For most people, today is Tuesday. For some people, it may still be Monday. For other people – the really slack ones who didn’t get the memo that I’d posted this and just happened to stumble across it belatedly (subscribe or stop by my social media to avoid such disasters by receiving new post alerts *SHAMELESS PLUG*) – it could be any old day of the week. But for me, it’s June 28, and that’s kind of a big deal.
Why? Because seven years ago today (!) I decided to inflict my obsession with/ability to talk constantly about Eurovision upon the world, via a blog that would become known as Eurovision By Jaz…since that’s what I decided to call it that day, duh. Back then in 2009, I couldn’t have foreseen that I’d still be running the blog in my own haphazard manner after so much time had passed – let alone off the back of an ACTUAL TRIP to the contest after ten years of frenzied fangirling (I still have to pinch myself on the hour every hour to remind myself that I was in Stockholm). The reason I’m still around is simple, though: I do it for the love. I mean, if I did for popularity and adoration I would’ve lost the will years ago.
Here and now, in case you were wondering, I’m certain that as long as I enjoy chatting all things ESC with you guys, and as long as at least one person out there seems to be a fan of my material (besides me), I’ll be here doing what I do. I.e. criticising contestants’ costume choices and objectifying whoever happens to be the hottest guy of the latest contest line-up (in 2016, I’ve moved on from Måns to Freddie, FYI). If you’re willing to come along for the ride, I can guarantee a safe, yet entertaining and occasionally controversial journey through the years to come.
Before I let loose and blow my own kazoo (not a euphemism), I want to thank anyone who’s reading this intro. If you are, it means you’ve taken the time to drop by EBJ, probably out of habit or to see if it’s your cup of kaffe. You might have been with me from the beginning, be a recent reader, or be someone who’s sick of me already and plans to stick with Wiwi Bloggs exclusively from now on – I don’t mind whichever way. I’m just grateful for your visit and confident that you must be a pretty cool person since you’re attracted to rather than repulsed by the word ‘Eurovision’.
Now, to kick off my 7th birthday (blogday?) celebrations, here’s a substandard graphic I prepared earlier!
I’ve decided to celebrate this milestone with a countdown that’s not your usual countdown. It’s not a Top 10, for starters – it’s actually a Top 7, and (brace yourselves for a theme to emerge here) it will feature my personal top 7 songs that have placed seventh in the ESC since EBJ began. In other words, I’m about to rank, from my least loved to my most loved, the seventh placers of 2010-2016. Given that I started blogging just after Eurovision 2009, Sakis Rouvas Vol. 2 will not be included in this list. But, as I know he’d be devastated to be un-invited so unceremoniously from this partay (and be likely to release a song entitledThis Is (Not) Our Night), I’m going to use him to rate each of the seven entries using a system I like to call ‘The Sakis Head Scale’.
You can see why.
If you’re keen to rate any of the following tracks – or ANY seventh-placed song from Eurovision history, for that matter – using the Sakis Head Scale/conventional 0-12 points (ugh, how normal), head to the comments section below. Alternatively, tweet me @EurovisionByJaz using the hashtag #shareyour7, and tell me which sixth runner-up is your favourite…or least favourite.
Without further ado (you know how I love ado, but I’ll restrain myself on this occasion), let’s kick off the countdown!
#7 | ‘May the winter stay away from my harvest night and day…’
Apricot Stone by Eva Rivas (Armenia 2010)
I fully expect to be pelted with apricot stones and verbal abuse over this one. I wasn’t surprised by Armenia’s lower-end-of-the-top-ten finish in Oslo, but that doesn’t mean I ‘got’ Apricot Stone. It’s not a bad song, per se – but push my buttons, it does not. It reminded me a bit of the Dutch entry two years previously, and that (Hind’s Your Heart Belongs To Me, for anyone having a brain-blank) was dated in 2008. Based on that, I never found the Armenian version very fresh – especially its chorus. And I hate to say this, because I’m totally pro-Rapunzel letting down her hair…but Eva’s super lengthy locks kind of freaked me out.
#6 | ‘Watch my dance, head up high, hands like wings and I’ll fly…’
Watch My Dance by Loukas Giorkas feat. Stereo Mike (Greece 2011)
Ah, Greece and their love of fusing rap with…not rap. There has to be some irony in the fact that they blended rap and ethnic sounds better in 2016 than in 2011, yet lost their 100% qualification record this year and finished seventh five years ago. If I remember correctly, a lot of us fans were convinced that Loukas and Stereo Mike (now known as Spotify Mike, most likely) would be Greece’s downfall, and that included me at the time. Nowadays, I like this song more than I did then, but it’s still too intense and too melodramatic for me to play that often – not to mention jarring enough to resemble an edit of a movie put together by a monkey. All in all, I prefer it when Greece takes a lighter approach to their rap fusion entries, á la Rise Up (#ROBBED). Though I’m not unwilling to watch Loukas’ dance, if he’s still after an audience and will be shirtless.
#5 | ‘My life is on a string when I see you smile, our love will last a thousand miles…’
Shine by the Tolmachevy Sisters (Russia 2014)
Here’s a song that I hated when I first heard it, only to find myself humming along shortly thereafter. I guess there’s no shortage of wonders an oversized see-saw can work, particularly when combined with twins who temporarily become conjoined via their ponytails. To be honest, I still don’t think Shine is a great song – it certainly has nothing on the duo’s Junior Eurovision winner Vesinniy Jazz – but there’s something nice about the melody and the way the girls harmonise (as only identical twins can) that had it growing on me even before the giant papier mâché sun was unfolded by a Portuguese national finalist (naturally). In fact, I have it stuck in my head right now.
#4 | ‘I didn’t want to wake you up, my love was never gonna be enough…’
Goodbye To Yesterday by Elina Born & Stig Rästa (Estonia 2015)
The song that won Eesti Laul by a landslide last year couldn’t do the same at Eurovision, but 7th? Totally respectable, especially given the unfortunate and unjust outcome of Estonia’s entry in Stockholm. Goodbye To Yesterday is one of many fine feathers in Stig Rästa’s compositional cap, and while it wasn’t up there with my personal douze-pointers in 2015, I can’t deny that it has something special. The dynamic between the two characters in the song’s story makes for a perfect duet, and the song itself is one that feels both retro and fresh. And who could resist a lyric like ‘As I got outside, I smiled to the dog’? Not me, that’s for sure. Or the dog, I’m guessing.
#3 | ‘You shook my life like an earthquake, now I’m waking up…’
LoveWave by Iveta Mukuchyan (Armenia 2016)
And here we have the latest track to reach the seventh rung of Eurovision’s top 10 ladder – one that makes me hopeful for a future in which cutting-edge, experimental music outnumbers stale cookie-cutter-type stuff in the contest. When a song doesn’t grab me straight away, but intrigues (rather than horrifies) me, I’m happy, because I know I’m going to love it eventually. LoveWave is initially disarming with its spoken-word start, but it makes you wonder where it’s headed and what kind of ground it’s about to break (so to speak). Ultimately, it’s a powerful punch-packer of a track, fronted by the femme fatale figure of Iveta who sells it vocally and visually. You can’t tell me this doesn’t kick Apricot Stone’s ass.
#2 | ‘I am a lonely sailor drinking the night away, my ship is made from hope, she’s searching for your bay…’
Love Me Back by Can Bonomo (Turkey 2012)
The last time we saw Turkey compete in the ESC, they gave me everything I want in my ethno-pop. That includes a) a generous dollop of traditional sounds that set the song apart from its rivals; b) three minutes of fun and frivolity without any ‘this is a novelty act and it can’t be taken seriously’ vibes; and c) back-up dancers who can transform their costumes into a sailboat at a second’s notice. Basically, it’s the whole package. Catchy, unique and easy to sing along to (or yell drunkenly over in the midst of an enthusiastic round of the Eurovision Drinking Game), Love Me Back is also a masterclass in how to make a cultural mark on the contest without alienating anyone…besides people prone to seasickness.
#1 | ‘While the world breaks into pieces, I compose new places and desires which also belong to you…’
L’Essenziale by Marco Mengoni (Italy 2013)
If you hadn’t guessed already, given that only one 2010-2016 7th-placer is yet to be mentioned, Italy takes out the top spot with one of my favourite Eurovision songs of ALL TIME (if your name is Kanye West, don’t bother trying to dispute that). An entry that truly puts the ‘song’ into Eurovision Song Contest, L’Essenziale is lyrically and melodically magic, and comes equipped with a message that doesn’t make your skin crawl thanks to its cheesiness (yes, Russia, it CAN be done without resorting to love love, peace peace). I would marry this song if that were at all possible, I’m so crazy about it. Although, if Marco is available, I’d rather marry him instead. Then he could serenade me with the song whenever I wanted. That’s not too much to ask, is it?
Well, I’ve shared my seven – a song for every year I’ve been blogging here at EBJ. Holy Hard Rock Hallelujah! Remember, if you want to do the same, I’d consider it a birthday gift and therefore wouldn’t be offended by the lack of fruit baskets being delivered to my door. You should also feel free to tell me what you thought of my ranking. How would you rearrange it? Was seventh place too good or not good enough for these tracks? Exactly how offended are you right now?
While you’re letting me know, I’ll be off raising a glass to myself…and, of course, planning seven more years’ worth of Eurovisual entertainment for anyone who currently reads or will someday stumble upon this site. I hope you enjoy what’s to come as much as I’m going to enjoy creating it for you (if the Sakis heads are any indication, I’ll have an epic time).
Hej there! You have made the excellent decision to drop by Jaz HQ to be debriefed on six more Eurovision 2016 entries – or at least, to be informed of how a small group of ESC fanatics feel about them. If you don’t mind some cattiness (‘cause the claws are out today) then you won’t regret it!
TODAY’S EBJ JURORS
Martin, Nick and I are about to have our say on Armenia, Australia, Ireland, Malta, Moldova and Slovenia – a.k.a. Iveta, Dami, Nicky, Ira, Lidia and ManuElla. Once you’ve heard us out, and seen how the entire EBJ Jury scored these countries, have your own say in the comments. Which is the best song of this bunch?
Martin This is a bold departure from normal Eurovision fare! LoveWave has an unusual spoken start, and is slow-paced throughout with its musical fusion of Western pop and Armenian ethnicity. It’s a difficult song to work out on first listen, and that might be Armenia’s failing this year – for them to qualify, everything hinges on Iveta’s vocals being perfect live and the staging being excellent.
Nick Believe it or not, this is my favorite Armenian entry of the past five years. Think about that low standard for a second. LoveWave has a lot of interesting parts – mainly the music and the structure – but it never coalesces like it should. Part of that has to do with the disconnection between the ethnic tones used for the verses, and the voice-heavy chorus. The pacing also feels off, and I feel like the whole package would work a lot better with a few more BPM. Otherwise, the lyrics are an absolute shambles, probably the worst this year; and I haven’t heard Iveta live, so I don’t know what to expect. Hopefully something entertaining, unintentionally or otherwise, because my god, is the spoken word intro going to be jarring.
Jaz I had sky-high expectations of Iveta Mukuchyan based on her previous form, and to be honest, I still don’t know if she met those with LoveWave. There are moments in this song that make me think ‘This is the weirdest thing I have ever heard’, and others that make me think ‘This is genius!’. The intro is a bizarre, and a beginning that doesn’t lure you in is rarely a positive musical attribute. Still, it did have me hanging around to see what happened next when I first listened to it, and it will probably have the same effect on fans hearing the entries for the first time on the night/s. Once the song settles into itself, it gives off some sexy vibes (thanks in large part to Iveta’s husky vocals), and it’s evident that it missed its calling as a single from the Fifty Shades of Grey soundtrack. It’s full of textures and layers and incomprehensible lyrics (which do add a sense of mystery to it all), and the combo of traditional Armenian instruments and the R & B style most evident in the chorus actually works quite well. On the whole, I have to applaud the song for daring to be different. If Armenia has devised a stunning stage concept to accompany LoveWave – the mileage they got out of Don’t Deny on the basis of superb staging suggests it’s likely – then this will make an impression. I do think it takes itself more seriously than it should, but with a slick performance to distract us all from that fact/opinion, a smidgen of OTT self-importance won’t matter.
The EBJ Jury says…
- Ali 4
- Fraser 4
- James 5
- Jaz 7
- Martin 6
- Nick 2
- Penny 12
- Rory 12
- Wolfgang 6
Armenia’s EBJ Jury score is…6.44
Martin Australia are definitely in it to get at least a respectable placing in Stockholm, but there’s something missing that means that this will not win Eurovision. Dami can definitely sing (she’s vocally superb with an amazing range) and the song is lyrically interesting (it tells a great story) but for me, Sound Of Silence just lacks that winning spark.
Nick Dami Im! You have no idea how excited I was when she was confirmed as the entrant for Australia. I was so prepared for Super Love 2.0, and procuring an Aussie flag for Stockholm. Then the song came out, and ‘disappointed’ was an understatement. Mid-tempo synth-pop for such a colorful artist was a terrible match, and not even Dami’s charisma can save this dirge of a song. The only way I can think to describe it is by using the dominant color in the video: grey. Lyrically grey, musically grey, just… grey. And while last year’s Tonight Again annoyed the pants off me, at least it had some spunk.
Jaz I know it isn’t Thursday (not while I’m typing this, anyway) but I’d like to #throwback to this time last year when I gave Guy Sebastian’s Tonight Again a mediocre review. The purpose of this throwback? To point out that, as I didn’t get a kick of any kind out of that song until Eurovision was actually upon us, you should take what I’m about to say regarding Dami’s Sound of Silence with a whacking great grain of salt. This song – our sophomore effort, which was always going to be interesting in one way or another – is slightly above-average. That’s my not-at-all-glowing review, I’m afraid. I’m not a huge Dami fan, and the fact that she wasn’t Delta Goodrem made her entry unveiling even more tainted with my bitterness. There is no doubt that she can belt out a wannabe-powerhouse track like SOS, and it is a song that allows her to make the most of her vocal abilities. But it’s trying so hard to be on par with a Sia smash hit that it seems desperate, and falls short. Melodically, it’s lovely to listen to, and it certainly fulfils the brief of Contemporary Female Ballad That Is Not An Embarrassment To The Entire Continent of Australia. But the chorus, which should be the selling point, is weakened by unnecessary repetition. Are you telling me that the writers couldn’t have spared a few extra minutes to think up a few additional lines that rhymed with ‘silence’? Violence, defiance, appliance (an ode to a panini press would have been a first at Eurovision)…the list goes on. It smacks of laziness to me. Like a beautifully-crafted movie scene tossed onto the cutting room floor in favour of a crappy, purposeless one, the repetition of the initial chorus lines is a missed opportunity to have created something more masterful. Still, Dami will work with what she’s got, and her fashion sense (slash the fashion sense of her stylist) is so on fleek, I cannot wait to see what she’ll wear for an occasion like this (it’ll be more like a sculpture than actual clothing, I’m sure). And you can bet your behind that I’ll be cheering like crazy for her, and crossing my fingers that she slips through from semi to final. I just wish my driving force was a love for the song, rather than a love for my country and a will for us to qualify.
The EBJ Jury says…
- Ali 6
- Fraser 10
- James 3
- Jaz 6
- Martin 8
- Nick 2
- Penny 8
- Rory 7
- Wolfgang 8
Australia’s EBJ Jury score is…6.44
Martin Nicky Byrne is getting the hang of singing Sunlight live, and I think that his self-belief will play a huge part in how well it does. If he nails the vocals on semi night, this will be an easy qualifier to the final and could revive Ireland’s interest in the ESC. ‘Sun <pause> light’ is earworm central in my opinion – a definite toe-tapper, hooking you in from the start and keeping you listening to the end. I think this up-tempo pop song will hit the spot with televoters, at least.
Nick This lot of songs is gonna make me sound like a grump, but actually, this is my dead last place for Stockholm. Everything about this screams desperate, from the wannabe 2013 Avicii composition to the recycling of 90s “heart-throb” Nicky Byrne to screech-er, I mean, sing it. And it’s not like Ireland hasn’t tried this approach before: just look at 2013’s Only Love Survives. Also, look where that finished – dead last after barely scraping into the final. Still, at least that was peppy and energetic. Sunlight makes me want to close the curtains and throw on a sleeping mask.
Jaz The boyband fangirl inside me (who is so dominant, a member of the Backstreet Boys flies out of my nose every time I sneeze) may have screamed internally when ex-Westlifer Nicky was announced as the Irish representative. You don’t want to know what I would have done if the whole band had reunited for Eurovision. As it stands, we got one fifth, and his song Sunlight is more or less everything you’d expect from a former boyband-mate’s solo singles (if they aren’t Justin Timberlake). It’s catchy and radio-friendly, and I do enjoy it – but it’s not lyrically or stylistically challenging at all. It’s not bad, by any means; but it’s so safe and friendly, like a perpetually happy Labrador who won’t leave you alone, that it irritates me. Ireland gave douze points to Latvia last year in the final, yet they didn’t take any musical inspiration from the edgy Love Injected – something that they clearly liked a lot. I expect everything about this entry to be vanilla in Stockholm, from the staging to the result it gets. Nicky is performing between the powerhouse ladies from Serbia and FYR Macedonia, who don’t necessarily have better songs (in my opinion) but who will almost definitely overshadow him. That’s bound to happen when you just don’t bring it.
The EBJ Jury says…
- Ali 3
- Fraser 7
- James 3
- Jaz 7
- Martin 10
- Nick 1
- Penny 7
- Rory 6
- Wolfgang 3
Ireland’s EBJ Jury score is…5.22
Martin Yep, it was definitely the right decision to change songs for Malta! Walk On Water makes full use of Ira’s amazing vocal ability and range, combining it with a much more contemporary sound that is radio-friendly enough to stay in voter’s memories far past Eurovision. Her visual appeal won’t hurt Malta’s chances either. An upgrade to finalist and mid-table respectability at least for Ira.
Nick Oh, Ira…another artist who made me think Year Stockholm was going to be better than it turned out to be (although there are a lot of variables at play there). So much of her non-Eurovision related stuff is fantastic, but I was never a fan of her 2002 entry, nor her initial 2016 entry, Chameleon. Then they dragged in the Swedes to write her a new song, and I can’t say it’s a vast improvement. I almost feel like they were too inspired by the first song and wrote something that just blends in everywhere without standing out. It’s competent and will be well-performed, I’m sure. But it’s so uninspiring, it almost drives me to the point of madness. But even that is too strong an emotion to be associated with this.
Jaz Of all 2016’s returning artists, Ira Losco was the most successful in her initial attempt to take home the Eurovision trophy. The fact that it took her so many years to give it another go says to me that she felt like she could be in it to win it this year – after all, nobody wants to come back after a lengthy period and fall flat on their face. Those thoughts, if she had them, would have been in relation to Chameleon – a song that won’t be heard in Stockholm, unless someone spins it at the Euroclub. Walk On Water, the replacement, is a superior song on the whole (although I did think Chameleon’s chorus had something special). It’s more cohesive and less chaotic; considerably more contemporary; and packs more of a punch. The chorus is repetitive, but it builds rapidly and really hammers (or perhaps Molly Pettersson-Hammars) home the title and concept of the song. There’s nothing I don’t like about it, except for the fact that I can easily imagine co-writer Molly PH singing it better (and as she’s singing backup for Ira, we could have a vocal catfight on our hands). It’s great that Ira has a more powerful song than 7th Wonder this time, as that was a bit of a vocal wet blanket. Apparently her performance will be quite technologically advanced (will she actually walk on water? A.k.a. is Ira Losco actually Jesus?) but I hope she takes us back to ’02 by pulling another glitter pouch out of her pocket.
The EBJ Jury says…
- Ali 4
- Fraser 10
- James 10
- Jaz 8
- Martin 10
- Nick 3
- Penny 7
- Rory 3
- Wolfgang 10
Malta’s EBJ Jury score is…7.22
Martin A standard Euro Club-sounding dance track, Falling Stars would be the sort of song that a DJ might put on as filler before a killer tune is played. To be fair to Lidia, this was the best Moldovan entry on offer at the national final, and it’s not bad – but it’s not that memorable either, unless you want to remember her slightly weird vocal style and range being all over the place. Another non-qualification for Moldova beckons.
Nick Just FYI, this song sounds amazing as a nightcore. Sadly, the regular version can’t measure up, although it does top the segment of songs I dislike, so that’s nice. Lidia’s a good vocalist, but there’s just something missing here. Maybe just a key change or a money note, but there’s nothing that Falling Stars builds to, except perhaps the chorus? But if that was the intent, then the stars in question aren’t so much falling as they are being tossed. Other than that, the lyrics are surprisingly clean, which could really describe this entire entry: too polished for its own good.
Jaz Anything Moldova came out with this year would have seemed like the epitome of elegance compared to the sleazy display of law enforcement provided by Eduard Romanyuta. But you know what? I LOVED the sleazy display of law enforcement. It was trash-tastic and tackier than super-glue, but it took me back to the early 2000s and made an epic semi 1 starter while it was at it. But enough about Moldova 2015 – it’s Moldova 2016 I’m supposed to be reviewing. Falling Stars is one of the few straightforward dance tracks competing this year, which suggests that most other countries have moved on from the trend. And, for every compliment I can send its way, there’s a ‘but’ waiting in the wings. The song will stand out genre-wise, but it sounds a bit stale (circa 2011). The chorus is strong, but leads to Lidia resembling a wailing banshee (there’s no room for any deviation from the correct key there). Overall, it’s fun and fluffy while it’s playing, but it doesn’t leave a lasting impression. Let’s just call it musical fairy floss, coloured blue and yellow in honour of it being another Swedish cast-off. If it wasn’t for the double-glazed donuts and hot buttered popcorn on offer from elsewhere in Europe, Moldova would come off a lot better.
The EBJ Jury says…
- Ali 4
- Fraser 2
- James 8
- Jaz 7
- Martin 5
- Nick 3
- Penny 5
- Rory 4
- Wolfgang 8
Moldova’s EBJ Jury score is…5.11
Martin Last year’s EMA was a perfect storm. This year, it was a car crash! What a plummeting drop from one of the best pop entries last year (Here For You), down to the mess that is Blue and Red, with ManuElla trying to be Taylor Swift but ending up being Phoebe from ‘Friends’. Why do I say that? The lyrics of the song, combined with her vocal ‘talents’, border on that almost-comedic sitcom level and the staging is amazingly clichéd, with erratic hand and body movements along with telegraphed facial expressions. Words also fail me regarding the dress reveal – she should have gone the whole hog and worn a blue and red halved dress to ‘put the cherry on the cake’. A probable last-placed semi finalist.
Nick What? A Taylor Swift renaissance piece? Out of Slovenia? What could’ve been a complete disaster (and IS a complete disaster, in the eyes of most) has actually turned out to be one of the year’s biggest charmers! Okay, so a lyric like ‘blue is blue, and red is red’ definitely isn’t winning any songwriting awards, but it fits the air of naïveté that the song so beautifully creates. The 2009-esque country/pop banjo instrumental and admiral outfit don’t go together at all, but it somehow works, like an eclectic fever dream of leftover high school theatre props. ManuElla herself is a surprisingly fitting performer and lends herself to the role demanded by the song. The slight retooling from the initial NF version has added an unnecessary starter, but other than that, it’s a nice strengthening of a song that’s comfortably in my top 10. I’d like to hope that Slovenia could pull out a stunning live and shock everyone by qualifying to the final, but I won’t hold my breath.
Jaz Nope. Just nope. I like Taylor Swift as much as the next person, and I actually miss her country bumpkin days. But even I know that neither the world nor Eurovision needs a poor imitation of Taylor ‘2007’ Swift. Everything about ManuElla’s performance is amateurish, including the costume reveal (and I normally can’t resist one of those), and don’t even get me started on how crazy I’m driven by the childish lyrics of Blue and Red. ‘Blue is blue and red is red’…yeah, thanks for the art lesson, lady. While some countries have really stepped up their game between 2015 and 2016, Slovenia has dropped the ball so violently that it is now lodged in the core of the Earth. Literally the only thing ManuElla has in common with Maraaya is the initial ‘M’. I will commend her for bringing variety to the contest, but seeing as the Netherlands have a country song up their sleeve too – and it’s an infinitely better one – even that’s difficult for me to do. Surely this cheese-fest isn’t making it to Saturday night?
The EBJ Jury says…
- Ali 10
- Fraser 10
- James 5
- Jaz 2
- Martin 3
- Nick 6
- Penny 7
- Rory 7
- Wolfgang 2
Slovenia’s EBJ Jury score is…5.78
With those six songs sliced, diced and served up on a silver platter, we have a winner – albeit a winner out of a very low-scoring round.
- Malta (7.22)
- Armenia/Australia (6.44)
- Slovenia (5.78)
- Ireland (5.22)
- Moldova (5.11)
Forget water – Ira Losco will be walking on air after taking this one out (well, she would be if a) she knew about it, and b) the EBJ judgments were of any actual importance). How high can she go in Stockholm? She has the potential to impress, but only time (or perhaps rehearsals) will tell how much. Slovenia, Ireland and Moldova, on the other hand, failed to impress the EBJ Jury. Are we psychic enough to have predicted a few non-qualifications here? In a few short weeks, we’ll find out!
Next time, the final round of reviews will see two Aussies and an Irishman walk into a bar, and…hang on. That’s the joke version. It will ACTUALLY see two Aussies and an Irishman free their thoughts on Austria, the Czech Republic, Finland, FYR Macedonia, Norway, Serbia and Ukraine. There is a good chance I’ll be posting that installment from Stockholm (or at least from my AU-SE transit location, Dubai) so it’ll be pretty exotic and awesome and you better check it out or I’ll spread unfortunate rumours about you at the Euroclub.
I’M BACK!! In case you hadn’t noticed (which, let’s face it, you probably hadn’t) I’ve been doing things other than rambling about Eurovision here for a few weeks now. Oops. As usual, life’s hectic tendencies and my general slowpokery are to blame, although I have been away on holiday too (during which time I made it my mission to detach from technology, meaning I checked Facebook ten times a day instead of twenty. Mission accomplished).
Unsurprisingly, a heap of stuff has happened on Planet Eurovision while I’ve been otherwise occupied, and that stuff is what I’m here to discuss with y’all today. Waiting for you below is some Stockholm news that may or may not blow your mind; my thoughts on the artists chosen by the Netherlands, Montenegro and Armenia for 2016; Melodifestivalen musings to…well, muse over; and, of course *sounds alarm to forewarn JESC boycotters* several Junior Eurovision topics of conversation. We are, after all, speeding closer and closer to the Sofia show, and I refuse to rein in my excitement re: that!
So while I’m doing a celebratory crab dance that Loreen would be proud of, you can read on. If you want to. Which you should.
Stockholm Twenty-Sixteen: Finalised flights, country confirmations and selected singers
News item numero uno? It’s official – I’m STOCKHOLM-BOUND, BABY!
As tickets and accreditation and all that jazz aren’t available to be snapped up yet, the fact that I’ve booked my flights to Sweden’s capital and have secured a backup hotel room there (I’ll be sourcing self-contained digs ASAP) makes my impending pilgrimage to Eurovision as official as possible at this point. I’m still in shock – both at having finally booked the trip, and at my bank balance now that I’ve forked out to fly across the globe, til Globen.
If you’re also gallivanting off to the big golf ball next May, let me know so we can pencil in some plans to party it up in the IKEA cafeteria or something (where Swedish meatballs will rain down on us like Emmelie de Forest’s fire curtain). I’m already booked in to hit up the ABBA Museum and strut around Gamla Stan, and I’m not leaving Sweden without a handcrafted Dala horse stuffed into my suitcase. All that, plus the prospect of seeing Eurovision (and my beloved Måns Zelmerlöw) in the flesh for the first time, convinces me that this trip will be an epic one. I cannot WAIT.
But wait I – and everyone else – must, because it’s only October. Even so, Stockholm 2016 is taking shape, with countries confirming their participation left, right and centre. Bulgaria and Ukraine are both set to make comebacks, and if we assume that Serbia and Romania will be on board, that takes the participant tally up to 40. Portugal is, sadly, out, with Bosnia & Herzegovina, Croatia and Turkey still searching for financial backing/making their minds up. But, with those last three countries not giving us a firm, Michele Perniola-esque ‘No!’ yet – and permanency for Australia still a possibility – it’s likely we’ll push past the big 4-0, even if just by one. Not that I’m über concerned about there being over forty countries in Sweden. Eurovision is about quality, not quantity. One freaking amazing entry matters more than ten crap ones.
So, will we get something amazing or something that should be flushed down the toilet from the three acts in the 2016 line-up already? The Netherlands, Montenegro and Armenia aren’t messing around: they’ve decided to send Douwe Bob, Highway and Iveta Mukuchyan to Sweden respectively.
Having conducted a bit of research on the boys (I was already familiar with Iveta, and I’m pumped that she’s repping Armenia) it seems we should expect the unexpected where the Dutch and Montenegrin acts are concerned. That’s always exciting, so watch this and all of the other Eurovisual spaces to find out what a mod-folk singer-songwriter and an X Factor Adria man-band have in store for us.
Melodifestivalen 2016: A made-over motif + finding out who might follow in Måns’ footsteps
Next on the agenda is host country talk. I feel like it’s close enough to Melodifestivalen time for me to discuss my favourite NF of all time without instigating a worldwide wave of eye-rolling.
The dates and locations for the six-week extravaganza are set in stone as SVT prepares to find a host entry that will outdo Austria’s (not hard); tickets that I will sadly not be buying have gone on sale; and the whole shebang has a shiny new logo to replace the one that wasn’t even stale yet. But hey, the newie is nice.
A fresh logo doesn’t necessarily bring with it fresh names, and if Melfest-act-predicting machine Aftonbladet is as on the money as usual, the 2016 show will be packed with artists having a second, third or seventy-fifth shot at representing Sweden. So far, Aftonbladet has pegged Ace Wilder, Oscar Zia and Samir & Viktor as definite returnees. Still waiting on SVT to say yay or nay, apparently, are Isa, Molly Pettersson Hammar, Dinah Nah and Dolly Style, plus earlier participants Ola Svensson, Sean Banan, Panetoz, David Lindgren, and most excitingly, Timoteij. Someone who’s set to give Melfest a go without having done so before is reigning Idol champ Lisa Ajax, who entered Lilla Melodifestivalen in 2012, eventually losing to Lova Sönnerbo. Perhaps Lisa will get her chance to compete in a Eurovision event after all?
It seems that after two years of musos winning Melfest after multiple attempts, many artists are thinking that 2016 could be their time, at long last. On that note, I’d love to see Darin, Agnes, Josef Johansson, Danny Saucedo and Molly Sandén (Danny and Molly as soloists or as a duet in their capacity as THE CUTEST COUPLE EVER) back again…but I won’t hold my breath. As for further newcomers to Melfest who’d be high on my wish-list – well, the one name that comes to mind is Zara Larsson, who’s a pop princess and a half. She gave the world an awesome summer anthem not too long ago, and would totally do Sweden proud on home ground. Plus, I’d get to see her perform live, which is never going to happen otherwise. If you’re listening, universe, make it happen!
Let me know what you think of Aftonbladet’s list down below, and don’t forget to tell me who you’d like to see take another dip in the Melfest waters…or dive in for their first.
JESC 2015: Just three (and a bit) weeks to go!
DISCLAIMER: San Marino chose the moment after I’d published this post to drop their entry *shakes fist in their general direction* so please take that into account when you’re reading the following. I’ll tell you what I think of Kamilla Ismailova’s Mirror in my upcoming JESC reviews.
You can skip straight ahead to the outro now if you’re not JESC-inclined – but to those of you who are, I say ARE YOU EXCITED YET, OR WHAT?!?!? Bulgaria will be bringing us the 13th edition of Junior Eurovision in just over three weeks’ time, with ESC alumni Poli Genova at the hosting helm. At least she’ll get to attend one final in her lifetime.
The final tally of competitors is seventeen, with Ireland and San Marino still deciding which of the child singers at their disposal can pull in the most points (well, San Marino may have decided, but they haven’t dropped a singer or song name yet). Ireland won’t make their choice until November 8th, leaving their pint-sized performer just over a week of pre-JESC prep time. Is that a smart idea? Only time – and the scoreboard – will tell.
The seventeen-strong field also includes Australia, as you’ll be well aware of by now. Yep, we’re back! If that isn’t a massive placard with ‘WE WANT AN INVITATION TO STOCKHOLM!’ plastered on it, then I don’t know what is, and I suspect we’ll get what we’re asking for. I’ve discussed all the details of Australia’s JESC participation and rated Bella Paige’s chances over on ESC Insight, if you want to check that out. Here’s a preview: I can understand opposition to our presence, but I’m still psyched to support Bella on the 21st…and pathetically hopeful that I’ll have a fellow countryman/woman to wave an Aussie flag for in Stockholm. I can’t help it. If you’re Australian, you’ll probably understand.
JESC 2015 has laid almost all of its cards on the table, with hosts Bulgaria, Montenegro and Malta being the latest competitors to reveal their entries. Collectively, they haven’t lifted the standard of a lacklustre year by much – but Malta, at least, is bringing some fun and funk in the form of Destiny Chukunyere’s Not My Soul. My favourites are still the ballads from Belarus and Ukraine, and sophisticated Slovenia, but are they douze-worthy and do I think any of them can win? You’ll find out when my 2015 Junior Eurovision reviews begin next week. I’m currently in the process of recruiting an EBJJJ (a.k.a. a Eurovision By Jaz Junior Jury) to judge and score all seventeen songs in order to come up with a pre-show ranking. Who will come out on top? Will I burst into tears if anyone criticises Bella’s My Girls? Both of these questions, and many others (including, most likely, why are you still reading this ridiculous blog?) will be answered in the very near future.
I hope you JESC fans will drop by for the Junior coverage. The power of Vincenzo Cantiello compels you!
I’ve said my piece(s) now, so the last thing I’ll say is adios amigos. I’m off to tackle some less Eurovisiony, more boring tasks, but I’ll be back in a few days – after I’ve watched enough horror movies to satisfy my Halloween-weekend cravings (I’m not sure enough have been produced, but we’ll see).
Until then, stay suitably fabulous, peeps!
NEXT TIME No, JESC isn’t for everyone, but some seriously stellar talents have stood on the contest’s stage since its 2003 inception. This weekend, I’ll be counting down the top 10 most incredible singers in Junior Eurovision history – all of whom have voices even the haters should hear.