Hello again, and welcome to the space between Eurovision’s second semi and the grand final, when speculation is at an all-time high and so is nervous anxiety (or is that just me now that Australia has climbed to second in the betting odds?). We have ten more qualifiers, and the final line-up is complete right down to the running order. But before I get into that, let’s have a look at the juicy bits from last night’s semi: the performances and the results.
PS – I hope you’re proud of me for producing a short, normal-person introduction for once.
The performances: From WTF to OMG
Once again I’ll run all the way down the list of 18 acts, but in order from my least favourite performance to the one that had me picking up my phone to vote (only to realise that I couldn’t vote in this semi…oops). Let me know how you would rank them in the comments.
Moldova For those of us who remember Ukraine 2011, this was the Walmart to Mika Newton’s Chanel. For those who don’t recall that performance, I’m assuming this still came off as soulless, substandard and at times, downright ridiculous (Kseniya trying to mime the “snow art” at double speed would have fooled no one with functioning eyesight). Anna’s vocals were solid, but her dress screamed 1996 senior prom…and Stay is even more dated than that.
Ireland Well, wasn’t this cute? I’d happily hang out with Sarah and her gal pals at Diner 22, drinking prop milkshakes and lying unhygienically on the counter bemoaning my lost love. Unfortunately it was all a bit amateurish – the high school talent quest act of SF2 that Montenegro provided in SF1. I loved the Roy Lichtenstein-esque pop art backdrops (he happens to be my favourite artist) and I admire Ireland’s commitment to retro, but there was no question about the DNQ Sarah had coming.
Austria I was looking forward to seeing how Limits would come across live: whether it could win me over with its understated beauty, or if I’d be bored by the repetitive chorus that wears me out when I’m listening to the studio version. In the end, Paenda left me somewhere in the middle and somewhat unsatisfied. Her staging was well-executed, but she lost control of her vocals a few times and I found it distracting. This needed to be totally pitch-perfect and she just couldn’t pull it off.
Latvia That Night is another song that makes it hard to stay awake (especially as an Australian watching it performed at 3.30am) and the last minute or so drags beyond belief. That was definitely the case last night, but I have to give credit where it’s due: the staging and setup was lovely, if not engaging or exciting enough. Lead vocalist Sabine was the shining star, glowing like a goddess on camera and delivering silky-smooth vocals. Latvia did the best they could with what they chose.
Armenia Okay…there were some extreme pros and cons here. Positively speaking, Srbuk looked fierce AF and suitably, sang like a woman scorned (scorned but still very much in control of her vocal cords). But the Negative Nancy in me nearly expired when those empty arena shots were spliced in. What was Armenia THINKING? I assumed something had gone wrong and rehearsal footage had been hurriedly inserted to cover for it, when it was a calculated decision all along. WHY?!?
Lithuania There was nothing wrong with Jurij’s performance per se. He looked mighty fine if I may say so, and you’d be hard pressed to nitpick at his vocals. But there was nothing to speak of in the way of staging, and Run With The Lions isn’t an Arcade or a Too Late For Love – a.k.a. a song that can not only survive but thrive with pared-back, lighting-centric staging. The only zing I felt from this was a little one every time Jurij shot one of his alluring looks down the lens. I’m only human!
North Macedonia North Macedonia not stuffing up their staging was proof that miracles can and do happen. Tamara’s vocals weren’t as flawless as I was hoping, but they still had power and passion, and her whole performance was classy and elegant. I’m not one for gigantic faces plastered on backdrops (when will that go out of fashion, FFS?) but I’ll make an exception for the black-and-white photography used here. The pic of Tamara and her daughter at the end was the clincher.
Norway Something was weird about this. It was too dark and not joyful enough, and the stage felt super empty both when KEiiNO were apart at the start and when they joined forces later. Why then, you might ask, don’t I have Norway lower down in my ranking of the 18? The answer is, because I f*%!ing love Spirit In The Sky as a song and it was still enough to satisfy me. I also love the chemistry this trio has, and Alexandra’s overall perfection sight-wise and sound-wise. She’s a queen.
Romania How do you say ‘OTT’ in Romanian? The On A Sunday music video came to life on stage last night and although it was a lot to process, I wasn’t mad about it. And no matter how many kitchen sinks were thrown at this, I couldn’t be distracted from Ester’s crazy-good vocals – she’d never sounded better. She also played her part of the jilted and slightly crazed ex to an Academy Award-winning standard, which may have put some people off but to me was a highlight.
Russia I don’t really know how to feel about this. Sergey is a great guy with superstar stage presence, and he can SING (imagine how fantastic Scream would have sounded if he’d sung it in Russian). But this staging left me cold. I felt like I was supposed to be impressed, but the wow factor of You Are The Only One was nowhere to be found. It’s a strong package, but not a winning one the way I see it. Showering on stage fully clothed can only get you so far.
Denmark Some call this creepy, some call it cute…I call it both at the same time. There was a slight twist on the DMGP performance at play (and either the chair had shrunk a bit or just looked like it had) but mostly it was a carbon copy, including the top-notch vocals and unblinking stare of death from Leonora. I can’t fault this on a small scale, let alone a massive one. Denmark looked extra sweet and light after Romania, and it seemed that worked in their favour.
Croatia Melodramatic, flamboyant and just the kind of thing media outlets will pick up on so they can say ‘That’s SO Eurovision!’, Croatia put on a serious show (that couldn’t be taken too seriously). The story they told was loud and clear, and when the sexy golden angels awarded Roko his wings, I felt the strongest rush of guilty pleasure a person could possibly feel. And I know I’ve banged on about vocals a lot so far, but damn – Roko is a talented teenager. He owned his three minutes.
Albania Personally, I’d have factored more lights, shadows and fire into Albania’s performance. But that aside, HOLY HECK. Jonida is an incredible woman with a powerful, haunting voice that could cut through cement, and a striking sense of style that was on show via that glorious back and gold (or was it blue and white?) dress. I could not love her more, and she poured Jamala-level emotion into Ktheju Tokës. Kudos to her kick-ass backing singers too.
Switzerland To keep talking like the staging expert I am not, I envisioned something different for She Got Me. I was also a little disappointed in the dance break, which wasn’t half as dynamic or energetic as Luca’s dance moves throughout the rest of the song. But whatever – this remains one of my favourites in the contest, and it’s only partly to do with Luca’s biceps. Hearing the audience respond to the choruses made me so excited for Switzerland. Man Fuego is more than fine by me.
The Netherlands The big favourite did not (totally) disappoint. I have reservations about the staging, in particular the piano – and the fact that it takes ages for a close-up shot of Duncan to appear and allow him to connect with us down the camera. But Arcade is a stunning song, and Duncan’s vocals (here she goes again with the vocals!) were gorgeous. I’m not sold on this as a winner – I don’t get The Vibes – but since I said that about Israel this time last year, bring on Amsterdam 2020.
Malta This little island has done big things in Tel Aviv. Chameleon is such a cool song, and the youthful, colourful staging did it justice. Michela didn’t quite exude the confidence of fellow teen Roko before her, but she sang well and looked more and more comfortable as the song went on. While I expected to be impressed by Russia and wasn’t, I didn’t have huge expectations of Malta only to be blown away. Great stuff.
Azerbaijan Sure, Chingiz could have stood on the stage and flossed his teeth for three minutes and I’d still have swooned. But he did much more than that. This was a slick, high-tech performance, elevated by the ethnic bridge and dragged down by that tacky gimmick towards the end. Then again, was it any tackier than supersized CGI Cesár Sampson? Austria didn’t suffer for that, so I suspect Chingiz ascending in a blaze of bargain basement fire won’t impact Azerbaijan’s success.
Sweden If you’re shocked by Sweden’s performance being my fave of the night, you must be new around here. Was it absolutely perfect? I’m going to say no, mainly based on us not getting a good view of The Mamas’ strobe-lighting reveal. But was it joyful and uplifting and expertly-engineered nonetheless? Oh yeah. I just need John to give even more oomph and sparkle in the final, where he rightfully deserves to do very well for himself.
After all that, we were treated to another awesome mash-up of ESC entries; a performance from Shalva Band that warmed even my cold, cynical heart; and previews of Germany, Italy and the UK on the Expo stage (which didn’t change my mind about Germany). Then it was time to find out who would be staying in Tel Aviv for the weekend, and who…well, wouldn’t.
The results: As expected…for the most part
Despite being the more competitive semi, this was the easier of the two shows to predict – for me, anyway. Correct me if I’m wrong! Ultimately North Macedonia, The Netherlands, Albania, Sweden, Russia, Azerbaijan, Denmark, Norway, Switzerland and Malta made it through. The unlucky eight were Armenia, Ireland, Moldova, Latvia, Romania, Austria, Croatia and Lithuania.
New name, new stroke of luck? That might hold true for North Macedonia, who find themselves facing their first final since 2012 on Saturday. I can’t say I’m too surprised, even though Proud isn’t one of my preferred picks of the year and I wouldn’t have voted for it had I been able to vote. Albania was the one I didn’t see coming, but I’m stoked to see them qualify again with a song they didn’t feel compelled to switch into English.
The rest of the top 10 were more or less expected to progress, though Denmark and even Norway were borderline – but Finland aside, we now have a full Nordic house for the final. I had a mini heart attack waiting for Switzerland to be announced, which was no doubt the intention of whoever decided on the “random order” this time round. But my pounding chest would have been nothing compared to what Malta’s Michela was feeling, as she sat through nine countries’ namedrops hoping and praying for her own to be spoken. It was borderline psychopathic making her wait so long, but worth it for what is now an all-time favourite reaction of mine.
Who won this semi? It has to be The Netherlands, though I’m not so sure Duncan would have won both the jury and televote (and I don’t think he’ll do that in the final either). The other end of the spectrum includes Armenia, who have now missed out two years running; Moldova, whose run of fun-driven fortune has screeched to a halt; Romania, also missing out again after their first ever DNQ in Lisbon; and Austria, who will be absent from the final for the first time since 2013. It really was a raw deal sacrificing eight songs in this semi, but those are the rules of the game…and if you’re not good enough, you’ve got to go.
Now for a quick word on the running order for the final, which was released pretty rapidly after last night’s qualifiers drew their halves. Opening was realistically between the Czech Republic and Malta (Björkman wouldn’t put Sweden first on a Saturday, nor would he want a replay of Replay being first on stage) and we’re really getting the party started with Chameleon. Albania scores the cursed second slot – a lucky escape for Germany. Russia won’t be thrilled with fifth position, and it looks like we can count them out for the victory they were desperate for. Sweden gets a decent, relatively late first-half spot between North Macedonia and Slovenia, while winner-in-waiting The Netherlands sits pretty in 12th – though that Cyprus/Netherlands/Greece run is intense.
Israel, as we already knew, will kick off the stacked second half which includes Norway, Iceland, Azerbaijan, France, Italy, Switzerland and Australia. My flying fairy queen Kate performs in 25th, the penultimate position previously occupied by Kristian Kostov and Eleni Foureira. And finally, we’ll end the show as we started it: in party mode, this time thanks to Spain.
With all that to contend with, plus about fifty interval acts (Madonna is the tip of the iceberg), it’s going to be a long night – or morning, for me and my fellow Aussies. But it looks like it will be a final worth getting next to no sleep for. The winner may be expected, but 2nd through 25th places (because you know who I think will come last) are up for grabs, and there’s sure to be some shocks when all is said and done.
That’s all I have to say for now, as we count down the hours to Eurovision 2019’s night of nights. You’ll be able to find my predictions for the show on all of my socials @EurovisionByJaz – so please follow and/or like if you don’t want to miss them (links are in the sidebar).
If you do want to miss them, fair enough. I’m keen to hear yours though, so leave me a comment here, there or anywhere and tell me where you think we’ll be going in 2020. Is Amsterdam inevitable, or is Milan still a possibility? Could Australia be choosing a European country to host on our behalf, or will be back in Sweden next year? Maybe I’m way off the mark and Berlin will be our next destination. Whatever you’re thinking, let me know below.
Merry Eurovision weekend!
Hey there, sweet people/children of the universe/other ESC-themed pet names for you guys that I can’t think of right now. Last time I attempted to introduce a post, we were four weeks away from Eurovision 2019’s semi numero uno. Now we’re four weeks away from the second semi, and before you know it we’ll be four weeks away from the final. It’s creeping closer and closer, and I am SO READY.
Unless you consider still having 36/41 reviews to take care of not being all that ready, in which case I need to make my motto less talk, more action. Without further ado, it’s time for round two!
Today is Judgment-by-Jaz Day for Australia, Georgia, Hungary, Romania and Switzerland. I definitely have some favourites out of Kate, Oto, Joci, Ester and Luca’s songs, and if you do too – or if you don’t – let me know in the comments. And stay tuned ‘til the end to see where these countries slot into my overall ranking so far…
Okay…the time has come for me to try and separate my patriotic attachment to this song from my actual opinion of it. Wish me luck! There are two things you should know about me if you don’t already: one, I’m a born-and-bred Australian; and two, I was in the Australia Decides audience when KMH became our fifth Eurovision representative. Like Lordi’s Hard Rock Hallelujah (winner of the first contest I watched) and Robin Bengtsson’s I Can’t Go On (the Melodifestivalen winner the year I made it to Friends Arena) this song is automatically special to me and associated with tons of good times. However, I do pride myself on my ability to support Australia’s Eurovision journey from go to whoa AND be honest in terms of how highly I rate the entry in question. And so, I can’t say my love for Zero Gravity is as sky-high as Kate’s glass-shattering operatic notes – and to tell the truth, it is my least favourite Aussie entry to date – but I still think it’s worthy.
For starters, it’s a relief that we’re sending something outside of our usual box – something far less generic than before and not written by DNA (we seriously needed to change up our recipe). Theatrical, dynamic and more popera than any other ESC entry before it, Zero Gravity is as much of a statement piece as Kate’s dangerously spiky silver fascinator. There’s an authentic feel about it that’s been missing from the Aussie package for a few years now. Kate isn’t just a singer who’s been paired with a song and told to give it her best go – rather, this track has her name written all over it (and in the writing credits, obviously). Combining her classical music background and pop sensibilities is what she does best. Zero Gravity’s verses are for Pop Kate and the choruses are for Classical Kate, yet the mish-mash of styles somehow makes sense and doesn’t sound like a stitched-together Frankenstein’s monster song. My favourite thing about ZG is the surprising substance it has in telling the story of Kate’s postnatal depression and the freedom she felt in her recovery. And of course, I love the last thirty seconds when she really lets rip with her high notes, and then never fails to nail that bombastic finale.
Even so, I’m not totally sold on this entry. Sure, I dished out a fair few compliments just then, but that was Biased Jaz talking. Truth-Be-Told Jaz actually wishes that Electric Fields were going to Tel Aviv, and thinks that 2000 and Whatever was a potential Eurovision winner whereas she’s super uncertain of how Zero Gravity will do. I (still talking as truthful Jaz) do think it’s a solid, unique entry deserving of qualification and a left-side scoreboard spot. But as someone who thought it was WTF at first, I can understand why many fans haven’t warmed to it. The Elina Nechayeva copycat claims are unwarranted, but the big dress needed to be ditched, so I was happy to hear that’s likely the case. Also re: the original staging, it was OTT for a song that has a lot going on by itself, so I’m hoping for a stage show that is less action-packed (or dare I say ‘gimmicky’) and more refined in May. There’s no doubt that I’ll be cheering Kate on with embarrassing enthusiasm then, but I’ll be nervous about her chances…and if she doesn’t make it out of the semi or screeches to a halt in the final, my thoughts will again turn to Electric Fields and what could have been.
In a line Action-packed popera that will divide but not necessarily conquer 2018 VS 2019 2018. I’ve still got love for We Got Love Predicted result SF 7th-10th, GF 11th-17th My score 7 points
Georgia isn’t a country I think of in super positive terms when it comes to Eurovision. Junior Eurovision, yes – but there have been very few Georgian adult contest entries that I’ve been crazy about (and in 2016, part of that craziness was due to the Lolitaz’ light show which singed my retinas and had me hallucinating for hours afterwards). It seems like I’m not alone, since the past two years have seen Georgia continue to kick goals at JESC while failing to qualify to the ESC final. I want them to find a successful formula again, complete with that special brand of Georgian quirk we’ve come to love…but that will have to wait until at least 2020. Keep On Going is not going to be their saving grace.
This song is 41st in my personal ranking, and has been there or thereabouts in every single top I’ve watched on YouTube or seen on social media. It’s not bringing up the rear of my ranking because I hate it with a passion. I actually don’t. I just happen to like the 40 other songs better and think they have more to offer. The good I see in this song is that Georgia is adding to the variety in Tel Aviv with the only straight-up rock song in the lineup; and that the song is perfectly suited to Oto’s powerful, rough-edged vocals. I also want to give credit to the revamp, which created more atmosphere and a bit more build. But I don’t think the most exhaustive musical makeover possible would have given Georgia a chance of competing in the final. It’s just not meant to be, as far as I’m concerned. I wouldn’t have wanted Oto to be stuck with a song that didn’t fit him, and of course there are rock songs that have triumphed at Eurovision (Hard Rock Hallelujah, We Could Be The Same and Deli, for example). Georgia themselves even took the genre into the top 10 back in 2011 with One More Day. But this particular rock track is a plateau of three long, dragging minutes in which waiting for something exciting to happen turns out to be pointless.
As I said, I don’t mind it myself…until I think about it as the competitive song it’s supposed to be. Even in the non-bloodbath SF that is Tuesday’s, there are easily ten other entries that have more appeal for both jurors and televoters. I’d go so far as to say that there are only one or two songs that have LESS voting appeal than Keep On Going. That’s not the sort of thing I’ve ever said about a song that went on to qualify. If we could break about eight rules and enter Your Voice by Tamar Edilashvili (Georgia’s 2018 JESC entry, for those who avoid the kids’ contest at all costs) then I’d be much more hopeful right now. But as it is, I highly doubt Oto’s offering is dynamic or interesting enough to even be a borderline qualifier. If he does miraculously make it through I’ll look pretty stupid, but I’ll be too shocked to care.
In a line Solid rock destined to stay put in the semi finals 2018 VS 2019 2018 Predicted result SF 15th-17th My score 4 points
You guys would have enjoyed the comic relief that was me finding out Joci was back attempting to represent Hungary again. I quite literally fell off my chair and may have shed a tear or 2500. THAT’S JUST HOW MUCH I LOVE ME SOME PÁPAI, OKAY?!? You don’t even want to know what I did when he went on to win A Dal again, but it would have gone viral if captured on camera. Anyway, my point is that I couldn’t be happier to have Joci back. If you’ve been reading EBJ since 2017, you’ll know Origo was my favourite entry that year, and that it became one of my all-time faves faster than I could listen to Joci’s beautiful back catalogue. He’s really found his sound lately, with every folk/ethnic infusion he comes out with giving me goosebumps.
Naturally, that means you’re about to be hit with one heck of a biased review. Joci’s music speaks to me and Az Én Apam is no exception – I absolutely adore this song. It’s emotional and heartfelt without a hint of fakery; it blends that trademark ethnic folksiness with an easy-listening guitar-based ballad to create something spellbinding; it sounds stunning in Hungarian, as every genre of music tends to; and Joci performs it with the same honesty and raw talent we had the privilege to be introduced to in 2017. Same man, same manbun…he’s just been hitting the gym, which you’ll have noticed if you paid the same obsessive attention to A Dal as I did this year. I have to add that the reworking of this song did wonders, filling in the few gaps of build and drama from the original version. Now it’s a track that’s ready to compete, despite what a lot of (less biased) fans think.
I’m not saying Joci is invincible. Even with rose-coloured glasses glued to my face, I can see that Az Én Apám isn’t as instant as Origo. Some might say it’s too understated, though I think Slovenia will have the biggest battle in that department. I’m more worried about one of Hungary’s main selling points – the emotion of the father/son relationship depicted by the lyrics – being lost in translation. Italy managed to convey their message in Lisbon (and funnily enough, will be trying to do the same thing in Tel Aviv with another father-inspired song) but other countries have failed before. Still, the call has been put out for photos of people’s dads á la the photographic backgrounds of Malta 2014/UK 2016, which should help. No matter what happens, I don’t expect Az Én Apám to outdo Origo – but that won’t mean failure for Joci. He’s bringing something meaningful and full of feeling (Salvador Sobral stamp of approval incoming) to the contest yet again, and has another chance to tell part of his life story on the stage. That’s just as important as numbers on a scoreboard. Having said that, if Hungary doesn’t at least qualify with this, I will throw a very undignified tantrum. Thank heavens Australia is in the same semi so I can steal the phones of everyone I know and vote en masse.
In a line Majestic Magyarorság magic feat. manbun 2018 VS 2019 2019. Sorry AWS, but I know where my loyalties lie Predicted result SF 6th-8th, GF 12th-17th My score 12 points
2018 was not the best Eurovision for Romania. They missed out on a spot in the final and lost their 100% qualification record in the process, something that once upon a time would have seemed impossible (but after Greece bombed out in 2016, nobody was safe). Their trip to the contest this year involves a song that wasn’t preferred by the Romanian public but singled out by the jury, and managed to outrank two big favourites to win. On A Sunday, from Canadian-Romanian Ester Peony, is also a song that stood out to me when I was previewing the Selecţia Naţională entries – mainly, I have to say, because I was so shocked to hear something like it pop up where it did.
On A Sunday fits the Eesti Laul or A Dal mould more than anything else. There’s grit to it and a vintage sexiness (if that makes any sense) that just doesn’t sound like the Romania we know. Consider this being the same country that sent Zaleilah, It’s My Life, Miracle and Yodel It and you’ll see what I mean. None of those songs could have made the cut for the Fifty Shades of Grey soundtrack, but if Ester’s subject matter was a little less breakup and a little more bondage (maybe she should collab with Hatari?) then she’d be a shoo-in with this. I’ve been thinking of her song as a musical mashup of Black Velvet by Alannah Myles, Ann Sophie’s Black Smoke and Croatia’s entry from Lisbon, Crazy. I like all of those songs, and I really like On A Sunday too. In fact, when it did catch my ear before the Romanian NF, it immediately became The One for me – but I never thought it would beat Army of Love and Dear Father. It didn’t seem like something Romania would ever choose, and technically, I guess they didn’t. But however the victory came about, I can’t help being happy about it.
I love the whole vibe of this song: smoky and sultry but mournful at the same time. I love the lyrics, which are pretty sparse but cliché free (unlike neighbouring Moldova’s lyrics, but I’ll get to those later). I love the hypnotic beat that draws you in as the song progresses. I love the melody. And, last but not least, I love Ester’s voice, especially when she works her way into those high notes towards the end. Her vocals at the NF were ropey at times, but no doubt they’ll be polished up by May. All in all I’m into this in a big way, and I’m seeing all sorts of staging possibilities in the hope the Romanian delegation can read my mind. I’m not totally confident Ester will take Romania back to the final – not many people are this fond of her song, and a top 10 place in that second semi won’t be easy to come by. But my fingers will be crossed for this Canadian to be closer to Celine Dion than Rykka, results-wise.
In a line Being dumped never sounded so good 2018 VS 2019 2019, though I am sad to say goodbye to Goodbye Predicted result SF 9th-14th, GF 16th-21st My score 8 points
Remember how flabbergasted (I don’t get to use that word enough) we all were when Mikolas Josef came out of nowhere with an absolute banger and gave his country their best result ever by a million miles? It was only a year ago, so you should remember. Now, I’m not saying Luca Hänni is going to give the Swiss their best-ever placing, since he’d have to win to even equal it. I just think that in many ways, Luca is and will continue to be the Mikolas of 2019. I first got familiar with him (though not as familiar as I’d like to, WINK WINK) late last year when the rumour mill was turning at warp speed in his favour, and I thought I’d better do some research in case the rumours became reality. Within minutes I was in deep and knew I’d be devastated if he was a red herring and Switzerland was actually sending Sebalter again. So danke schön, my conflict-neutral, chocolate-producing friends, for making my dreams come true. What’s not dreamy about a ridiculously good-looking singer/dancer/model armed with a crazy-catchy party anthem?
NOTHING. She Got Me is the best Swiss entry in years, with the country’s bittersweet leapfrog over Sweden in the odds (my loyalties have never been so divided) testament to that. They’re currently sitting pretty in third place, and I wouldn’t be surprised if they finished that high in the actual contest. Given that Luca can sing AND dance, when it comes to his last few releases I was hoping for his Eurovision song to be more like Signs than Powder, as much as I love the latter. My wish was granted. One of the ESC 2019 songs that can be compared to Fuego (basically, it’s got a beat drop) this has quickly become more talked about than Replay and Chameleon, and I’m a willing participant in the conversation. The song is iconic and infectious from the moment it starts, with a chorus so instant it should be illegal. There’s an exotic Middle-Eastern flavour found in the memorable musical hook. The whole thing is densely packed and has been produced by someone who knows what they’re doing (always good). And it strikes the right balance between ‘not repetitive enough to follow’ and ‘so repetitive I want to rip my ears off.’ Even though the chorus is repeated as a way of transitioning to the explosive last 30 seconds, the instrumental break in-between keeps things fresh and leaves room for a kickass choreographed sequence on stage.
Speaking of on stage, Switzerland have recruited Sacha Jean-Baptiste to give them a grade-A presentation…which she’d better, because She Got Me deserves the best. Dodgy staging is the only thing that could drag this entry down as far as I see it (those Amsterdam vocals will be dealt with, trust me) and Baptiste has been questionable in her choices on occasion. But at the least, her involvement shows that Switzerland is super serious about Eurovision this year. Their song alone will whip the crowd into a frenzy á la Golden Boy, and I cannot see a scenario in which it fails to qualify (unlike their last four entries). I also can’t imagine anything other than a left-side scoreboard finish for Luca. She Got Me stands out from the crowd both in terms of man-bangers (including Estonia and Finland) and in general. For me, it’s the best of the Fuego follow-ups, which is high praise. I love everything about it and can’t wait for Switzerland to have a major change of Eurovision fortune.
In a line The surprise package of the year that makes sure you can’t sit still 2018 VS 2019 2019, duh! Predicted result SF 2nd-4th, GF 4th-6th My score 12 points
From zero gravity to dirty dancing, this round is over. ‘Already?’ I can hear you saying (even though you’re actually saying ‘At last!’). Yep, that’s it. But before I go, let’s have a look at the standings:
- Hungary (12)
- Switzerland (12)
- Romania (8)
- Australia (7)
- Georgia (4)
And after Round 1, I now have a top 10 that looks like this:
- Hungary (12)
- Switzerland (12)
- Cyprus (10)
- Romania (8)
- Serbia (8)
- Albania (8)
- Australia (7)
- Montenegro (5)
- Latvia (5)
- Georgia (4)
So Hungary takes the top spot from Cyprus, and Switzerland overtakes them too. Sorry Tamta.
Next time we’ll see where Croatia, the Czech Republic, Estonia, Lithuania and North Macedonia factor in as far as I see it. Be there or…well, nothing will happen if you’re not there, but I’d love you to come back and check out the rest of my 2019 reviews. Follow me on my socials (all the usuals @EurovisionByJaz) to make sure you don’t miss a thing. And once you’ve done that, share your thoughts on today’s tracks down below – but be warned, if you badmouth Joci, it might be the last thing you ever do.
What a nice note to end this post on.
< Four weeks and counting!