmark is a worrying stretch for me, since it involves three of my favourite entries mixed in with the two bookies’ favourites. Belgium-Sweden-Bulgaria is an interesting run too. France isn’t as strong a closer as we’ve gotten accustomed to: from what I’ve seen and heard, Alma’s too small on the big stage, and her voice has its wobbly moments.
I’m not going to analyse the running order, because plenty of other sites have already done it with way more finesse than I would, but let’s just say it’s raised some questions, and made the competition a little less predictable.
The biggest question is one I’ll have a go at answering…
Who’s going to win?
I’ve been back and forth on this one. A month ago, I had a gut feeling that Italy was going to finish second. Then I gave in and decided Francesco had it in the bag. Now I’m totally confused and unsure what to expect when the votes come in feat. dramatic music and the kind of tension that brings on heart palpitations (if it’s anything like the Stockholm voting sequence, which nearly killed me).
Realistically, we could be looking at a Fairytale-type landslide for Italy. But the real fairytale ending would be a Portuguese win. If they can do it, it will be their first in 49 attempts (48 if you don’t count 2006’s Coisas De Nada as an attempt to win Eurovision, which TBH you probably shouldn’t).
In doubt about Salvador’s classic song and quirky performance style combining to produce a scoreboard topper? Well, in a last-minute shocker, he’s loosened Francesco Gabbani’s unwavering grip on the odds-on favourite title to become the current favourite to win – and his performance from Tuesday’s semi final has been viewed 1.5 million times, making nearest rival Blanche’s 980k view count look pretty paltry by comparison.
It’s clear Portugal has captured a lot of imaginations (and votes…DUH!) and as someone who didn’t totally get the hype until I suddenly found myself reaching for the tissues during Salvador’s semi performance, I can say that it’s not too late for the country to charm even more people with voting power.
Bulgaria has to be noted as a contender, but I don’t see Beautiful Mess as winning material. Top 3 or top 5, yes.
To throw in a few random, much less likely potential winners – how hilarious would you find it if I named the United Kingdom and Romania? Lucie Jones’ staging is literally gold standard, and she’s scored herself a great performance spot. I still think people are getting a little over-excited, and that a lower top 10 placing is more likely for the UK, but stranger things have happened. Romania would be the perfect package if they actually had something coming out of their cannons. You never know, though…the slogan of next year’s contest could be ‘Yodel It!’. Alex and Ilinca would need one hell of a televote score to make that a possibility, though.
When it comes to the crunch – meaning I’m about to stop fence-sitting – I still think Italy will win, but not by a massive margin. And if Eurovision doesn’t travel to Milan in 2018, then it’ll probably head to Lisbon. I’d be totally fine with that, having spent a half hour this morning Googling photos of the Portuguese capital and swooning at the sheer beauty of it.
But does Salvadorable outshine namaste, alé?
Predicting the top 10, and the bottom 5 😦
Without further ado, this is my best guess at the top 10 – a.k.a. the most sought-after bunch of positions. But I really have no idea what’s going to happen. What else is new?
- The Netherlands
- United Kingdom
Now let’s head down to the opposite end of the scoreboard. This is my predicted bottom 5:
- Ukraine (sorry!)
Seriously, though…douze points, fifty million dollars and a muffin basket for anyone who can nail either end of the scoreboard down before the final begins.
Speaking of which, the hours before said final are now in single digits, so I’m going to sign off and try to get a power nap in so I don’t fall asleep during the show (thank god Malta didn’t qualify, or I’d definitely be having a snooze). Whether you’re prepping for a fabulous Eurovision party or getting ready to go it alone tonight, I hope you enjoy what’s left of this year’s contest. Join me on Twitter @EurovisionByJaz if you want (which you totally should) – and if you don’t, then I’ll see you on the other side when we have the next 1944.
May the best song (according to the majority of televoters and/or jury members, obviously) win!
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.
WARNING: Things are about to get very honest.
Just like that, Junior Eurovision is done and dusted for another year – but none of us who tuned in are likely to forget about it that easily.
Sadly, that’s not because Malta outdid their spectacular show from 2014, but because Sunday’s contest was a bit of a shambles from start to finish (on the part of the adults in charge, not the kids competing). With the most rushed artist parade in history; painfully scripted host dialogue that Ben Camille and Valerie Vella stumbled over like they were running through a booby-trapped trail in the dark; camera operators spending more time in full view than out of it, á la Eurovision 2015; a venue that was far too intimate and therefore lacked atmosphere; AND the cherry on top, when Valerie single-handedly destroyed the tension buildup of the voting by blurting out the remaining amount of points, this was the most amateur JESC of all time. The fact that Malta has handled it with ease before makes it that much worse that things went so downhill this year.
Let’s cross our fingers for Tbilisi to take on the challenge with more finesse (which, TBH, wouldn’t be hard) if we happen to head there in 2017. Because, moving on from my endless list of complaints, my congratulations must go out to this year’s winner Georgia: the Ireland of Junior, only Georgia’s on top of their game now, and they don’t dwell on ancient victories which will soon be outnumbered by Sweden’s.
You’d be forgiven for thinking it was JESC 2013 all over again, as a pint-sized brunette in a poofy white dress belted her way to the win with a powerful ballad. But we subbed in Mariam Mamadashvili for Gaia Cauchi this time, and watched her take the first-place trophy out by creating a truly magical moment on the Mediterranean Conference Centre stage. Hers wasn’t a triumph that everybody saw coming – particularly those of us who refrained from viewing the rehearsals – but, much like Italy’s the last time JESC met Malta, it became inevitable and was very much deserved.
Sixteen other stars shone pretty bright on Sunday, too – but not all of them could end the night on a note as in-tune as every single one that came out of Mariam’s mouth. So let’s hit rewind and review what went down from the start of the performances to THE MOST PRECIOUS REPRISE IN EUROVISION HISTORY (as seen above). I promise I’ll try to stay positive about all of it.
FYI…this is a long one, so you might want to grab a cup of tea and/or call in sick to work for the next three days. Don’t say I didn’t warn you!
Ireland Zena’s start to the show was a nice one, but I found everything about it to be a bit messy (and not in a deliberate, that-totally-works kind of way, like her hair). I didn’t like the addition of an English chorus (clichéd lyrics never win me over). As for her dress…well, now we know what would happen if Yohanna’s Eurovision gown got together with a piñata and had a really ugly baby. So much for staying upbeat, Jaz.
Armenia The bad bits were average, but the good bits were great! Tarber is one of my personal favourites of the year, and it was just as entertaining to watch as it is to listen to. Anahit & Mary’s harmonies weren’t exactly on fleek (as Kisses would say) and I wish they’d been styled more in line with the music video (Mary’s hair in particular). If we’re talking fashion, I also think the costume-reveal outfits would have been more effective as dresses made up of both fabrics the girls started out wearing. But that’s just me being picky. Correct, but picky.
Albania Klesta is so sweet, and she can definitely sing (with more power than one would expect from such a small person). But this fell a little flat, and I think it’s because she couldn’t fill the stage with a presence like Mariam did. Besoj is a beautiful song, but it would work better at adult Eurovision, being sung by someone older and more experienced like Elhaida Dani.
Russia I was having heart palpitations in the lead-up to Sofia’s performance – Water of Life floats my boat like nobody’s business. Overall, it wasn’t as slick and powerful as I was hoping (since I wanted it to win) but I loved the girls’ outfits and choreography. Sofia was a stellar lead vocalist, too.
Malta This song, on the other hand, makes me want to rip my ears off. But I can’t deny that Christina (like everyone else residing in Malta) is one heck of a singer. She nailed every note, and unlike Klesta, had all the charisma she needed to fill the stage despite having no one else up there with her. Expect to see her at MESC the minute she’s old enough.
Bulgaria I’ve made it pretty clear already that I think Lidia is absolutely adorable, and that I plan on adopting her ASAP. Apart from one vocal slip-up, she charmed her way through her performance of Valsheben Den. The last thirty seconds really would have benefited from some backup vocalists supporting her visually instead of just aurally. On her own, she ended up looking very tiny and lonely.
Macedonia I applaud Macedonia for their top-notch vocals, cool choreography, and gorgeous rose gold costumes (I would quite like a catsuit like Martija’s to wear on Christmas Day, but it’s probably not that flattering after excessive amounts of turkey and pudding). Unfortunately, the whole thing would have been more at home in Kyiv next year than it was in Valletta for JESC. Still, an A+ for effort.
Poland I have one word for this: FLAWLESS. ‘Perfection’ also comes to mind. We got a stunning dress, graphics and vocals from Olivia, and in her case, I didn’t mind the last-minute addition of English. My only complaint? Why did the audience not cheer louder and longer for her?
Belarus And the Award for Most Improved Since Initial Selection goes to…Belarus, without a doubt! Alex’s breathless, shouty vocals from back then had clearly been whipped into shape. The whole three minutes was slick, entertaining, and the most Junior an entry can be without going too far. Extra kudos is deserved here for extreme multitasking – I’m not even sure I could get on a hoverboard without breaking something (on my body or someone else’s), let alone sing pitch-perfectly while riding one.
Ukraine A gigantic upside-down umbrella would have been OTT enough…but this was a Ukrainian performance, so why stop there? Throw in a couple of mimes as well. What either of these gimmicks had to do with Sofia’s song I don’t know, so they just left me very confused and distracted. Pretty dress though. She can reuse it for her future wedding.
Italy I’d say that Fiamma’s delivery of Cara Mamma was a cute overload, but it was actually just the right level of cuteness – if it were a bowl of porridge, it would be the one Golidlocks would opt for. Her costume (if you can call it that) was too casual for my liking, but even so, she had me melting into a puddle on the floor because AWWWWW. The simplicity of this after the OTT of Ukraine made it come across even better.
Serbia Whoever hit the hoverboard second was going to be unfavourably compared to the one who hit it first – too bad for Dunja. There wasn’t anything terribly wrong with her performance, though like Lidia, she could have used some backup. She also had the glitteriest case of dandruff I’d ever seen, and I’m still unsure whether I liked that look or not. All in all, Serbia didn’t get the party pumping like they should have.
Israel This was another performance in which some parts were great and others were messy, which didn’t give the best overall impression. Shir & Tim’s vocals were okay. They had decent chemistry and nice costumes (as you may be able to tell, I put a lot of stock in what people are wearing). I was hoping this would be presented in a more atmospheric way, which would have made it more memorable.
Australia We Are is weak, and there wasn’t much Alexa could do to elevate it. She sang reasonably well if not perfectly, and her engagement with the camera and the audience proved the worth of her time on The Voice Kids. But, as I expected, I wasn’t left feeling strongly about this in a positive or negative way. It was just…there.
The Netherlands I think I’ll be spelling ‘fun’ k-i-s-s-e-s from now on, because these three were the life of the party! The costumes they eventually chose were atrocious (had they just been renovating and repainting a Barbie Dream House? And why was one of the outfits beige?) but apart from that, this was Junior Eurovision in a psychedelically-patterned nutshell.. The energy was unrelenting, and the vividness of the 80s flashback was extreme (and I wasn’t even born until 1991). I loved every second.
Cyprus I’m still not convinced that George isn’t Sakis Rouvas after seven years of plastic surgery (has anyone seem him since Moscow?), but I am convinced that his performance kicked butt. There was no other pure ethno-pop – with drums! – competing in 2016, so this really stood out.
Georgia Last but not least (literally), was another heart-melter. Mariam had the dress that Fiamma didn’t, and elegantly powered her way through the classically beautiful Mzeo without missing a single note. She made serious magic on that stage, and she didn’t even have to saw someone in half to do it. At this point, the doorway to victory was wide open, and she strolled right through it.
If I had to filter those seventeen down to my top five, I’d go with (in random order) Russia, Macedonia, Poland, Belarus and Georgia. But all of the competing kids did themselves proud.
Speaking of the kids…I have to draw attention to the level of cute on display at this year’s contest. I’ve never wanted to adopt so many children at once in my life, so watch out, Angelina Jolie – your record may be about to be broken.
Now, before we move on from the performances to the voting and results, let’s take a look back at the entertainment between them.
The interval acts
Poli Genova Good golly, Miss Poli! Fiercer than ever and just as adept at doing the chicken dance without looking like a loser, she had the few people who could actually fit into the MCC on their feet.
Destiny Chukunyere Why, oh why wouldn’t they let her sing? Sing live, I mean. She was put to better use as a mime than the kids accompanying Sofia Rol on stage. Pre-recorded vocals aside, Destiny’s reprise of Not My Soul was pretty enjoyable. The other song she performed was…different. And slightly inappropriate at times.
The common song This was more of a cheesefest than a quattro formaggio pizza party for the entire population of Europe. I must be getting old and bitter, because I did not enjoy it at all. The reappearance of extreme miming didn’t help matters.
Jedward Let’s just say that, while their hair may have gotten even higher since their ESC days, the twins’ musical talents haven’t improved much. I never thought I’d say this, but stick to the expert judging, boys!
The voting + the results
The end of a Eurovision event is usually the most exciting part – and with the JESC 2016 voting echoing that of ESC 2016 (which nearly killed me), it was bound to be worth waiting for.
It was, but it also turned out to be confusing in the way it was presented. For starters, we had the child spokespersons reading out the adult jury votes. Then we had the expert jurors announce their scores one by one. Then came the combined points from the kids’ jury, read out by the adult hosts. Given that all of this took place at 2am my time, you can understand how it seemed to be less than straightforward. But it certainly delivered on tension, until Valerie made the slip-up that brought one heck of a crescendo to a screeching halt. After that, this is what we were left with:
- Georgia 239
- Armenia 232
- Italy 209
- Russia 202
- Australia 202
- Malta 191
- Belarus 177
- The Netherlands 174
- Bulgaria 161
- Ireland 122
- Poland 60
- Macedonia 41
- Albania 38
- Ukraine 30
- Israel 27
- Cyprus 27
- Serbia 14
The scoreboard wasn’t a carbon copy of this after the adult jury points had been presented: though many countries stayed put throughout the final two voting segments, the adults ranked The Netherlands 3rd and Belarus 4th, while Italy and Russia would eventually rise up to 3rd from 6th and 4th from 9th respectively.
The adult jury gave their top points to Georgia; the kids’ jury gave theirs to Armenia; and the expert jury gave theirs to Russia. All three ranked Australia 5th, which was the only across-the-board agreement. Some of the most drastic differences of opinion? Russia (top three with the KJ and EJ, 9th with the AJ); Georgia (1st with the AJ, 8th with the EJ); and Malta (2nd with the KJ, 10th with the EJ).
Opinions also differed among the three expert jurors (a.k.a. the two expert jurors and Jedward) – Mads handed his douze to Italy, Christer gave his to Belarus, and Jedward rewarded Russia with their top score.
If we combine the twelve points from both the AJ and the KJ, it leaves us with Georgia scoring 11 sets – the same number of countries that received at least one top score.
Three countries finished in the same position they performed in. Armenia performed second and came second, Russia performed fourth and came fourth, and Cyprus performed 16th and came…you guessed it, 16th! The same thing happened twice last year. Fortunately for Georgia, Mariam bucked the trend by finishing first after performing last. This is the fourth time that has happened in JESC history – the final songs to be performed also won in 2005, 2006 and 2007.
The countries that improved on their last results were Georgia, Italy, The Netherlands, Australia, Ireland, Russia, Macedonia and Poland. The countries that did NOT improve were Serbia, Belarus, Ukraine, Malta, Albania, Israel and Cyprus. As for Armenia and Bulgaria…well, they ended up in the exact same positions as last year.
Another “interesting” fact…there were only two songs that were performed without any English lyrics. One won, and the other came last.
If you were wondering what I thought of the final results, then I’ll tell you – there were some shocks and surprises, and a few injustices, but the right entry won…even if it wasn’t my favourite. I always believe that the eventual winner is the true winner, simply because they won according to the rules of the contest. But Mariam’s Mzeo is definitely more of a Waterloo than an I Wanna – i.e. it’s a song I can get on board with, rather than a song I’ll quietly resent for years.
I can also live with my far-and-away favourite Russia finishing fourth – the same position my #1 entry reached in 2015. And as I predicted Armenia would come second, I’m not going to complain about that. Underrated IMO were Poland, Macedonia and Cyprus. Overrated was Australia (so if you hear news of me being deported to Greenland, you’ll know why). Then again, the bulk of the points were based on the performances at the jury show on Saturday – and unless you were there in the MCC at the time, you’ll never know how they differed from the televised versions.
So, was this the greatest Junior Eurovision ever? Umm, no. Was it up there (or down there) with the worst? Production-wise and host-wise, yes (in my honest opinion. You’re welcome to disagree). Can Malta do better? Of course, we know that. But what we did get out of the show was seventeen enjoyable performances from seventeen talented acts that must have had Jedward feeling insanely inferior; a voting sequence that had us on the edge of our seats almost until the very last second (DAMMIT, VALERIE!); and an insight into how uncomfortable Christer Björkman is when he’s not in total control of such proceedings.
Oh, and I also got my Tweet read out loud (albeit attributed to a boy named Yaz) so that was a personal highlight.
What were your overall impressions of JESC 2016? Do you think Malta nailed or failed their second attempt at hosting? And how did your favourite songs end up faring in the competition? If there’s something you want to say, I’m listening…a.k.a. monitoring the comments section below.
I’ll be back soon with a few more Junior-themed posts (sorry to those who can’t stand it, but I’m not willing to let go just yet) before launching into some Stockholm flashbacks – after all, it has been SIX MONTHS since the final. Then, it’s on to NF season we go, and this time, I really mean that (in case you hadn’t heard, I’m off to Melodifestivalen in March!).
Basically, I have all the Eurovision you need to get you through the next few months. And then the rest of your life, probably.
Until next time…
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.
The title of this post pretty much says it all – besides letting you know that I actually haven’t got the time to review and predict the Estonian or Polish finals. I do have time to pass judgment on the songs that have become Eurovision entries since last Saturday, however. And to unveil my first official ranking of the year. AND to put Melodifestivalen’s Andra Chansen round under the microscope to see if I can guess who’ll walk away with the four performance slots in next weekend’s final. So all of the above is what I will do – right here, right now.
Well…in a minute.
Just so you know I know what’s going on in the Eurovision bubble over the next few nights, here are my traditional bullet points.
- Estonia’s Eesti Laul – the final (will there be a Stig and Elina-style runaway winner? I suspect not)
- Lithuania’s Eurovizijos – the semi final (believe it or not, the end is in sight)
- Poland’s Krajowe Eliminacje – the final (Edyta, Margaret, or neither to Stockholm?)
- Sweden’s Melodifestivalen – the Andra Chansen round (eight must become four)
- Romania’s Selecția Națională – the final (Mihai Traistariu’s chance to redo Eurovision)
- Macedonia present their song for Kaliopi (and she’s got her own big shoes to fill)
Now, let’s talk about the select stuff I have the chance to cover.
The songs and artist selections of the week, summed up in a sentence
Because ain’t nobody got the freedom for a full-length analysis – not with the week we’ve had.
- LoveWave by Iveta Mukuchyan (Armenia) I don’t know if I’m impressed or disappointed by this unstructured, ethnically-tinged vehicle for Iveta’s raspy vocals.
- Dami Im (Australia) She’s no Delta Goodrem (sadface), but X Factor champ Dami has the talent and dress sense to stand out in Stockholm – the only missing piece is a spectacular song.
- Sing It Away by Sandhja (Finland) This reminds me of Belgium’s entry, but I prefer Laura to Sandhja (though I am glad Finland didn’t send Saara Aalto).
- J’ai Cherché by Amir Haddad (France) Oui, oui and OUI.
- Pioneer by Freddie (Hungary) Hot singer + hit song = something that could be powerful on the Eurovision stage, and very successful for Hungary on the scoreboard.
- Made of Stars by Hovi Star (Israel) If a song could be on the soundtrack of a West End musical, but a) isn’t, and b) isn’t Bohemian Rhapsody, then I’m not particularly interested.
- Nessun Grado Di Separazione by Francesca Michielin (Italy) Classy, effortless Italian pop is a grande amore of mine, and this song is no exception (but please, please sing in Italian, Francesca!).
- Heartbeat by Justs (Latvia) This is just/Justs brilliant, and features one of the most latch-able choruses of the year so far – Aminata, you’ve done it again.
- Falling Stars by Lidia Isac (Moldova) The studio version, I’m keen on; the live version…well, Lidia positions herself right in the heart of screechy territory.
- The Real Thing by Highway (Montenegro) This scares me and kind of appeals to me at the same time, but I expect it to perform terribly in its semi final.
- Slow Down by Douwe Bob (The Netherlands) Bob’s style isn’t my bottle of Heineken, but even I can hear that Slow Down is a good example of folk/country that will do a decent job of leaving the Walk Along incident in its dust.
- Icebreaker by Agnete (Norway) It’s incredible how Norway is managing to send two different songs to Eurovision 2016 without breaching any rules or regulations.
- You Are The Only One by Sergey Lazarev (Russia) Sky-high expectations not met by a song that could have been lifted straight out of Eurovision 2006.
- Blue and Red by ManuElla (Slovenia) You’ve got to do better than a Taylor Swift: 2008 Edition impersonator to impress me, Slovenia – what a step down from Here For You.
If you were wondering where the songs I’ve summed up here would factor in to a ranking including the rest, you’ll find that just below. If you weren’t, then feel free to skip to the Swedish section.
It’s here, and it’s uncertain! My first ranking of the 2016 season, revealed
I did put a ranking together a few days ago (not for publication’s sake but out of curiosity) and it was considerably different to the one below. What can I say? I’m fickle. This latest and first-to-be-publicised list includes all of the songs confirmed for Stockholm AT THIS PRECISE MOMENT – so Malta, who are still deciding whether Ira Losco should be a Chameleon or something else (I like to think they’ve got a backup track entitled Komodo Dragon waiting in the wings) is not included.
And so, for anyone who cares, this is my current top 28:
- United Kingdom
- Bosnia & Herzegovina
With fifteen songs still to be premiered or picked, there’s a lot of room for movement in all of our lists. But I want to know who’s topping yours at the moment…and who’s sitting un-pretty on the bottom. Let me know in the comments, and I (might) send you a gift basket.
Meanwhile, in Sweden: It’s time to give out the last remaining final tickets!
Andra Chansen, the stage of Melodifestivalen that’s as fun to pronounce as it is to watch, has arrived. And, like last year (but not the year before that), there are four places left in the Friends Arena final for tonight’s competitors to fight for.
SVT, as usual, have paired up the eight songs placed 3rd and 4th in the semi finals, ensuring that none of those who went to AC together will be up against each other again. In the process, they’ve come up with some duels that can only be described using the letters W, T and F. And that makes a few of them hard to predict. Let’s take a closer look.
Duel 1: Håll Om Mig Hårt by Panetoz VS Hunger by Molly Pettersson Hammar
I’ll start with a confession: I would have bet my entire trip to Stockholm on Panetoz being pit against Boris René tonight (but I’m glad I didn’t). Don’t get me wrong – I’m relieved that both acts now have a shot at progressing from AC. But if SVT wanted to ensure the Melfest final was a variety show, they shouldn’t have given up an opportunity to eliminate one of two songs in a very similar vein. But ANYWAY, back to the duel that IS about to take place…this is a tough one. There are two very different artists and styles butting heads here. Panetoz are the masters of fun, energy, and transferring all of the above to the audience. Molly’s got a hunger, but I’m not sure it’s a hunger to win – there’s something lacking in her performance package (perhaps some of the Panetoz fun and energy). It isn’t vocal ability – she’s certainly got the monopoly on that in this duel. My personal winner is Panetoz, and I think they might have Molly cornered…but it’s not a given.
Who I want to win Panetoz
Who WILL win Panetoz
Duel 2: Rik by Albin & Mattias VS Put Your Love On Me by Boris René
Here we have two repetitive songs up against each other. As much as I adore Albin and Mattias as artists, I have to admit that Rik is repetitive in an annoying, couldn’t-they-think-of-anything-else-to-fill-three-minutes kind of way, whereas it’s purely the chorus of Put Your Love On Me that uses the five title words and basically nothing else. Boris’ song and performance have so much more to offer, and he’s the clear winner of the second duel in my opinion.
Who I want to win Boris René
Who WILL win Boris René
Duel 3: I Will Wait by Isa VS Kizunguzungu by SaRaha
This is perhaps the weirdest pairing of the evening (Molly PH versus Isa? No? Okay then). I’m a big fan of both songs, but I think Isa may be trying too hard to get somewhere. Vocally (and physically), she’s can’t measure up to the lofty standards I Will Wait sets for her. SaRaha, on the other hand, owns Kizunguzungu, and is clearly completely comfortable and in her zone with Afro-pop. It’s not too intense, and she’s not straining to belt it out – which is the opposite impression I get from Isa. I think SaRaha’s ease and confidence (plus her sensational Spotify stats) will see her through to the final tonight.
Who I want to win Isa…SaRaha…I DON’T KNOW!!!
Who WILL win SaRaha
Duel 4: Rollercoaster by Dolly Style VS Bada Nakna by Samir & Viktor
Ah, finally! A duel that makes sense. Almost-novelty against almost-novelty. We need to get rid of one of these acts/songs, and I think Rollercoaster will be the one to get the silver platform boot. The force that is Samir & Viktor shouldn’t be underestimated, despite the fact that they didn’t manage to go direkt this time around. Their fans will be out to compensate for that “injustice” by systematically destroying Dolly Style via a tsunami of televotes. I can totally live with that.
Who I want to win Samir & Viktor
Who WILL win Samir & Viktor
Sadly (seriously, have some tissues at the ready) that’s all I’ve got time for, folks. After all, a good-quality pre-Melfest nap must take priority over not napping.
As always, leave your thoughts on any recent or imminent Eurovisual happenings down below. And – this is not optional – enjoy this second-last Saturday of national final season while it lasts!
Until next time…
Hallå och välkommen til…um…okay, so I haven’t advanced particularly far with my Swedish on Duolingo yet (I’m not even sure there’s a lesson entitled “Welcoming People To Another Extremely Exciting Post Here on Eurovision By Jaz Dot Com in Svenska” anyway), but give me some time, and I’ll be så brå you won’t believe it.
In case the above paragraph wasn’t enough of an indication, I’ll spell things out for you: I’m feeling super-Swedish-obsessed at the moment, now that a) I’m actually, 110% heading to Stockholm for ESC no. 61 (*emits a Kaliopi-screech and farts a rainbow of pure joy*) and b) the Melodifestivalen 2016 line-up has been revealed. I’ve got plenty of Melfest madness planned for you over the coming months, so I don’t want to devote an entire post to the 2016 edition now…but I will give you a glimpse of the artists I’m most excited about seeing back in the competition (and boy, there are a ton of them) or entering for the first time:
- THE RIDICULOUSLY EXCITING Molly Sandén, Mattias Andréasson (with Albin), Lisa Ajax, Panetoz and Oscar Zia. That’s in order of how much my face resembled the heart-eyes emoji when each name was announced. JESC alumni and all-round amazing human Molly is the bookies’ and my #1 pick to win the whole thing at this early stage. This will be her third try, and she’s never been in a better position to out-sing and out-song her rivals.
- THE MODERATELY EXCITING Molly Petterson Hammar, Samir & Viktor, David Lindgren and (a now brunette) Isa. Molly PH has obviously recovered from App-Gate 2015, and it’s great to see her back with a vengeance. I really wish that’s what her song was called for the purposes of a brilliant pun, but it’s actually called Hunger – and it’s been penned by the trio behind MZW’s Heroes.
- THE INTRIGUING Krista Siegfrids. Aftonbladet didn’t anticipate this one, so how could we common folk have seen it coming? Krista’s supposed to be hosting UMK in Finland next year, so it will be interesting to see how she juggles both commitments, and/or whether the Finnish public see fit to throw their shoes at her for trying her luck in Sweden. Surely they’re too polite to engage in such shenanigans?
That’s that för nu (SOMEBODY STOPPA MIG!!): now, let’s move from Melfest to Eurovij.
Before I start looking forward to Stockholm, I thought it would be timely to look back to Vienna, given that it’s been (just over, but close enough to) six months since Sweden snatched their sixth victory. And what better way to do that than by re-ranking all of the entries from this year’s contest to see, once and for all, how I feel about them now compared to how I felt about them at show time (the last Top 40 I posted was just before Semi Final 1)?
I’ll leave you to tell me if there would have been a better way to commemorate six months since, after you’ve checked out the revised ranking below. If you’re up for it, go and re-calculate your own using everyone’s favourite sorting tool, and post it – or some of it – in the comments. Which songs have grown on you over time, and which ones have started to grate? Let me know down below.
My brand spanking new, end-of-2015 ranking looks like this (with the previous position of each country in brackets):
Just a bit further…
Here it is!
#1 | Sweden (=) Don’t act surprised, or reach for a sick bag! I never bought a ticket to ride on the ‘Not Sweden again! ITALY WAS ROBBED’ train, being the massive fan of Mr. Zelmerlöw, avid supporter of Heroes with or without the stick man, and generally Sweden-obsessed freak that I am (I maintain that the whole jury-vote-deciding-winner is the kind of situation where you should hate the game, not the player). I love this song just as much in December as I did in February – only now, I get even more caught up in screaming ‘WE ARE THE HEROOOOOOOOES!!!’ knowing I’ll be seeing Måns reprise it live.
#2 | Italy (+1) Six months on, Grande Amore still gives me goosebumps. Will it have that effect á la Lane Moje, my all-time favourite ESC entry, and last a lifetime? Get back to me in a decade or two and I’ll let you know.
#3 | Belgium (+1) Belgium’s fairytale fourth place is something I still pinch myself over – when I’m not doing the robot to the minimalist, cutting-edge sounds of Rhythm Inside, of course. I’m still attempting to master Loïc’s triple pirouette, but I’m happy to crack this track way up for years to come in order to practice.
#4 | Montenegro (+4) Of all Željko’s contest compositions, Adio is the one that took me the longest to fall in love with. But, as you can see, it’s leapt from 8th place to 4th in my Top 40, and I won’t say it’s not going to climb higher in the future. It’s a textbook spine-tingling, haunting, atmospheric Balkan ballad, and if you can put it out of your mind that Knez looks like a circus ringmaster, it’s pretty much perfection in a three-minute package.
#5 | Australia (+12) Making a far bigger leap up my personal leaderboard is my own country’s first – and as we now know, NOT last – entry. Tonight Again was definitely a grower for me. I liked it instantly, but didn’t love it…then Australia came fifth, and I miraculously changed my mind. Actually, the change of mind was more to do with the vibes when I was cheering Guy on in a room full of Aussies. But let’s not dwell on that. It just happened! Do whatcha whatcha whatcha waaaant….
#6 | Spain (+4)
#7 | Israel (+15) Nadav is still my golden boy, and I certainly do enjoy. A lot more, evidently, than I did back in the day (i.e. May). Golden Boy , I have discovered, makes for an epic workout song. Squats suddenly become slightly more bearable when it’s blaring in the background.
#8 | Germany (+1)
#9 | Romania (-4)
#10 | Moldova (+2)
#11 | Latvia (-5)
#12 | FYR Macedonia (-5)
#13 | Slovenia (=)
#14 | Norway (-12) This is a controversial one. Maybe I over-listened to AMLM, which was my second-favourite song once upon a time, or maybe it just lost some of its magic for me. Either way – though I still like it a lot – I can’t hold it in as high a regard as I used to. Does this count as doing something terrible in my “early” youth?
#15 | Azerbaijan (+1)
#16 | Austria (-1)
#17 | Malta (+4)
#18 | Russia (+7)
#19 | Belarus (+8) I’m surprised that this has crept up rather than stayed put. There was never anything about Time that grabbed me with both hands (the hands of Time, obviously) which always irritated me because Uzari and Maimuna are both awesome in their own right, and have both produced far more dynamic and impressive music in the past. But I guess I’m not that irritated after all. And time really is like thunder, a-ahh.
#20 | Iceland (-1)
#21 | Portugal (+8)
#22 | Albania (+10)
#23 | The Netherlands (-9)
#24 | Estonia (-13) I never felt the feverish love for Stig & Elina’s Eesti Laul landslider that many others did, so this drop doesn’t mean that much. Don’t get me wrong – we’re at #24, and the only songs I’m verging on hating with a passion are #37 through #40. It’s just…to steal the motto of Eurovision 2012 and rephrase it for my own personal use, Goodbye To Yesterday doesn’t light my fire, as such. I wonder if another tragic tear will snake its way down Elina’s cheek over that comment?
#25 | United Kingdom (-2)
#26 | Switzerland (-2)
#27 | Denmark (-7)
#28 | Serbia (+12) Bojana was my bottom-ranked act in May – though I should specify that it had nothing to do with her (she’s a delight, and can we be best friends forever, please?) and everything to do with the cheesy English-language version of Beauty Never Lies. I’m still not overly keen on it (it’s becoming a theme as we creep closer to number 4-0) but I can’t deny that it is a cracker of a dance-floor filler.
#29 | Greece (+5)
#30 | France (+1)
#31 | Georgia (-13)
#32 | Cyprus (+1)
#33 | Ireland (-7)
#34 | San Marino (+4) Is San Marino still in my bottom five? As Michele would say, NO! That’s a major achievement for the republic in itself. This song is total crap, but a part of me sees/hears it as a guilty (so very guilty) pleasure. I love how hard Michele and Anita try to make it something it’s never going to be – i.e. a decent, age-appropriate pop song that people would willingly listen to on a regular basis.
#35 | Poland (-7)
#36 | Hungary (+3)
#37 | Lithuania (-7) This Time was, is and always will be so full of cheese, you could make a batch of toasted sandwiches with said cheese so big that the Buranovskiye Babushkis and their extended families could feast on them for years without worrying about a dwindling supply. I don’t know about Vaidas’ solo stuff, but Monika’s is infinitely better than this.
#38 | Finland (-1)
#39 | Czech Republic (-4)
#40 | Armenia (-4) I haven’t sat through the recorded or live version of Genealogy’s melodramatic musical mess since their performance in the Viennese grand final. It’s just not my cup of tea (to put it politely) and I think that Not Alone, which preceded Don’t Deny, shows it up massively. I suspect that Iveta Mukuchyan’s entry, which will succeed it, will do the same.
Are you still awake? If so, congrats on making it all the way through this Top 40! If not, then I guess you’re not reading this right now, so I don’t need to address you (I am going to draw on your face with a Sharpie while you’re snoring, though). Things have changed quite a bit on my end, rankings-wise, so now it’s your chance to shock me with how much you’ve rearranged the field of 2015 in your mind – or on paper – since the contest took place.
Come on, spill! How’s your Top 40 looking as we approach the end of twenty-fifteen?
COMING UP It’s been a while since the previous episode, but what better time than now for another Melfest Monday? Then, ever since Australia was granted a precious second shot at Eurovision glory, minds the world over have been whirring trying to come up with the best artist to fly our flag this time. I’m yet to chip in on this discussion, but I’ve been biding my time for a reason. Drop by for a Friday Fast Five in which I’ll reveal my top five fantasy Aussie representatives. I promise ‘Guy Sebastian, again’ isn’t among them.
Greetings, guys! It’s another day (obviously) and here’s another episode of the JESC 2015 Judgments for you to enjoy…or not. If you’re a fan of the Junior Eurovision offerings from Italy, Malta, Russia and/or Slovenia, you’re bound to feel some enjoyment, though perhaps not when one of this round’s jury members tears your fave to shreds. Just remember: honesty is the best policy, and one fan’s trash is another’s treasure, and a rolling stone gathers no moss, and a stitch in time saves nine, and…I’ve forgotten what I was talking about.
Why don’t we just get on with meeting today’s EBJ Junior Jury members? They’re a stellar bunch of folks!
TODAY’S EBJ JUNIOR JURY
Mrs. Jaz She’s back! Mrs. Jaz, a.k.a. my mother, has once again been forced at glitter-gunpoint to listen to and judge some Eurovision-related music, and I reckon she secretly loved it (her cries of ‘For the love of Lordi, make it stop!’ were all an act, I’m sure). Seriously though, she was happy to help out, and I’m happy to have the perspective of someone who can comment on each entry without knowing where it’s from or what the story is behind it – i.e. provide totally unbiased first impressions. A few of this round’s songs had her nodding in agreement with the rest of the EBJ Junior Jury, but the rest did not. Read on to find out which of the four floated her boat, and which had that boat capsizing faster than you can say ‘Where the heck are the life jackets?’
James Sayer ‘Hello! I’m James, a 20-year-old Creative Writing student at Edge Hill University, which is near Liverpool (nobody has ever heard of it, I’m aware. It’s lovely though, I promise). You might remember me from the EBJ Jury in May, when Jaz gave me Finland…need I say any more? I’m aiming to be a kinder judge this time! The first Junior contest in 2003 was actually my first-ever Eurovision experience: my sister and I stumbled across it and found ourselves captivated by all the exotic sounds on display. I think we took a particular shine to Like A Star from Malta. Junior Eurovision is basically the reason I’m a Eurovision fan, so no matter how immature some of it may seem now, it will always have a special place in my heart. My favourite-ever song from JESC changes between Sensatsiya (Russia 2012), Urok Hlamuru (Ukraine 2007), Svet U Mojim Očima (Serbia 2014) and Anders (Belgium 2007) quite regularly. I reckon 2014 was the strongest contest to date, and fingers crossed that it’s onwards and upwards from here!’
Jaz ‘You’re never getting rid of me, unless the ‘Jaz’ mysteriously drops from the title of this blog (so really, NEVER). Tasked with trying to write a different bio for myself each episode of the JESC Judgments, I figure I’ll follow James’ lead and list a few of my all-time favourite Junior entries from over the years. Just to name a few: Du by Mimmi Sandén (Sweden 2009); Te Traigo Flores by Antonio José (Spain 2005); Det Finaste Någon Kan Få by Molly Sandén (Sweden 2006); and Rodendeski Baknež by Denis Dimoski (FYR Macedonia 2005). That’s the tip of the iceberg, people. Will any of today’s tracks join that esteemed list in the future? Maybe. Just maybe…’
Now we’ve been introduced/introduced ourselves, we’re ready to unleash our opinions on the songs that Chiara & Martina, Destiny Chukunyere, Mikhail Smirmov and Lina Kuduzović are hoping will win them the JESC 2015 trophy. Do Mrs. Jaz, James or myself think that’s even a remote possibility for any of them? There’s only one way for you to find out.
Mrs. Jaz Viva Italia! I liked this one straight away. It’s very catchy, and very happy. Even though I couldn’t understand anything these girls were singing, the positivity of their message was shining through in the sound of the song. They also harmonise really well, gelling and connecting in a way that makes me wonder if it’s purely a twin thing (instead of finishing each other’s sentences, they’re just so in sync that it’s hard to distinguish between them vocally). Yep, I’m pretty keen on this one…though I’m told that’s not a hugely popular opinion! 8 points.
James This one started promisingly for me: there were warm guitars and hints of synths, and I was thinking we were heading for something Tiziano Ferro-esque. You know – an epic stadium anthem, broody verses leading to a killer chorus…and then said chorus dropped. And IDK, it was like watching a basketball player charge up to the hoop, make an almighty leap, and then completely miss the hoop…and probably somehow manage to hit themselves in the face with the ball instead. The beat just plods, and the bassline is about as energetic and interesting as a salmon being slapped repeatedly off a table. My god, this is dated, and not in a good kind of retro way. It’s just cheap. And don’t even get me started on how thoroughly bored they both sound too – it’s as though the poor girls know just how bad their song is and are embarrassed to have to sing it, bless them. Italy really don’t want to accidentally win again, do they! Being nice, I’ll give them 3 points.
Jaz It’s easy to forget that Italy is the reigning champion of Junior Eurovision, given that we’re heading to Sofia, and not Rome or Milan, off the back of Vincenzo Cantiello’s triumph last November. Then you listen to their sophomore entry Viva, and it’s all too clear that Italy ain’t interested in doing a double. I don’t dislike this song, don’t get me wrong – it’s a fun sing-along song, providing you can latch on to the Italian lyrics (which I can’t, so I just jump in whenever the twins shout ‘VIVA!’). Plus, Chiara and Martina have gelato tub-loads of personality, and as my mum said, harmonise as well as you’d expect singing twins to do. Still, this entry has nothing on Tu Il Primo Grande Amore. That was spine-tingling and timeless, and Viva is neither. The pop-rock sound is pretty 80s, so it’s far from fresh; it coasts along until the key-change arrives without going anyplace that exciting; and I definitely don’t have any hairs standing up on my body when I listen to it, unless I coincide that listening with sticking a knife in the toaster. But si, I still enjoy it, and it’s not like it’s the worst song on offer this year (Italy would NEVER send utter crap to a song contest!). I have a feeling Viva will be better live than in studio, mainly because it won’t be accompanied by a video that looks like something I could have put together in primary school… but I still can’t see it sidestepping 12th-15th place on the scoreboard. 6 points.
EBJ Junior Jury Score 5.67
Mrs. Jaz Is this Junior Eurovision or Broadway? This sounds like a show tune the downtrodden star of a 70s-set musical would belt out at the point in the story where she’s decided that nobody’s going to bring her down any more (or in this case, take her soul). I don’t mind that about it, but I do think that sound is a detriment to the studio version. I’d expect this to be far more enjoyable live on stage, when Destiny can fulfill her namesake and get the crowd going (she sounds like she wouldn’t have any trouble doing so). The cons? Well, I didn’t love all of the vocal gymnastics at the beginning…I mean, yes, she’s got a great voice and a great range, but she doesn’t need to do a routine on the horizontal bars with her vocal chords to prove it. Apart from that, this entry is a likeable one, and I reckon it could do reasonably well for Malta. 6 points.
James Two words: CeeLo Green. Both the melody and the arrangement of Destiny’s song are more than just a little similar to the international smash hit Forget You from a few years back. It’s all been ‘kiddified’ though, and although it’s a little sickly at first, on repeated listens, I think it actually really works. I mean, the verses are a bit ‘meh’. But one undeniable positive is that Destiny’s sassy powerhouse vocals are 110% suited to this kind of song, and she really brings it to life. I think with a bit more money invested in updating the production (read: send it to Stockholm and see how it sounds when it comes back), this could be a genuine hit. That post-chorus hook is one of the strongest in the whole line-up this year. Not My Soul is a grower, and may be one to watch. 7 points.
Jaz We’ve known for a while that our girl Destiny can sing like Christina Aguilera on crack (sorry to make a drug reference when discussing the talents of a thirteen-year-old, but I’m really trying to emphasise the extent of said talents). Now she’s been matched with a song that lets her show it off to the fullest, without seeming like a vehicle for her voice and nothing else. Not My Soul is going to go OFF in the Arena Armeec, mark my words. It’s SHRN with those trumpets…well, trumpeting away in the background – and definitely Forget You gone female, youthful and Maltese. It’s made up of the cheesy-but-cute lyrical content we only get from Malta at JESC (and now, Australia, given many of us can’t understand the other countries’ song content without hotfooting it to Google Translate). Destiny crams more defiance into that ‘no, no, no, not my soul!’ post-chorus part than I have into my entire life – and not only do I believe that no-one will manage to take her soul, I also feel inspired to harness my lady power and be generally badass and stuff after hearing it. The whole thing just makes me feel good. It’s not my favourite entry of the year – far from it, in fact – but it’s an absolute match made in heaven between singer and song. And it’s so darn happy, I can’t resist having a moonwalk down the hallway during the chorus. I am more or less expecting Malta to nab another top five finish in 2015. 7 points.
EBJ Junior Jury Score 6.67
Mrs. Jaz This is…nice. Just nice. It didn’t grab me, so I can’t imagine it grabbing too many televoters or jurors either (but perhaps I’m just far off the average JESC watcher’s wavelength). I feel like you’d have to hear it more than once for any hope of being hooked in. Overall, it’s fairly forgettable and verging on (sorry, Mikhail!) mediocre. And I can’t think of anything else to say about it. 5 points.
James I’m gonna put it out there: I really like Russia’s song this year. The most striking thing about this one is how strong and professional the production is – it’s the polar opposite of Italy. It’s blatantly obvious that a lot of effort has been put into this song, and that makes me instinctively want to take it more seriously. And past that, it does have a really engaging melody too, which develops throughout and sounds very unique. I can see Russia doing really, really well with this one. Misha Smirnov has such a strong stage presence already – he’s a performer who has an effortless command of both his song and his audience, and has created an atmosphere every time he’s sung Mechta live. Another random observation: the chord progressions are very Russian too. They’ve managed to bring some national flavour by reflecting their domestic music scene rather than chucking in an accordion and a mini Cossack dancer in a bear costume (though I wouldn’t put it past them.) Pretty awesome, methinks. 8 points.
Jaz If you read my Junior reviews last year (which I’m sure you did!) you might recall that I detested the Russian song, Dreamer. Fast forward twelve months, and I’m still not mad about it in any way, shape or form, and by comparison, I much prefer Mikhail’s Mechta. It’s a weird track to try and describe, because I’m not sure whether it’s a ballad or a pop song, or both. I can say with certainty that the revamped version is a step up from the national final-winning version – it’s more upbeat and a lot less flat. I like the melody of the verses and choruses (though the latter are definitely stronger) and I think Mikhail is a nice, if not spectacular, singer. The entire entry is just nice, really, and I don’t mean that in a derogatory way. It’s easy listening and not too showy, which is actually unusual for Russia. Similarly unusual would be pared-back presentation, but as I can’t imagine them overdoing the staging for a song like this, hopefully sight and sound will be equally simple. I’d like this to earn Russia a better result than last year’s, but that’s very unlikely to happen. When I put my objective hat on (which I don’t do very often) I can see that it’s probably too understated and too forgettable to go anywhere. But in terms of what I think of it and what point score I’d give it – which is the purpose of these reviews – it gets a thumbs up and 7 points from me.
EBJ Junior Jury Score 6.67
Mrs. Jaz Ooh, this is a good one! Once again, I have no clue what’s being sung about, but I found myself getting swept up in the atmosphere created by a ballad that isn’t too much of a ballad, if that makes sense. The music is lovely, and Lina’s voice is even more so – there are no unnecessary vocal gymnastics on display here. She sounds young, but she has a lot of power and clarity in her voice that gives me the impression she knows what she’s doing. It’s a promising package…but I have to say, I preferred the Italian song. 7 points.
James Okay, Maraaya really do know how to create hits, don’t they? I simply love the Slovenian entry this year. It might even be my favourite. It’s classy and captivating, and the melody is interesting enough to make it stand out from the (many) other mini-LLBs (Jaz: lame lady ballads) crowding the field in this contest. I personally thought their song last year was a screechy misstep, but with Prva Ljubezen, Slovenia has officially ARRIVED. To be honest, most of the Balkan nations are bringing it this year, but the advantage Slovenia has is the professionalism. Lina looks, sounds, and acts like a star, and she’s got the mentoring and experience of Eurovision entrants Maraaya to back her up (whereas FYR Macedonia is endearingly home-made, and Serbia have sent a strong song with a singer who looks the absolute double of Honey Boo Boo). If I was to pick one tiny fault with this song, it’s that I think it would work much better in 100% Slovene. They could keep the Italian lines if need be; I just really don’t like the JESC tendency to shoehorn clumsily-written English lyrics into everything, because nine times out of ten it ruins what would have been a great song in its national language. But everyone’s doing it, so I doubt this will really be a problem for Lina! I’m hovering between 10 and 12 points…but I’m gonna go with 10. It’s fab, but it’s no Svet U Mojim Očima.
Jaz Before each ESC and JESC, as the competing songs are being selected, I sit and wait to hear one that gives me THE FEELING. The one that makes me stop in my tracks, gives me goosebumps and has the word ‘WINNER!!!’ written all over it. There are two songs en route to Sofia that have that effect on me, and one of them is Slovenia’s. I’m not saying it’s a shoo-in to win, but it sure as heck gives me that impression. Ermahgerd, it’s good. Maraaya (and Lina, who co-wrote both the music and the lyrics with the duo), take a bow! A good old tinkly piano intro gives way to beautifully-constructed, dynamic verses and soaring choruses, and it’s all very current. It’s instant enough to latch on to without being derivative as well, which is a hard thing to achieve. And I haven’t even mentioned the cherry on top – Lina’s incredible vocal, which is practically studio-perfect live, as you’d expect from someone who won Slovenia’s Got Talent when they were SEVEN YEARS OLD (way to make all of us senior citizens feel inadequate, Lina). Basically, this is the bomb dot com, and if it doesn’t do extremely well for Slovenia, I’ll be boycotting all things JESC for at least five minutes. DOUZE POINTS!
EBJ Junior Jury Score 9.67
Well, that was interesting (I hope)! Reading each other’s minds re: some songs and completely disagreeing on others, the EBJJJ have proved that music has the power to unite and divide in a very short space of time. It also has the power to make me shake my fist bitterly in my mother’s direction for thinking Italy is superior to Slovenia this year…but I have to respect her views. Or at least, I have to appear to.
Here’s a look at the leaderboard for this round of reviews:
- Slovenia (9.67)
- Russia (6.67)
- Malta (6.67)
- Italy (5.67)
I won’t factor in the scores from Part 1 – I’m saving those for the EBJ Junior Jury’s Top 17 post. But I will remind you that Armenia topped the previous leaderboard with 8.00, meaning that Slovenia is now sitting pretty in the number one spot (Helena Paparizou would approve). With nine countries’ entries left for the EBJJJ to review, can Lina maintain her lead? Or will she be knocked unceremoniously off the top by one of the upcoming acts from Australia, Belarus, Georgia or Ukraine? Time will tell, ladies and gents.
Drop by EBJ at the end of the week if you want to see two Aussies and an American have their say on the aforementioned four. I promise the pair of us from Down Under will try not to be biased when it comes to commenting on Bella Paige. Try, but perhaps not succeed.
In the meantime, let me know below what you think of today’s entries. Which of the jurors was on your wavelength…if any?
Hej hej! Welcome to the filler post that’s supposed to make you drool with anticipation as you await the results of my 2015 Eurovision Excellence Awards.
Don’t worry; their arrival is in the offing. In the meantime, if you haven’t voted in the People’s Choice polls yet, I would la la love you to do so while you still can. The polls are sitting pretty in my previous post, where they’ll be open for another few days (UPDATE: They’ve now closed!!!). Many of the results are close at this point, so your vote could determine who wins and who goes home empty-handed. As our beloved Queen Loreen would say, you got the power.
Before you head off to use it, though (and thanks so much if you already have…douze points for you!) why not hang around here for a bit and check out today’s countdown?
The forty songs performed in Vienna over three nights have been narrowed down to ten: my top ten of the lot, based on how well they were staged and sung, how aesthetically pleasing they were, and how insignificant the shocking camerawork became in light of all of the above.
As taking forty down to ten is a tough task (even with a few badly-staged, badly-sung entries among that forty) I’m allowing myself some Honourable Mentions to start:
Moldova If Moldova had tried to disguise I Want Your Love as a classy, contemporary affair, there would have been a global eye-roll epidemic. Fortunately, Eduard and his team acknowledged how trashy and 2000s the song is via a heavily-choreographed, sleazy dance routine performed by “police” hot off a porn set. I don’t care what anyone says – we NEEDED this in Eurovision 2015.
Montenegro Željko Joksimović was part of Adio in spirit (and as songwriter) if not on stage, with his influence extending to the use of every Balkan ballad trope imaginable during Knez’s performance. In this case, I’m more than happy to embrace the clichés, because I’ve long been a sucker for Balkan ballads and their atmospheric ensemble-based stagings…especially when Željko’s engineered them.
Russia I can’t deny that Polina gave a win-worthy performance in the final, helped along by her all-white resemblance to Dima Bilan back in ’08 (except his neckline was even more plunging than hers). But, more so than the costumes or the backdrops, it’s the emotion and energy she put into conveying the message of A Million Voices that I applaud here. Polina clearly invested every fibre of her (pure and angelic) being into her performance, and the fact that she semi-crumbled at the end endeared her effort to me all the more. You go, girlfriend.
And now, let’s get to the really, really good stuff (and pretend I didn’t just say ‘You go, girlfriend’): my top ten performances of the year.
When compiling this list, I thought back to how strong my desire was to clap after each performance, rather than bury my head in my hands. I also tried to recall whether my eyes were glued to the TV screen for three minutes straight (á la Sweden) or if I was tempted to tear them out after ten seconds because I NEVER EVER WANT TO SEE ANYONE WEAR ANYTHING LIKE THAT AGAIN, TRIJNTJE!
This is the end result.
#10 | Game of Thrones meets Eurovision…and it’s a perfect match
Genealogy’s performance of Face The Shadow for Armenia
Game of Thrones with a ton of (subliminal) ads for Cadbury Family Blocks thrown in, that is. Armenia’s medieval-esque and very purple outfits – which may or may not have been retrieved from the depths of Inga’s wardrobe and repurposed, based on their resemblance to her and her sister’s 2009 costume choice – added to an equally purple and well-executed performance that took my pre-show perception of Face The Shadow and completely reversed it. Once performed live, the chaos of the studio version – in which all six singers attempted to outdo each other at every opportunity – disappeared, making way for screen shots that almost literally walked us through Essaï, Mary-Jean, Stephanie, Inga, Tamar and Vahe’s solos. On top of that, the migraine-inducing melodrama of that studio version came off as more of a theatricality, and one that worked very well outside of the recording booth. I still feel like Genealogy would have been more at home in a West End production of The Phantom of the Opera than at Eurovision…but their performance made me want to retract most of the snarky comments I made when reviewing Armenia a few months ago – and that deserves praise.
#9 | How do you say ‘OTT’ in Spanish?
Edurne’s performance of Amanecer for Spain
After a pretty lengthy period of simplistic staging choices, it was only a matter of time before Spain regurgitated every unused costume reveal, backdrop, dance move and wind machine gust from the past five years all over the Eurovision stage. We’ll never know whether less would have been more where Amanecer is concerned, but I personally don’t mind never finding out – because Edurne’s action-packed, meme-worthy performance harked back to the ultra-gimmicky days of the contest, and I couldn’t help loving it. Si, it was OTT, but not in a tacky, trashy way (Moldova had the tackiness and trashiness all to themselves). To put it in Eurovision terms, if Silvia Night’s Congratulations performance in ’06 was a petulant child, then Edurne’s Amanecer performance was the same child nine years later – more mature, but now at the party-girl stage of life when all she wants to do is rip off the demure cloak she wore out of the house to appease her parents, revealing a flashy dress that enables her to be manhandled by a half-naked dancer up in the club. Or in this case, up on the Stadthalle stage in front of thousands of flag-waving fans. Something else I commend about Spain’s show is the fact that Edurne didn’t let the myriad of backdrops, or the machine-made wind, or any of the other stuff that was happening to/around her, outshine her. She retained her status as star of the show the entire time. I guess when you’re that stunning, it’s easy to do.
#8 | Before I leave, you can definitely show me Tel Aviv!
Nadav Guedj’s performance of Golden Boy for Israel
I mean that in a ‘because you guys are the collective kings of fun’ kind of way, as opposed to an ‘I have the hots for a sixteen-year-old which, as I am in my twenties, is creepy, even though said teenager looks older than me’ kind of way (I swear I don’t). Without question, Israel was the life of the Eurovision party in Vienna, and all it took was simple but bang-on staging of the energetic floorfiller that is Golden Boy. All the song needed was a cool lighting scheme, men who could move, and – something I didn’t visualise pre-ESC but now can’t imagine sacrificing – some sweet-as-heck metallic sneakers. And Israel delivered on all three of those counts. They also gave us a teen talented beyond his years, who worked the stage like a pro and made millions of people watching at home leave the butt-shaped crater in their couches behind in order to shake the butt that made the indentation. I was doing no such thing when I was sixteen, being too busy carrying out my grand plan to win over the guy I liked by never looking at or speaking directly to him, which worked a treat. Not. ANYWAY, there was nothing not to enjoy about Nadav’s moment in the spotlight – including his literal moment in the spotlight during Golden Boy’s ballad-like intro, also perfectly staged – which is why it’s going down as one of my top ten performances. As long as I can keep pretending the cringe-tastic ‘Do you like my dancing?’ lyric doesn’t exist, I’ll be re-watching it on repeat.
#7 | Where there’s smoke, there’s Nina
Nina Sublatti’s performance of Warrior for Georgia
Let’s be honest: there were a lot of lady ballads in Eurovision this year. Countless women in floor-sweeping gowns were either a) wilting away at their microphones because the flame of their loins had departed, or b) demanding in a very shouty manner that we all come together and build a bridge and pray for peace and whatnot (thanks, but no thanks). So it’s a relief that Georgia gave us some grunt factor in the form of a fierce-as-F-word, gothic goddess in black leather hotpants and thigh-high boots – a.k.a. Nina Sublatti. At twenty years of age, Nina held her own on a sizeable and very smoky stage (she didn’t even bat a kohl-covered eyelid when the Dry Ice Overload Incident took place during the final). Girl eyeballed the camera, strutted around in those amazing boots (sorry to keep mentioning them, but they’re a 10 on the Maja Keuc scale of lust-worthy footwear) and generally hypnotised me into staring at her the entire time she was doing her femme fatale thing. She didn’t need anyone else accompanying her on stage, and I get the feeling the same applies to her everyday life – she’s the epitome of a strong, independent woman who don’t need no man. It’s quite possible that I’m a little bit in love with her, actually. But pushing that aside, I think that Georgia staged Warrior impeccably. A striking backdrop, a dark and sexy choice of costume, dry ice for atmosphere and Nina herself was all that the performance needed to succeed.
#6 | Lights! Camera! Completely unjustified nul points!
Ann Sophie’s performance of Black Smoke for Germany
From one saucy, black-clad woman to another…let’s talk about Ann Sophie and her Eurovision rendition of Black Smoke. And this time, I’m going to get straight to the point: I LOVED this performance. Fans who didn’t like the song beforehand and were still annoyed about the Andreas situation may not have felt the same way watching it, and I’ll admit that as I did rate Black Smoke quite highly in the contest lead-up – and wanted poor, downtrodden Ann Sophie to surpass expectations (which didn’t quite pan out) – I’m probably biased. But you tell me something that was über-wrong with Germany’s three minutes, and I’ll tell you that you’re crazy. Everything about it was simple, seductive and sophisticated – and no, I haven’t forgotten about the butt-centric shots that dominated the first verse. What can I say? The woman has a behind that deserves camera time, and the fact that she spent thirty seconds with her back to the audience was at least a unique and memorable approach to stage choreography. It was hardly off the charts wackiness-wise when compared to some of Belgium’s choreography (which *spoiler alert* will be discussed again shortly). Ann Sophie’s style and charisma were equally on point, and her voice wasn’t half as nasally as it had been at the German national final. On top of that, the use of the giant lights as props was inspired, and totally in keeping with the slightly retro flavour of Black Smoke. All in all, Germany’s was a slick and entertaining performance in which every visual element was nailed and the artist played their part in adding pizzazz. Neither the televoters nor the juries thought that zero points was a fair score here, so I blame the current combined voting system for a failure that will haunt my dreams for years to come.
#5 | Three (handsome, Italian) heads are better than one
Il Volo’s performance of Grande Amore for Italy
Il Volo, of course, had sung Grande Amore live at Sanremo in order to win the main section of the comp – but after hearing the song for the first time via the cinematically-themed video and falling in love with it, I decided not to seek out the live version. Rather, I’d wait until Eurovision time to see if the boys would blow me away as I expected them to. Obviously, since I’m talking about them on a list of my favourite Viennese performances, they did. They really, really did. All they had to do was stand on the stage in front of that majestic and oh-so-Italian backdrop in dapper suits, and nail their solo vocals and harmonies, and the power of the song would do the rest. A little partnership between the lighting/graphics and the explosive launch into the choruses added to the drama, and that wink from Gianluca down the camera cemented the sex appeal and charisma of this popera entry. Comparisons to the stuffy and straight-laced Sognu should have ended there, but people refuse to stop pitting Italy 2015 against France 2011…even now that we know Italy won the televote and finished third overall (seriously, STOP IT!). Effortless, classy and with an Italian stamp on their performance like always, Italy more than made up for Emma’s scoreboard slump of 2014. And gave me some epic goosebumps. Brr.
#4 | Did we pick the right Guy for the job? Too right, mate!
Guy Sebastian’s performance of Tonight Again for Australia
No list of this nature written by an Australian would be complete without our debut performance on it. In fourth place is Guy Sebastian, whose talent, personality and posse of backup dancers/singers had the whole of the arena on their feet (from what I could see on screen) and dismissing the ‘WTF?’ factor of Australia being invited to compete. Tonight Again is the kind of song that works better live, when the performer can feed off the energy of the audience – and in this case, where smooth-as-honey vocals like Guy’s sound sweetest. From his first note, the crowd made the noise that indicated they knew they were in for a fun time (fun being extremely welcome after a ton of down-tempo songs that simply could not be twerked to), and when the trumpets kicked in, there was no looking back. The 3D and 2D street lights served as an eye-catching and appropriate part of simple but effective staging – i.e. staging that was far from boarding Spain’s OTT train, but not at all boring. My absolute favourite thing about our debut was this: watching it unfold in a room full of other Aussies, all of us waving our flags and singing along to every word, while dancing in the uncoordinated kind of way one does at 4 o’ clock in the morning. For the first time, I felt the patriotic spirit that those of you in regularly-competing countries must feel when you’re supporting your entry for the year (assuming you like it and aren’t embarrassed to get behind it). If we’re not invited back, then I’ll always have that memory and feeling to hold on to (sorry for the cheese, but this was a special event, and I’m getting kind of emotional thinking about it *sniff*).
And now, for the top points…er, I mean, performances. Or perhaps both?
Eight points go to…
#3 | Affected, detected, reflected and injected
Aminata’s performance of Love Injected for Latvia
I am proud to say I’m someone who approved of Love Injected when it won the Latvian NF. But not even I foresaw how epic Aminata’s Eurovision performance, and eventual result, would be. I mean, this is Latvia we’re talking about – their contest history includes the world’s campest pirates, Johnny Logan name-dropping and songs about cake-baking. In the post-2000 years, I’ve often had low expectations of them…but that’s changed. Watching barely-five-foot Aminata attempt to fit through backstage doorways in that giant red puffball of a dress, I was skeptical. But with that dress, and the girl in it, being the focal point of the presentation, magic was made. The colour scheme and lighting were seamlessly integrated with the theme and hypnotic beats of the song, and the camerawork here was among the best of the lot. The real drawcard, though, was Aminata herself. Like Conchita, she remained in the same spot for the entirety of her performance, but managed to belt out Love Injected with a whopping amount of power, and emote using only her facial expressions and arm movements. Note-perfect every time and totally present and absorbed in the moment, she had so much to do with Latvia providing another spine-tingler. Overa-a-a-a-all (couldn’t resist) they impressed me big time, brought up my heart rate, and achieved a result that was more Brainstorm than Beautiful Song.
Ten points go to…
#2 | Lord of the dance, and the leather pants
Måns Zelmerlöw’s performance of Heroes for Sweden
Oh, Sweden – you did it again! Á la 2012, the ESC powerhouse’s out-of-the-box thinking led to an innovatively-staged performance that was unique in the field, and deservingly took out Eurovision’s top honours. The extent to which Sweden takes Melodifestivalen and Eurovision seriously is evident in how well-packaged their entries are from the very first time you see them live – when they’re just potential Swedish representatives competing in a Melfest semi. Changes to the stick man aside, the Heroes that turned up in Vienna was shot-for-shot, move-for-move the same as the Heroes that had won Melfest in Stockholm. And there’s nothing wrong with that – why strive to improve on perfection? Sure, there were a few minor tweaks that did just that: e.g. the colour scheme becoming monochromatic, which, as Måns said, gave the visuals a crispness they didn’t have before. That was the cherry on top of a precision-iced cake. Although I’d seen Måns interacting with cartoon Måns (who’s not as handsome but is adorable nonetheless) a million times before he did so at Eurovision, I was compelled by the staging every time. MZW was selling something I already wanted to buy, so the fact that a) his vocals were top-notch, b) his engagement with the audience and camera was as pro as always, and c) he was still rocking those leather pants *swoons pathetically* was an added bonus. Just because every element of a performance has been thought through and rehearsed to within an inch of its life doesn’t mean said performance will become stale. It can still be fresh, with the right frontman…or in this case, the right frontmåns.
And now, the moment you’ve waded through my ramblings for. The douze points for my personal favourite performance of the year go to…
#1 | Black + white + rap pap pap tonight!
Loïc Nottet’s performance of Rhythm Inside for Belgium
Belgium has been a hit-and-miss kind of contest competitor lately. After Roberto Bellarosa’s surprise success in Malmö, Axel Hirsoux’s failure to qualify in Copenhagen must have taken the wind out of their sails (while not surprising the majority of us who were creeped-out by Mother). This year, with Francophone broadcaster RTBF in charge again, Loïc Nottet was internally selected – and what a brilliant selection it was. Loïc – who we mustn’t forget is only nineteen years old – proceeded to co-write a cutting-edge pop song and choreograph a cool routine for some all-white backing singers. The rest, as they say, is history. Belgium’s best result since 2003 was thanks to a song and performance unlike anything we’d heard or seen on the Eurovision stage before, which is mainly why I voted for it. Simple shapes, bizarre but complementary dance moves and a minimalist, monochromatic colour scheme united as Loïc let rip with a killer vocal. Unusual camera shots, and an intensity from The Voice Belgique runner-up that would be hard for an artist twice his age to muster, added to the intrigue, making Belgium’s performance pretty impossible to forget. The whole thing was strange yet satisfying, and gelled in a way that some other performances didn’t. I couldn’t tear my eyes away, having been a fan of Rhythm Inside from the start and then been blindsided by a level of awesomeness in its presentation. I want to see more of this in Eurovision as we journey on into the show’s seventh decade. Maybe that would prove that the older the contest gets, the cooler it gets – you know, like your grandmother who goes bar-hopping, listens to heavy metal and takes hang-gliding lessons.
That’s my countdown concluded, peeps. I’ve said my (very long) piece, so now it’s your turn. Which ten performances of Eurovision 2015 will you be watching over and over until a distraction comes along in the form of Eurovision 2016? Let me know below. I’m as curious as always!
NEXT TIME Dust off your tuxedoes, fluff out those tulle skirts, and red-carpet-proof your footwear – the EBJ Awards for Eurovision Excellence have arrived! Well, the first installment has, anyway. You’re cordially invited to sit front-row as the trophies in the categories of The Artists and The Songs are handed out. Four of the People’s Choice winners will be revealed as well, so you won’t want to miss this ceremony.