It’s almost here, JESC fans: the biggest and potentially most Belarusian Junior Eurovision ever (we’ll have to compare it to 2010 later and see which show was ultimately more Belarusian). I don’t know about you, but I’m super psyched to see who’ll take over from Russia as the reigning champion. I have a fair idea at this point and for once I’m pretty confident – but my lips are sealed until official prediction time. Keep an eye on my socials (@EurovisionByJaz across the board) over the weekend to see who I think will be on the top – and bottom – of the scoreboard on Sunday.
Before I attempt to predict what’s going to happen I’ve got five of this year’s songs left to review, direct from Albania, Ireland, Italy, Macedonia and Ukraine. There are a few big hitters in there as well as some underdogs, and I do have a douze to give out to one of them…but am I sending it in an obvious direction or not? Keep reading to find out. It’s your moment under my musical microscope, Efi, Taylor, Melissa & Marco, Marija and Darina. I’ll try to be nice, I promise!
I might be in the minority here, but I’m usually really keen on Albania’s Junior songs. Their 2012 debut wouldn’t make my best-of list, but Dambaje, Besoj and yes, even Don’t Touch My Tree? I enjoyed ‘em all. Albania tends to bounce around a bit genre-wise, and this time they’ve taken the old-school JESC (2003-2008) feel of that debut entry and added more energy, cuteness and overall appeal to it, making Barbie a song that shouldn’t be destined for last place. I like it, anyway…though that has been a bad luck charm in the past *cough* Waldo’s People/Tooji *cough*. I think my favourite thing about Barbie is the contrast between the upbeat pop style/pink-tastic presentation, and the subject matter. ICYMI, Efi means business – she doesn’t want to be directed like a doll during playtime without being permitted thoughts of her own. Oddly, she also wants us to know that ‘I’m not a fruit, I’m not an egg’, unless my online translation has let me down embarrassingly. Sorry to be a party pooper Efi, but I think that was already obvious.
The combo of cuteness and substance in this song speaks to me, and even though I feel like Barbie should be a guilty pleasure, I’m going to ditch the guilt and root for it regardless. I was wondering if the whole Barbie concept could put Efi at risk of a lecture from the EBU regarding product placement – but we did end up bopping along to Youtuber at JESC last year, and we watched a song that namedropped Pikachu (and funnily enough, Barbie) win Eurovision in May. You’ve got to love “loopholes”.
Anyway, I will admit that Albania is still an underdog in this contest, especially given NF staging that needed serious workshopping. I want less LED screen lyrics (a pet peeve of mine), more enthusiasm from Efi and preferably some backing dancers to liven things up. Unfortunately – whether it’s habit, preference or a lack of pocket money – the Albanian modus operandi so far has been ‘girl alone on stage’ without even a hint of another human being. I’ll actually be surprised if they don’t take that approach, in which case Efi needs to find some extra sparkle and sell Barbie like her doll collection depends on it. I hope she can do it, because there’s a rough (pink) diamond here. 8 points.
I feel like we should have had a gender reveal party for Ireland, because for the first time in their Junior Eurovision history, it’s a boy! A boy with more luxurious hair than I could ever hope to have, specifically. Rapunzel Taylor is following in the footsteps of Aimee Banks, Zena Donnelly and Muireann McDonnell and will no doubt be hoping to outdo Zena’s 10th place from 2016. With I.O.U up his sleeve (the sleeve of his sweatshirt which, by total coincidence, has ‘I.O.U’ printed on the front) I think that will be a challenge, especially in a field of 20 contestants – many armed with much stronger songs. But there’s something endearing about this track, and about Taylor himself, that makes me want to support Ireland this year.
I.O.U is total ‘JESC early years’, circa 2003-2008 – and that’s actually a redeeming feature in my opinion. I love entries that put the junior into Junior Eurovision, since it doesn’t happen a lot these days. The melody, throwback feel and youthfulness of this take me back to stuff like My Vmeste by Ksenia Sitnik (Belarus’ 2005 winner) and I Mousiki Dinei Ftera by Yiorgos Ioannides (Cyprus’ less-successful song from 2007), plus a bunch of other entries I could mention if I felt like it (and wanted to bore you to death). The chorus is particularly childlike. Overall the song isn’t too young for Taylor though. He sells it well, despite being a less polished (and some would say, manufactured) performer than a lot of the other contestants. I think if this song was in English – even partially, which could have easily been the case – the cheesiness would have been too much to take, but somehow going full Irish saves it from that savoury fate. Apart from being repetitive (which actually helps the catchy chorus get stuck in your brain whether you like it or not) I appreciate this entry for the nostalgia and fluffiness it brings to the table. Sure, the NF performance combined with a song of I.O.U’s style made me feel like I was watching a middle school talent show, but it’s kind of refreshing in that sense. It also boasts the best music video of the 2018 contest, feat. Niamh Kavanagh and Ryan O’Shaughnessy as Taylor’s parents (IDK how they pull it off, but they do).
The problem? While Ireland is giving us something oh-so-junior, they’re also fulfilling a brief from ten or fifteen years ago. JESC has changed and the tone of songs that shoot up the scoreboard has too. Mature, sophisticated ballads sung by female soloists in white dresses are extra likely to succeed, and neither I.O.U nor Taylor fit into that mould (but Kazakhstan, Macedonia and Australia do…just saying). If I’m honest, compared to the lion’s share of Ireland’s 19 rivals this entry comes off as a little amateurish. And I can’t imagine it attracting a sizeable public or jury vote. That puts Ireland in the danger zone as a potential bottom five finisher, but I’d welcome a more positive outcome. I don’t know yet if I have a vote to spare for Taylor in a year of bangers, but I can give him 7 points right now.
If there’s one word that describes Italy at any Eurovision event, it’s ‘classy’. Even Emma Marrone managed to expose her gold underpants to the world in a classy way in Copenhagen – it’s just in Italian blood. I have to admit though, when I first clapped eyes and ears on Italy’s 2018 Junior Eurovision entry I thought they’d finally gone off the deep end and left all of their class on the diving board behind them. This was mainly because I broke my rule of not watching the JESC music videos when listening to the song for the first time, because at best they’re a distraction and at worst they are abysmal. Melissa and Marco’s falls somewhere in between, under the heading of ‘hilariously WTF’, and I let that cloud my judgment of what is a classy and majestic – if cliché-packed – duet. There is something about the 1980s transitions, awkward dancing and…well, everything else happening onscreen that makes me laugh way too hard at a pair of poor innocent children.
Take those visuals away, however, and you’re left with another solid Italian entry that I think tops Scelgo from last year (but has nothing on the pinnacle of Italian musical majesty that is Tu Il Primo Grande Amore). What Is Love is interesting in that it twists and turns along the way to a satisfyingly predictable conclusion. We get Marco – who I think we can all agree is the star of the duo – opening strongly on his own, before Melissa (SHE’S SO TINY AND CUTE I CAN HARDLY STAND IT) arrives during the first chorus to add another dynamic. The two bounce off each other well vocally, with the back-and-forth song structure giving them both a chance to shine (though as I said, Marco shines brighter and could easily have been a solo act). It’s hard to believe there’s a four-year age gap between them – a gap I found a little uncomfortable until I realised this song isn’t a love duet in the traditional sense.
Another thing I like about it is the ‘moments’ sprinkled throughout that make it memorable. Harmonies, clever language changes, big notes and a key change (oh yes, they went there) combine to create a song that has more light and shade to it than main rival Samen from the Netherlands. Having said that, when it comes to the two boy-girl duets competing in Minsk, I do prefer the Netherlands. But because the dynamic between the boys and girls in question is totally different, I think there’s room for both Max & Anne and Melissa & Marco to do well on the night. I highly doubt either duet will walk away with the trophy, or even a podium placement. Then again, there’s been a surprise song in the top 3 for the last few years, and in 2018 it could be What Is Love. For me personally it’s not a top 3 song, but I have grown fond of it very quickly. I just needed to shut my eyes when I pressed play on that video. 8 points.
I don’t know what it is with Macedonia, but their last few JESC songs could easily have been sent to the ESC – and in my opinion, they were both better than what was actually sent to the adult contest. Love Will Lead Our Way? Flawless. Dancing Through Life? Flawless with space buns. Now we have Doma, which is very different to those last two entries – a.k.a. it’s a far cry from radio-friendly pop. This is a ballad, and a big Balkan ballad at that. It even has the word ‘molitva’ in the lyrics (as co-written by Elena Risteska) which may or may not be a sign. It too would fit in well at Eurovision, and FOR GOD’S SAKE JAZ STOP RAMBLING AND TELL US WHAT YOU THINK OF IT!!!
Your wish is my command: I LOVE this, and I can safely say that Macedonia has delivered a JESC cracker yet again. From the second Doma starts, elevated instantly by Marija’s beautiful vocals, there’s a magical atmosphere afoot and touches of mysterious ethnicity woven in. I have goosebumps before the first chorus even drops. When it does, things are taken to another level of atmospheric, emotional and ethnic awesomeness (and I’m reminded of EXO’s Mama somehow…compare the choruses and tell me I’m not going crazy). I adore how majestic and statement this song is. If JESC 2018 was a jewelry store, Doma would be an ornate, gem-encrusted necklace rented out exclusively to royalty and Eleni Foureira (our queen). Truth be told, ornate statement pieces don’t win Junior Eurovision, and mature ethno-ballads like this (think Serbia 2015) are usually left behind at the halfway-ish mark of the scoreboard. But hey, that would be progress for poor Macedonia, who’ve been a little robbed for the last few years.
Sadly, I’m expecting Marija to be overshadowed by the likes of Armenia and France – fun, danceable entries that don’t have so much in common with 2017 winner Wings. Not to mention her main rival in Kazakhstan’s Daneliya. Still, if she is as amazing live as she is in studio, and puts on a spellbinding performance (lighting, or lack thereof, is v. important here), anything could happen. I’ll enjoy it, at least. Pre-performance and based on the power of the song alone, I’m going all in and handing Macedonia DOUZE POINTS!
For a brief but terrible time earlier this year, it looked like Ukraine wouldn’t be joining the JESC 2018 party. That would have left a huge pop-masterpiece-shaped hole in the lineup, so I’m glad they changed their mind (or stopped trolling us, one of the two). I say pop masterpiece because that’s exactly what we would have missed out on had Darina + Say Love not been part of Junior. You can find this song online at http://www.thebomb.com, guys. What a banger! It takes the subject matter of Anna Trincher’s Pochny z Sebe (Ukraine’s less poppy but still pretty decent entry from 2015) – in basic terms, humanity’s need to say yes to love and no to war – and presents it in a slick package that, like France’s entry, sits pretty on the fence between too junior and not junior enough.
There are two main things I love about Say Love (which I just did). Firstly, the fact that the song is super contemporary, but doesn’t sound like anything I’ve heard before. Secondly, how interesting it is – it’s one of those songs that grabs and hangs on to your interest as you wonder where it’s going. The mysterious edge and dynamic structure keep you on your toes, while the repetition of the chorus prevents it from sounding aimless. My absolute favourite part is Darina’s megaphone chant, and if she doesn’t appear on stage this weekend in the exact outfit from the music video, with that megaphone in her hand (looking like the pint-sized yet seriously fierce cheerleading coach of Mylène and Rosanne from JESC 2013) I will be disappointed.
If all goes according to plan, Anastasiya Baginska’s very respectable 7th place from 2017 should be outdone by Darina – but by how many places? I’ve seen Ukraine at the top of a heap of Youtube ranking videos, as I did with Russia last year, but I don’t think Say Love is quite going to get there as a winner. For starters, as we know, any girl who wants to win JESC these days must wear a white dress and perform a ballad. Plus I just don’t have The Feelings about it – that gut instinct that tells you which songs have a real shot at the trophy and which ones don’t. I can’t see the credits rolling over a reprise of this. But if I’m wrong, I won’t be unhappy. It has been a while since Ukraine’s last win, after all. 10 points.
And just like that/just in time, that’s all 20 Junior Eurovision songs reviewed by yours truly. Before I dramatically reveal my full ranking for the year, let’s take a look at the standings from this round:
- Macedonia (12)
- Ukraine (10)
- Albania (8)
- Italy (8)
- Ireland (7)
If you know me at all, you won’t be shocked to see the Balkan ballad on top – and I’m hoping to see it somewhere in that neighbourhood of success on Sunday night. Macedonia is closely followed by Ukraine and Albania, with Italy scoring a much lower 8 than Albania if that makes any sense. Ireland takes the wooden spoon today, but with 7 points that’s nothing for Taylor to worry about (because obviously he’s going to see this post, read it and take to heart…that’s not a delusional thought at all, Jaz).
And now (create your own drumroll, please), I can unveil my complete ranking of all 20 entries, based on my review scores from the last few weeks. All ties have been broken behind the scenes.
- Belarus (12)
- Macedonia (12)
- Armenia (12)
- Israel (12)
- Kazakhstan (10)
- France (10)
- Australia (10)
- The Netherlands (10)
- Ukraine (10)
- Russia (10)
- Poland (8)
- Albania (8)
- Georgia (8)
- Italy (8)
- Ireland (7)
- Malta (7)
- Wales (6)
- Azerbaijan (6)
- Serbia (5)
- Portugal (4)
Well, this has taught me that if your lowest score is a 4 and your 18th-favourite song out of 20 still gets 6 points, you must REALLY be enjoying the bunch of entries in question. I don’t think I’ve been this honestly generous with my points in my entire history of reviewing Eurovision-related music. Thank you Minsk!
Now I’ve showed you mine, you’re pretty much obligated to show me yours – so hit up that comments box and tell me a) how you rank the five songs I reviewed for this round, and b) what your full ranking looks like. You’ve got to have something to occupy the time between now and when JESC kicks off, right?
This is all the pre-show coverage you’re going to get from me in 2018 (I had more planned but life got in the way as usual). As I mentioned in the intro, if you want to see what I’m predicting for Sunday’s contest – including winners, losers and every scoreboard place in-between – head over to my Facebook, Twitter or Instagram (all @EurovisionByJaz) and I’ll post them on all three ASAP. Be sure to follow me on Twitter especially if you want to discuss the show during the show. I’m not above making jokes at the expense of children, if that helps – someone needs to toughen them up.
Just kidding. OR AM I?!?!?
See you on the other side of JESC 2018, when we have our 16th winner!
Just as there’s diversity in the musical line-up of every ESC, there’s also diversity in terms of how well each song is performed live. I realise I’m telling you something you already know even if you’re a casual Eurofan (as opposed to a hardcore year-round obsessive, like me and most of the people who put up with my lengthy Eurovision ramblings). But I’m trying to segue into the topic of today’s post, dammit! And that topic is the performances from Lisbon that left a little – or a LOT, in some cases – to be desired.
Bad backdrops, inappropriate props, lacklustre lighting, catastrophic costumes, vomit-inducing vocals…for a handful of countries, things just didn’t come together (STOCKHOLM SLOGAN PUN ALERT). Following on from my way more complementary Top 10 performances of 2018 post, here’s the other end of the spectrum: the biggest mistakes made and/or overall worst performances of the year from where I was sitting (on my couch). I don’t mean any disrespect to the artists mentioned or to their delegations…but sometimes, one’s inner bitch just HAS to come out.
Croatia: (All) lights and (no) shadows
I’m starting off with something small that bothered me about a performance in Portugal. As picky as I know I can be, there are times when a tiny detail drags down staging that would otherwise have seen a country’s contest package all wrapped up with a pretty ribbon on it. Take Croatia, who positioned the beautiful Franka on stage in an equally gorgeous gown (albeit one with a pattern that drew too much attention to her pelvic area) in front of a mic stand, where she proceeded to werk the camera and sass her way through a totally competent rendition of Crazy. So far so good, right? Sure – except Crazy is a moody, sexy boudoir ballad that begged for a moody, sexy lighting scheme (think dark shadows, spotlights and a dash of red), and it did NOT get what it wanted. Without the required combo of Austria, Belgium and Latvia’s lighting, Croatia’s three minutes looked ‘meh’ – almost like Franka was rehearsing and her team still had changes to make. It seems a bit weird that a country can throw everything at their performance one year (and I mean EVERYTHING, Jacques) and then miss the mark twelve months later. Maybe 2019 will be the year Croatia finds a happy medium?
Greece: No drama = no good
Yianna Terzi: another attractive female soloist with excellent dress sense and great hair who delivered on her end of the ESC bargain this year – a.k.a. she put in an applause-worthy, almost studio-perfect performance. It was what happened around and behind her on the Altice Arena stage (by which I mean nothing) that screwed her over. Seriously, I know Greece don’t have a lot of cash to splash on their song contest presentations…but Oneiro Mou is more dramatic than Silvia Night when she didn’t qualify in Athens, and as such deserved less simplistic stage treatment. It was one song that emphasised the lack of in-built LED screens in a bad way, given that I’m guessing Greece couldn’t afford to ship in (nautical pun intended) their own á la Germany and Malta. That’s not to say that the right prop or (again) lighting scheme wouldn’t have helped boost them into the qualification zone. What I’m saying is that as patriotic as they were, Yianna’s white dress and blue hand (presumably intentional, but maybe she was just cold) were not enough. Her song needed drama served up hot, but sadly, I think it was undercooked.
Russia: A mountainous mistake
Raise your hand if you didn’t think I was going to mention this! Obviously I can’t see you guys right now (my mass spying devices are on the blink at the moment) but I don’t think I need to – nobody has their hand in the air. It was awkward, ridiculous, and I must say laughable enough when Russia waved their CGI wand over poor Yulia and turned her into a mountain for the I Won’t Break music video. But did we think they’d come up with something less WTF for the live show? I did, but that may have been wishful thinking. It turns out that disguising a wheelchair (unnecessarily) with a prop mountain live on stage looks even more ridiculous than doing it via a computer generated alp. Also, what does a mountain even symbolise in relation to this song? Probably overcoming obstacles, blah blah blah, but that was not clear (and three minutes doesn’t give viewers a lot of time to analyse potential deeper meaning). It was uncomfortable to watch and literally uncomfortable for Yulia. Add ropey vocals and some random dancers into the mix – who arguably got more screen time than she did – and it’s a) hard to believe that Sergey Lazarev and his impeccable staging = Russia’s last representative; and b) easy to work out why Russia failed to qualify for the first time with this.
Belarus: Gothic horror goes wrong
I’ve said this a billion times before, but I don’t watch Eurovision rehearsals. If I’m getting up at 3am for something, I want it to be a surprise! But I do listen to and read every little rehearsal description from the press centre and on my Twitter feed – total abstinence is impossible. My point is, when I heard what Belarus had in store for the ESC staging of Forever, I was super psyched. On paper, the rose handover, brief game of archery and Alekseev’s gruesome prosthetics sounded OTT, but also OMG YES. If you can’t do stuff like that at Eurovision, where can you? It’s too bad then that in the end, the whole concept came off as a bit of a joke. For starters, Alekseev was shaking so much he could barely pass the rose to the camera guy (and the whole jerky rose rotation was pure cringe). The on-screen petal explosion was timely but tacky. And that bed-of-roses-on-the-back reveal was…well, I still thought it was cool in a gross, ‘WHAT IN THE NAME OF NAVIBAND AM I LOOKING AT?!?’ kind of way. But it wasn’t as effective as I think Belarus wanted it to be…and I definitely couldn’t take it seriously. Many fans might have questioned the light-up space suit Alekseev wore when he won the Belarusian NF, but in hindsight, packing that in his suitcase for Portugal might have been a smart idea.
Romania: The Humans + a bunch of dummies
It still feels strange knowing that Romania lost their 100% qualification record this year – but after the bizarre staging brought to us by The Humans, is it really that surprising? Romania has never misfired so badly before, but that’s what happens when you take a song with the potential to be elevated by an awesome stage show (which is exactly what went down with Moldova) and have it performed in the presence of creepy department store mannequins. There’s a reason horror movies have been made about those things, and since Goodbye isn’t a song that’s supposed to scare the crap out of people, I have to ask…what were they thinking? It didn’t work for Switzerland in 2007 (but at least Vampires Are Alive had a pre-existing creep factor) and I can’t imagine what possessed the Romanian delegation to give it a try. The main purpose those faceless freaks served was distracting us from the performance elements that did work – Cristina’s risqué dress and epic vocal power, for instance. They didn’t help to fill the stage (except with fear) or tell the story of the song, that’s for sure. And to think that last year, cannons that weren’t allowed to be fired and an awkward kiss were Romania’s biggest on-stage issues!
Macedonia: MY EYES!!!
If you hadn’t guessed, I’ve been working my way up to the worst of the worst staging disasters of Eurovision 2018…which is why I haven’t mentioned Macedonia until now. They are the masters of messing up live performances of great songs, and the streak of self-sabotage continued in Lisbon. Eye Cue hit the city armed with a multiple-personality song that needed clever staging – and cool costumes, of course – to pull everything together. Tragically (in a first-world-problem sense), as with Spain last year, it all went wrong in alarming fashion. The fashion, in fact, was the single most horrific thing we were forced to look at, as the otherwise stunning Marija wandered aimlessly around the stage in a bright pink, backwards tuxedo jacket with inexplicable armpit cutouts. When she whipped it off mid-song, I thought a crisis had been averted…only to witness the most unflattering half sweater/half swimsuit monstrosity the world has ever seen. The only saving grace in a performance that was as neat and tidy as the top shelves of my closet (i.e. not at all) was the vocals. Oh, and Marija’s shoes – they were dope. Just not dope enough to save Macedonia from their Barbara Dex destiny…
Which Eurovision performances disappointed/shocked/scared the s%*t out of you enough to become your personal “worsts” of the year? Let me know in the comments below…and from one overly-judgmental person to another, don’t hold back!
THE EBJ EUROVISION 2018 REVIEWS: Round 6 (Belgium, Czech Republic, Germany, Israel, Macedonia + San Marino)
I have to open this post with three letters: OMG!!! As I type this, Eurovision 2018 rehearsals are underway, with the semi 1 first halfers taking to the stage yesterday and the second halfers going through the motions right now. It still feels surreal that we’ve reached this point already. Didn’t Salvador only win in Kyiv like, three months ago?
As you’ll know if you’ve hung out with me and my blog before, my golden rule is to NEVER watch the rehearsals. I like to keep things fresh for when I fall out of bed onto the floor at 3am for the live shows (that’s why I also haven’t listened to any of the songs in full for a good six weeks). So you won’t find any analysis of who’s nailing and failing their practice runs on the Altice Arena stage here. It’s not like there’s going to be a shortage of that stuff anyway, and I’m sure you know where to find it: my favourites are ESC Xtra, my Aussie girl Anita at Eurovision Union, and ESC Insight for the daily podcasts. But I do offer catty/complimentary comments on Twitter based on descriptions I’ve heard and photos I’ve seen – #professional. Head over there and follow me @EurovisionByJaz for many Mikolas Josef well-wishes and reaction GIFs.
What you will find here is the continuation of my 2018 reviews, as I trudge towards the finish line approximately 150 kilometres behind everyone else. I still get an ‘A’ for effort, right? There are three rounds left for me to bring to you guys, and today’s is all about Belgium, the Czech Republic, Germany, Israel, Macedonia and San Marino. Want to know what I think of the songs Sennek, Mikolas, Michael, Netta, Eye Cue and Jessika feat. Jenifer packed in their Portuguese suitcases? Then keep reading – and don’t forget to comment your thoughts on these tracks + vote in the Round 6 poll. How else am I supposed to know how much you all disagree with me?
My thoughts Pressure (whatever that is, says Laura Tesoro) on Belgium this year was sky-high, as we wondered if they would maintain the run of Eurovision magnificence that began with Loïc Nottet in 2015. The simple question is, have they done so with Sennek and A Matter of Time? And the not-so-simple answer from me is the following. The thing is, if I loved Rhythm Inside 100% (which I did), I loved What’s The Pressure 90% of that, and City Lights 90% of that. And as much as I want to say my love for A Matter of Time is at 70% or more, the reality is that I don’t love it at all. My brain says ‘This is a damn good song, Jaz, don’t you reckon?’, but my heart says ‘Nope’. It leaves me feeling absolutely nothing. We seem to have a James Bond theme at every ESC these days, and sometimes they do connect with me and give me all the feels (sorry, Renaida possessed me for a second there) but Sennek’s gives me none. No goosebumps, no heart palpitations, no need to call an ambulance due to the sheer shock of how amazing it is whatsoever. I can’t put my finger on why not. It’s polished and sophisticated; cinematic in its drama (totes appropes for a song that should accompany footage of Daniel Craig kicking the asses of fifteen assassins at once); original for what it is, with melodic twists and turns that flow well but make sure there’s no time to get bored; and it’s performed beautifully by Sennek (in studio). So what’s wrong with me? Why don’t I adore this? Why am I more excited by the prospect of Sennek’s visual merchandising work for Ikea than by the prospect of seeing this performed live for the first time? If anyone out there is an amateur or professional psychologist and can offer some insight into my severe Belgian mental block, please let me know. In the meantime, I’ll offer some insight on how I think this will do in Lisbon. Once again Belgium is competing in the first semi, which as we all know is the Semi of Death and Destruction and Weeping Eurofans Worldwide. But since Sennek was a contender FTW in the odds, I’d say she’s on the borderline between certain qualifier and a ‘most likely to’ qualifier. In other words, I won’t be splashing any cash on her to make the final, but I do expect to see her there (especially because I don’t ‘get’ this entry, which means it’ll probably do well because that happens every year). As for what will go down on the Saturday night: well, with a good vocal performance and modern, atmospheric staging, a fourth consecutive top 10 place for Belgium wouldn’t come as a surprise – but I’m thinking 11th to 15th at this point.
2017 VS 2018? Blanche = better. I’m not sure how anyone could argue with that.
My score 7
My thoughts If I was giving out an award for the biggest Eurovision glow-up from 2017-2018, the Czech Republic would win it without even trying. I never had a major vendetta against Martina’s My Turn last year, but that’s because it was so bland – bland enough to be one of my least favourite entries of Kyiv. Fast forward twelve months, and the Czech Republic is not only right up in my top 3 for the year, they’re also in the mix to win the entire thing. WTF?!? This almost-favourite status is unprecedented for a country with a disastrous track record, feat. two semi final last places and another last place in the only final they’ve managed to make it to. But I have no hesitation in saying that Lie To Me is the Czechs best entry ever by a million miles. Sometimes I wake up in the middle of the night in a cold sweat after dreaming that Mikolas wasn’t chosen to go to Portugal – that’s how much of a missed opportunity picking anything else would have been. Lie To Me is the musical love child of Problem by Ariana Grande and Talk Dirty by Jason Derülo, with ridiculously wonderful lyrics fired at us a mile a minute until the sparser, smoother, sing-along chorus drops. The trumpet riff pulls you in instantly (what a great way to start a song) and rivals Hey Mamma for catchiness. This might come across as a novelty song in some ways, but at its core it’s epic R&B-pop that’s impossible to ignore even if you don’t like it (but if you don’t, I’m afraid we can’t be friends). It’s urban, fun, a little bit NSFW even though it’s been cleaned up for the contest, and full of attitude. And let’s not forget Mikolas’ charisma and swag, both of which are on the favourable side of the ‘Am I A Douche or Not?‘ spectrum. If I had to pick on something, I’d say I’m not sure about the backpack (or the camel…it’s in the lyrics/music video, and all I can think of based on the song’s subject matter is that its presence has something to do with humps). But I firmly believe that Lie To Me can not only fly into the final, but that Mikolas can ride that camel all the way to the podium. I can’t imagine a song with lyrics like “I know you ‘bop-whop-a-lu bop’ on his wood bamboo” (the tip of the OMG lyric iceberg) actually winning, but 3rd would be a mighty fine spot for the Czech Republic to score. Beyond fine, in fact. Let’s make it happen, Team Miki (and jurors, who will hopefully not think this is offensive and mutter stuff about ‘The youth of today’ as they rank it right at the bottom).
2017 VS 2018? Do I even need to answer this? 2018!!!
My score 12
My thoughts Oh, Germany. What happened to you? 2010 was a turning point that ground to a screeching halt in 2013 with a great song + bad staging. That was followed by a decent but not memorable song, a nul pointer, a great song + terrible costume choice, then a song last year that was destined to do nothing on the scoreboard. This might sound harsh, but there are a lot of countries that deserve an automatic spot in the final more than Germany does at the moment. They’re certainly not making the most of their Big Five status, and I think that trend has continued with You Let Me Walk Alone. It’s supposed to be a sentimental tearjerker of a piano ballad about Michael’s late father – I say ‘supposed’ because the sentiment is lost on me, and my eyes are drier than a desert when I’m listening to it. Does that make the song artificially emotional, or am I a cold, unfeeling witch who should go and live the hermit life in an isolated mountainside cave? Maybe don’t answer that. I am sorry that I don’t feel what I “should” be feeling here (and I’m sorry for Michael’s loss) but this does even less for me than Belgium’s song. It’s musical wallpaper. I do actually like the pre-chorus, because that’s where the lyrics are least cliché and the melody is worth an approving nod. If the rest of the song was more like that part, I wouldn’t be wearing my Negative Nancy t-shirt right now. But as it is, if I do the mental test of asking myself ‘Would this qualify if it was competing in a semi?’, my personal answer is no, I don’t think so. But hey, since Germany has a talent for dragging good songs down with bad staging choices (occasionally…I don’t mean to be a bitch about this) perhaps they’ll do the opposite this year and elevate YLMWA to a place where even I can appreciate it. Then again, I have heard they’re using the old photos-in-the-background trick which doesn’t bode well – I hate that almost as much as I hate cover albums (and I really hate cover albums). Regardless of what Michael is surrounded by, standing on top of or wearing, I think his song will get lost in the 26-song grand final, unless it’s tacked on to the end of the running order (unlikely). I cannot see him faring much better than Levina, but don’t be too hard on me if I’m spectacularly wrong and Germany goes top 10. That would be kicking me while I’m already down, and while I’m confused.
2017 VS 2018? 2017, I guess. Can you feel the lack of enthusiasm?
My score 5
My thoughts Here it is: the bookies’ favourite and runaway winner of the OGAE Poll. This time last year I could have said the same thing about Italy, and we all know what happened to Occidentali’s Karma when the actual contest came around. Thanks to Francesco’s 6th place, we have to question whether Netta will also fall short of pre-show expectations, or if she’ll she do an Alexander Rybak right in front of Alexander Rybak. I feel like it’s one of the two, but more on that after I’ve talked about Toy itself. You might remember that I was never sold on Occidentali’s Karma as a winner, and I have similar gut feelings about Toy…only they’re more fragile feelings this time (which tells me Netta is more likely than Francesco was to steamroll her opponents into submission). Once again I’ve found myself fond of, but not crazy about the song that’s been crowned The One by masses of Eurofans. The thing I do absolutely love about this entry is how original it is, to the point of being riskily so. It’s great to see a country go out on a limb instead of playing it safe. There is no doubt that this stands out from start to finish, and not just because Netta has her vocal looper in tow. The music is inventive, the lyrics are clinically insane but iconic as heck (I don’t know exactly what ‘taking my Pikachu home’ means, but I’m on board with it) and the energy is unrelenting. This is the kind of song that makes me wish more than ever that I was going to Eurovision this year so I could mosh to it. Toy has spawned memes and merchandise, not to mention an epidemic of clucking chicken impressions (a vaccine is currently in development) and that impact can’t be ignored. However, as I said, the song is not keeping my boat especially buoyant, if you know what I mean (translation: it doesn’t float my boat as much as a lot of other entries do). I can praise its originality until the end of time, but I couldn’t honestly say I’ve fallen in love. That might be why I’m not convinced of Israel’s winning chances – I’d prefer plenty of other songs to win. Still, I genuinely see road blocks for Toy to get over that were not in the pathway of Fairytale and Heroes, for example. I said it about the Czech Republic and I’ll say it again about Israel: As much as I want a fun-filled banger of a winner, I can’t imagine a song with lyrics like Toy’s winning the whole contest. And I have to wonder if, because the majority of people going crazy over this are firmly in the Eurovision bubble, first-time listeners/viewers will react to it in the same hugely-positive way. It could be an assault on the senses live on the big stage (not that I’d advise Israel to go for tasteful and understated. That’s fine for France but a mismatch for them). If not Israel to win though, then who? My ideal situation would be for a country we haven’t focused on that much to step up their game during the rehearsal period and say ‘I have ARRIVED!’ – partly because I hate a predictable winner; partly because I want a song I love to win, not a song I like. But majority rules. If the Eurovision roadshow is meant to go to Tel Aviv or Jerusalem in 2019, that’s where it will go and I will have to live with it.
2017 VS 2018? You might question my sanity, but I honestly prefer I Feel Alive (and not just because Imri is a beautiful creature/hopefully not a stupid boy).
My score 7.5
My thoughts Macedonia had a similar contest experience to Italy last year in terms of being hyped and then missing the expected mark. Dance Alone was fanwank material that wouldn’t have been so highly regarded if Sweden had sent it, but because it came from Macedonia it was a pleasant surprise. Only the overwhelming love from fans (excluding me since I was never that into it) didn’t transfer into ESC success, and FYROM failed to even qualify. Is the same story being written for Macedonia as we speak? Lost and Found is a somewhat surprisingly high-quality song that has been hyped and showered with affection, but may struggle to make it out of its semi. What’s the difference, aside from the fact that, as far as I know, neither member of Eye Cue is a) pregnant, or b) about to get engaged during a global television broadcast? It is a very different song, of course – there are actually two or three different songs within this one song – and it’s probably going to be staged in a less off-putting way than Dance Alone on the basis that Lost and Found is a warmer, more fun song. Every segment of it, like a ripe orange, is delicious and appealing; but also like an orange (I hope you didn’t think I’d stopped with the food metaphors) as a whole it is messy. We’ve got infectious reggae-pop in the verses, which follows on from the soft acoustic-style opening lines repeated throughout, which in turn leak into the upbeat dance chorus (I think it’s the chorus, anyway). They’re all catchy, all lyrically blessed and all sung beautifully by vocalist Marija – I LOVE her voice, and she’s already proven it’s like honey live. On one hand, I like how Lost and Found dips in and out of different styles, packing so much into its three minutes it’s like a lunchbox overflowing with tasty snacks. On the other hand, I’m disappointed that a song with the potential to be epic had it been cohesive is anything but cohesive. I’m still not sure if it works as a whole or not. It can’t be compared to the last entry to change things up in-song to such an extent – Icebreaker by Agnete – because that changed tempo rather than genre. The changes Macedonia makes aren’t as arresting, but are more confusing. I want Eye Cue to qualify, but at this point where I’m yet to make any official, posted-on-social-media-for-the-world-to-laugh-at predictions, I’m on the fence, and it’s hurting my brain (and my backside…it’s an uncomfortable fence) trying to answer the will-they-or-won’t-they question. So I won’t answer it right now. I’ll just say that if Macedonia does get to the final, I’m foreseeing a lower left-side placing at best.
2017 VS 2018? 2018. They’ve lost their grip on genre, but found some incredible pieces of pop.
My score 8.5
My thoughts San Marino is always a fun country to review for all the wrong reasons. They’re also a country that puts me to the test in terms of not being too insulting. Don’t be shocked to hear that I’m being tested yet again in 2018 with Jessika (via Malta) and Jeni B (via Germany). Look, I really like these girls: they’re friendly, personable and seem to be enjoying their ESC journey (which will be a pretty short one) so far. I’m happy for them to have the chance to do something so cool, especially Jessika who’s been rejected as a Maltese representative about 75 000 times and was obviously desperate to get to Eurovision (can’t blame her). But the bottom line for me is that Who We Are is TERRIBLE. To think that the Loin D’ici Straubs were partially responsible for bringing it to life is horrifying. It sounds like something the winner of Popstars might have released as a winner’s single circa 2001, but it couldn’t have been called current back then. I actually have no idea which decade this song would have been fashionable in. The sound-alike Heroes chorus is the only common trait between this and a song with the calibre to win the contest, and Jeni B’s rap is the worst rap I’ve ever heard. That’s not because she’s a bad rapper but because the lyrics she’s being forced (there must have been gunpoint involved at some stage) to rap are from Cringe City. I can’t decide if the worst part is ‘If they dissin’ you on Twitter, don’t get sad don’t be bitter’, or ‘If they say so, get in the car, rev it up and be a star.’ To say ‘What is this, Junior Eurovision?’ would be doing JESC a disservice. Okay, so the anti-bullying message is worth a round of applause – I fully support that. And, believe it or not, I don’t hate this as much I used to, but that in itself is something I hate. I did NOT want this to be a grower. It hasn’t grown beyond being the 42nd song in my top 43, but there was a time when it was right at the rear, and if it can creep up once it could creep up again. Someone should make a horror movie about a situation like this. I can see the tagline now: Who We Are Is Coming To Get You, And Jeni B Won’t Stop Until She Knows YOU Know That Jess Over Here Is A Special VIP *screams bloody murder*. To sum up, the Who We Are I wanted at Eurovision 2018 was from Norway; I don’t think anyone asked for this one. Don’t get me wrong, I’m glad we have San Marino in the Euro family…but good Lordi, they need to find a way to slay. Safe to say I’m confident they’re staying behind in the semi.
2017 VS 2018? When Valentina is an option, always choose Valentina.
My score 3
31 down, 12 to go! Here are the standings now I’ve scored today’s six songs:
- Czech Republic (12)
- Macedonia (8.5)
- Israel (7.5)
- Belgium (7)
- Germany (5)
- San Marino (3)
No lie – Mikolas wins this round by a big margin. I know I’ll get some gasps for sticking Israel in the middle, but honesty is the best policy, right? Unless you’re Benjamin Ingrosso, but that’s a discussion topic for another day.
If you’re on Team Israel or you want to show your love for any of the other songs on the program today, you know what to do.
NEXT TIME If you’ve been keen for me to judge Denmark, Iceland, Italy, Serbia, Slovenia or the United Kingdom, then the wait is over! One is in my top 10, another is anything but, and the rest are the filling in the sandwich. Come back later this week to find out which is which.
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!
Two weeks, people. TWO WEEKS!!! That’s (roughly or exactly, depending on when you’re reading this) how long we have to wait until the first semi final of Eurovision 2017.
That’s 95% wonderful in my mind, with the remaining 5% a result of a) me freaking out because it’s almost been an entire year since I attended my first live contest, and b) me freaking out because I have five more rounds of song reviews and (hopefully) some predictions to post here on EBJ in such a short space of time. SEND HELP.
Today is judgment day for Lindita, Hovig, Triana Park, Jana Burčeska, Claudia Faniello and Timebelle. And before you ask, yes, my mum has come back again to help me review their ESC entries! So without further ado – ‘ado’, as you probably know by now, is code for ‘Jaz-rambling’ – let’s get this party started.
*moonwalks, stacks it on a stray sock and falls to near-death*
My thoughts Anything I say about an Albanian Eurovision entry usually begins with ‘Well, the Albanian version was mysterious and unique and generally great, but the English version…’ – you get my drift. And FYI, Lindita’s World (or The Song Formerly Known As Botë) will be no exception. I really liked the version of the song that won the American Idol alum Festivali I Këngës, because it was so intense and interesting. English – and I know it’s only because I can understand it – has a way of making most of that disappear, particularly if the English lyrics are lame. That’s what it’s done to World, although no change of language could make Lindita herself less of a vocal powerhouse. The melody is still nice and dramatic, and that money note she belts out for what seems like ten straight minutes is still a staggering ‘wow!’ moment. But with Albanian off the menu, the song sounds plain vanilla when it used to be covered in chocolate sprinkles. I understand countries wanting to use English to communicate with more people, but when an artist can invest emotion in their vocal performance like Lindita can, sticking with their native tongue wouldn’t hold them back. Imagine Hungary’s Origo, or even the chorus of 1944, in English. Things wouldn’t pack the same punch with those two songs, would they? I don’t think so. World, to someone who never knew it as Botë, is probably a decent enough power ballad. But even so, I hope Lindita is prepared to fight for a spot in the final, because she’ll be lucky to get there otherwise. 6 points.
My mum says… Someone has a serious set of lungs! I’m guessing you all know the particular part of this song that made me sure of that. As for the rest of (the) World…well, I wasn’t a huge fan at first. It starts off slowly and sounds sort of old-fashioned for a piano ballad. But when it turns from piano ballad to power ballad, the situation improves. I got swept up in the emotion and passion Lindita projects once she gets fired up, which made me appreciate the song more. 6 points.
Albania’s score 6.00
My thoughts As hilarious as it would be to see Hovig carried out on stage by a giant and carefully positioned on a fake rock at Eurovision, it’s a different Gravity to Zlata’s that he’s packing in his suitcase: the Thomas G:son kind. And holy Rag’n’Bone Man rip-offs, it’s amazing! I like to think of it more of an homage to Human rather than a textbook case of plagiarism. It’s also an example of a song that’s better than the last one the artist tried to get to Eurovision with, which often isn’t the case (though I do dig Stone in A River too). From the second that mechanical, hypnotic beat kicks in at the start, I’m hooked. Simply-worded verses lead to the biggest earworm of a chorus in this year’s contest (one that’s instantly memorable thanks to clever rhyming), and both are perfectly suited to Hovig’s strong, slightly gravelly voice. The potential for epic staging is sky-high here, so I hope Cyprus has taken advantage of that and not left the poor guy to just stand centre stage in a spotlight. I do think the song is good enough to shine without gimmicks, but an edgy lighting scheme or some Loïc Nottet-style dancers (slash Cirque du Soleil acrobats, given the possibilities for tricks suggested in the music video) would set the scene and give Gravity the atmosphere it deserves. Either way, I don’t have much more to say about it other than this: if Minus One managed to qualify, then Hovig should too. Oh, and Gravity kicks astronaut ass. And regular, 9-to-5 worker ass. Basically, all ass. 10 points.
My mum says… I liked this straight away – there was no waiting for something exciting to happen. That beat (and the strange sounds that accompany it, which I suspect may be an alien mating call) piqued my interest instantly. There’s great energy all the way through, and the lyrics are interesting enough in their own right to prevent potential boredom. Gravity makes for a refreshing change from the usual love song style, and I wouldn’t mind hearing it again right now! 8 points.
Cyprus’ score 9.00
My thoughts Latvia has come a long, long way since Cake To Bake. Sure, that was sweet (pun intended) but you have to admit that what they’ve sent to the ESC since then has been in a whole different league of contemporary pop awesomeness. Just when we thought that was all down to Aminata’s involvement, along came Triana Park with Line, the third installment in a trilogy of fantastic Latvian tracks (and sequels are supposed to suck!). It’s just SO COOL. Everything from the silky-smooth electronic production to the minimalist, non-cliché lyrical content, bare-bones instrumental hook, and lead singer Agnese’s unique voice and constantly-changing look (the woman is a hair, makeup and clothing chameleon) is what I want to see more countries ship off to the contest. Basically, a package that even the most seasoned ‘Eurovision is crap’ troll would find appealing, or at least very hard to take the piss out of. There is something stopping Line from being one of my favourite songs of the year – maybe the fact that it is quite flat and repetitive (though that’s typical of the genre), or just the fact that I happen to enjoy other entries more. But in terms of measuring up to Love Injected and Heartbeat, it definitely does. The live performance is not as slick as the studio version, which wasn’t an issue for Aminata or Justs, so I don’t think Triana Park will be jury high-flyers. Televoters will go more gaga over Line, I think, so we’ll see if that’s enough to nab Latvia another left-side result on the Saturday night…assuming they make it that far. They sure as heck deserve to. 8 points.
My mum says… This isn’t (totally) my cup of tea. I enjoyed the catchy chorus, but I found the rest of the song monotonous and far too repetitive. It didn’t do much for me at all. The lead singer’s voice didn’t seem to have the same power and appeal as any of the other singers I’ve heard so far. If I’m not the target audience for Line, though, it’ll probably do well because it certainly sounds current. 4 points.
Latvia’s score 6.00
My thoughts Macedonia was one of two countries that really surprised me with their 2017 song, because I was expecting something totally different to what they delivered (I’ll tell you now that the other one was Belgium, but you’ll have to wait and see if I was pleasantly or not-so-pleasantly surprised by City Lights). I’ll confess that I didn’t even have the chance to have a cursory glance at Jana’s musical background/career to date before Dance Alone pirouetted into the picture, but even if I had, I doubt I would have seen such contemporary, radio-friendly pop coming. Not from her or from Mace-Dona-donia! This song is super polished; modern, as I mentioned, but brings the eighties back in a way that Ruffus would approve of; and seems to have been lifted straight from a Spotify playlist called ‘Music To Get Ready For A Night Out To’. It’s unfortunate that, after such a show of ethnicity in Stockholm with Kaliopi, there’s no trace of traditional sounds to be heard here, but given Kaliopi’s failure to even qualify for the final, I don’t blame Macedonia for pinballing in a different direction. With infectious hooks throughout, simple but effective lyrics and a charismatic performer, there’s nothing wrong with Dance Alone. Perhaps that’s my problem, because as much as I like it, I can’t force myself to fall in love with it. It’s so perfect in a plastic-package kind of way, I feel disconnected from it and can’t muster up any strong emotions when I hear it (love, hate or the irresistible urge to dance). There’s always a song competing in Eurovision that I know is a good-quality one, but it ends up in my ‘meh’ pile anyway. I guess this is the 2017 version. 6 points.
My mum says… After listening to this, I might have to make the pavement my catwalk too! It’s a cool pop song that had me moving to the music very quickly, and I can’t deny that’s a sign of something being up my alley. The whole thing is infectious (in a good way – no need for face masks) and I can’t think of anything to complain about. Well done, Macedonia. 8 points.
Macedonia’s score 7.00
My thoughts I am so horrified by Malta’s downgrade from Walk On Water to Breathlessly (albeit a downgrade from a Swedish-made song to a Maltese-made song, which is not the horrifying part) that I can’t even contain myself enough to write a suspenseful intro that keeps you wondering WTF I think of Claudia’s entry for a line or six. When I first heard it, she’d already won – MESC was one national final I had to sacrifice acquainting myself with until it was over (thanks, adult commitments). I actually couldn’t believe that Malta had willingly chosen to send such a dated, dull and overly-dramatic ballad to Eurovision, straight after serving up slayage with Ira Losco. Over time, my despise has turned to tolerance (so long as I’m in a generous mood) but Breathlessly is still right near the rear end of my overall ranking. It’s something that belongs in the credits of a mid-1990s romantic drama movie starring Kevin Costner and Julia Roberts – not a highly competitive song contest in 2017. If that’s not enough to turn you off, how about the creepy lyrical content seemingly written from an unhinged stalker’s perspective? ‘I’ll be watching you, breathlessly’? Watching me call the cops! Okay, so maybe I wouldn’t do that to Claudia, who seems like a cool person, does the song justice vocally and looks stunning in the music video. But not only does she deserve a better song to go to the ESC with, she’s had better songs to go to the ESC with. It’s too bad her time has finally come with an entry that will struggle to break free from the semi final. 4 points.
My mum says… ‘Terribly ballady’ were the words that came to mind when I was listening to Claudia go on and on and on, feeling like a psychiatrist she should be paying by the minute. The subject matter of the song doesn’t seem that sad and miserable, but it made me feel really down in the dumps which is NOT how I like music to affect me. If there was more variety in the mood or the lyrics, it’d be better, but Breathlessly flatlines. I don’t think I’ll bother firing up the defibrillator and trying to revive it. 3 points.
Malta’s score 3.5
My thoughts There’s one thing I have to get out of my system before I talk about Timebelle’s Apollo, and that is the all-important subject matter of how FREAKING BEAUTIFUL (I hope Robin Bengtsson hasn’t trademarked that phrase) lead singer Miruna is. If she just stood on stage for three minutes doing nothing but batting her eyelashes at the camera, I wouldn’t be able to look away – and I say this as a straight female. She can sing and stuff too, I know, but…hashtag hottie. Right, I’ve said it. Now, The Song! Apollo, for me, is a step up from Timebelle’s last Swiss NF entry Singing About Love (although they are once again singing about love). Sure, it could have been a minor radio hit five or ten years ago, but I don’t think this sort of ballad style dates too badly. I really like every element of it, even in 2017 – the tune, the dynamic way that softer verses build up to big, dramatic choruses, the lyrics (which are simple but not too simple, and just about cliché-free)…and how’s ‘I’ll follow you, Apollo’ for a lyrical hook? Well, you might think it sucks, but I think it makes the song even more instant. Overall, it’s memorable enough – and will be well-performed enough – to squeeze into the second semi’s top 10, but that’s not a given. ‘Enough’ isn’t always enough (if that makes any sense) in a competitive environment, and I can see why Switzerland might miss out just as easily as they could slip through to the final. Either way, they’re guaranteed to improve on Rykka’s result from last year (lest we forget the blue perm and boob-smoke). 7 points.
My mum says… Now here’s a ballad I can get on board with. It’s uplifting, easy to sing along to and just poppy enough to put some pep in your step. The steps taken when following Apollo, obviously. I think Malta should take notes during the lesson Professor Switzerland delivers in Ukraine! 8 points.
Switzerland’s score 7.5
18 down, 24 (possibly plus-one, if I decide the flame is indeed burning) to go! Here’s the ranking after today’s reviews:
- Cyprus (9.00)
- Switzerland (7.5)
- Macedonia (7.00)
- Latvia (6.00)
- Albania (6.00)
- Malta (3.5)
I’m happy to announce Hovig as the winner of this round. Will he find himself on top – or at least close to the top – of any other upcoming leaderboards? I can hardly stand the suspense. I don’t think there’s a lot of suspense in wondering what will happen to last-placed Malta, but then again, the ESC always manages to provide us with some shocks (you haven’t forgotten about Greta-gate already, have you?).
How would you rank the entries my mum and I judged this time? Let us know in the comments. I love knowing who agrees and disagrees with my opinions so I know who I’m buying a birthday present for – and who I’m so NOT – this year…
If you’re enjoying the Jaz + Mrs. Jaz Judgments so far, then stay tuned for the next installment. We’ll be taking on some big hitters in the form of Bulgaria, France, Italy, Romania, Serbia and Sweden. The bookies rate (some of) them very highly, but will we? Look out for our thoughts on Kristian, Alma, Francesco, Ilinca & Alex Florea, Tijana and Robin to go live if you want to find out!
Joining the Fashion Police to take on JESC 2016: My top 10 best-dressed acts of this year’s contest!
If your guilty pleasure is the ‘What Are They Wearing?’ pages of trashy gossip magazines, and you don’t mind comprehensive critiques concerning children, then a) you might actually be me; and b) this list is for you.
In case you hadn’t noticed, I can’t help commenting on the costumes that grace the Eurovision stage, as well as the music/dance moves/everything else in the mise-en-scène – the more hideous they are, the more fun the conversation generally is. But when it comes to Junior Eurovision, strangely, there’s never as much hideousness to be found (which is probably one of the reasons there’s no official version of the Barbara Dex Award for JESC). So I’m going to celebrate that AND my love for chatting clothing today, by counting down my favourite costumes from the contest we’ve just witnessed. Anti-Junior + anti-fashion fans: avert your eyes!
#10 | Albania’s Klesta Qehaja
I don’t know if the thought of being in Malta had everyone busting a gut to dress like Gaia Cauchi (circa 2013) but there was a definite trend going down in Valletta of ballad-belting brunettes wearing voluminous white dresses. Klesta’s bow-tied confection was perhaps the cutest of them all, and emphasised her childlike innocence – something that made it all the more shocking when THAT VOICE came out of her.
#9 | Serbia’s Dunja Jeličić
I’m guessing Dunja’s glittery jacket-and-scalp combo wasn’t to everyone’s taste, but I really liked it because it was the party version of Fiamma Boccia’s outfit. And as somebody who has a sequin-covered blazer of their own hanging in her closet, I’m not about to question Serbia’s choice of shiny silver apparel. It may have been a bit too glam to coordinate with the urban graffiti graphics in the background, but looking at the costume only, the ‘YAAAAS!’ box gets a tick in it from me.
#8 | Bulgaria’s Lidia Ganeva
See what I was talking about with the white dresses? Lidia’s looked like it had been mistaken for a blank canvas at a watercolour painting workshop – and the result was actually super pretty! It was one of the more princess-like dresses worn on JESC weekend, but the pastel palette on the skirt stopped her from giving off ‘entitled teenage debutante’ vibes, instead keeping things light, bright and youthful. Basically, the relationship between the song and the costume was rock-solid.
#7 | Georgia’s Mariam Mamadashvili
The white dress strikes yet again! I kind of like the fact that Mariam didn’t end up in predictable yellow/gold/orange/red, since Mzeo means ‘sun’ – though I wouldn’t have complained if she had. My favourite thing about the dress she did wear was the feel of classic JESC Georgia it had about it, while still fitting in with the style of the song. What I mean is that what we saw had an element of quirk in the shape and appliqués, but it was as classy and elegant as what we heard.
#6 | Ukraine’s Sofia Rol
The Fairest White Dress of Them All Award – a category with a seemingly endless conveyor belt of competition – goes to Sofia, for her bridal chic take on the trend. I’m surprised she didn’t go as far as to wear a veil and carry a bouquet given Ukraine’s tendency to opt for OTT (the oversized umbrella/mime combo is testament to that) but I’m relieved at the same time. Pretty and understated, this dress was a winner even though Planet Craves For Love wasn’t.
#5 | Armenia’s Anahit & Mary
You’ve got to love a concept outfit at Eurovision (junior or senior – it’s always awesome). That is, one that does more than just look nice, by bringing a song’s lyrics to life. Yep, you better believe that Armenia’s funky costumes (before they became less funky but more sparkly) were deep and meaningful. Well, they illustrated the personality differences between the characters Anahit & Mary were playing through Tarber, anyway. Circus clown couture FTW!
#4 | Poland’s Olivia Wieczorek
‘Unplucked swan princess’ may not sound like an appealing look for…well, ANY occasion. But Olivia’s blush pink feather-fest winged its way to JESC and worked very well indeed. A ballad as powerful as Nie Zapomnij practically demands a dress worthy of a diva (even if said diva was born post-2000) and I’m pretty sure even Mariah Carey herself would be happy to wear this one (after a few alterations, if you know what I mean). The girl was living her/my fairytale fantasy.
#3 | Australia’s Alexa Curtis
I really don’t think – despite being an Australian who should unconditionally scream ‘AUSSIE AUSSIE AUSSIE’ whenever one of our ESC/JESC entries is mentioned – that Alexa’s We Are stood out much in Valletta (though according to the scoreboard, I am clearly wrong). Her choice of clothing, however, was a standout selection. The perfect combo of glitzy and relaxed (i.e. it was a sequined playsuit), it allowed Alexa to move freely on stage but still fit in at such a glam event.
#2 | Macedonia’s Martija Stanojković
If there’s anything I possibly love more than a sequined playsuit, it’s a sequined jumpsuit – and when said jumpsuit is ROSE FREAKING GOLD, well…I’m dead. You just can’t get more gorgeous than that (although Macedonia’s costumes are my second faves from this year’s contest). Martija’s look echoed the effort her delegation put into her song and choreography, being encrusted in embellishments and matching both her boots and backup dancers. I’m in ljubov.
#1 | Russia’s Water of Life Project
Yeah…the ‘a rose gold jumpsuit is the pinnacle of perfection when it comes to the sartorial side of a song contest’ thing was a lie. For me, it would seem that exquisite, tribal-printed maxi dresses feat. intricate hair braiding and unconventional tiaras are superior. What can I say? The Water of Life Project looked incredible, in an extended + edited version of what Sofia wore in the Russian NF when she was a soloist. I’m asking Santa for a rip-off dress for Christmas (orange, please).
Okay – I think I’ve gotten all the clothing talk out of my system. But have you? Cast your vote in my poll and see how your outfit opinions compare to everybody else’s.
Now, if you paid even a tenth of the attention to the JESC 2016 costumes that I did, then let me know which ones were on fleek (The Netherlands are solely responsible for my use of that term) enough to be your favourites. Alternatively, were they all so ugly that you’ll be listening to future run-throughs of the contest rather than watching them? I know it’s children we’re talking about here, but they have to learn to take criticism! That’s so they won’t turn out like me and burst into tears when someone tells them they’ve got their shirt on backwards or that no, they can’t take that puppy home because it actually belongs to someone else. It’s a tough world out there, kids, so you gotta get used to it.
Anyway…fashion! Discuss it down below! I definitely don’t have any psychological problems!
Until next time (assuming you actually come back to this house of crazy feat. Eurovision)…
Junior Eurovision isn’t for everyone. I totally get that.
But attention, anti-fans: did you know that your aversion to watching tweenagers/teenagers do pretty much what the grown-ups do in May each November (only on a smaller scale and with the occasional mid-song onset of puberty) is depriving you of terrific tunes that could be added to your ESC and NF season playlists?
If your answer to that is ‘No! Please fix that for me immediately if not sooner, Jaz!’, then fear not – I’ve got you covered.
As a starting point, I’ve sifted through the seventeen songs that competed in Junior Eurovision 2016 last Sunday, and singled out the most mature, non-stereotypically JESC entries of the year. The following five songs are the ones I’d recommend you have a listen to if you’ve found mini-Eurovision too young to warm to in the past, but have a reasonably open mind and wouldn’t recoil in horror at the prospect of giving a few participants a chance to win you over.
Those of you who are JESC fans should feel free to scan this list too, and make your own recommendations from contests past and present in the comments. Together, we can brainwash bring people around to our super-cool way of thinking…
CYPRUS | Dance Floor by George Michaelides
Could be a Eurovision entry from…Sakis Rouvas, Loukas Giorkas & Stereo Mike
Why you should press play Just in case the title of this track didn’t clue you in, it’s the sort of song that will have your butt moving to the energetic, ethno-dance beat before your brain has even processed what’s happening. Because Sakis Rouvas himself is probably too stiff in the joints these days to return to Eurovision – with a banger like Dance Floor, anyway – you might want to familiarise yourself with the sound of his likely successor.
MACEDONIA | Love Will Lead Our Way by Martija Stanojković
Could be a Eurovision entry from…Elena Risteska, Poli Genova
Why you should press play There are always songs competing at JESC that really put the word ‘Junior’ into Junior Eurovision. Martija’s is the opposite of that. What you hear and what you see (should you watch her performance from last weekend) are both far more suited to the adult contest. If you tend to shy away from young-sounding voices and songs, and/or if you’re a fan of on-trend, radio-friendly tropical pop, then Love Will Lead Our Way is the way to go!
POLAND | Nie Zapomnij by Olivia Wieczorek
Could be a Eurovision entry from… Eva Boto, Pastora Soler, Polina Gagarina
Why you should press play Who doesn’t love a classic, money-note-filled power ballad when it’s done right? Poland’s return to JESC after over a decade away brought with it a beautifully written and executed effort (emanating national anthem-esque, military-march vibes) that struck a perfect balance between youthful innocence and mature sophistication. Nie Zapomnij beats a whole bunch of ballads that have made it to the ESC recently, so I highly recommend it.
RUSSIA | Water of Life by The Water of Life Project
Could be a Eurovision entry from…Tinkara Kovač, Zlata Ognevich
Why you should press play Because I’m biased, and since I absolutely adore this song, YOU SHOULD TOO! Seriously though, it’s a humdinger feat. everything one could possibly want in an adult Eurovision entry. It’s ethnic and modern; builds gradually and powerfully; mixes soft moments with explosive moments, making it exciting; and features a few run-throughs of the chorus in English, so those of us whose tongues won’t wrap around Russian can still sing along.
UKRAINE | Planet Craves For Love by Sofia Rol
Could be a Eurovision entry from…Mika Newton
Why you should press play Hanging onto Macedonia’s heels in the ‘maybe this should have been submitted for Kyiv?’ stakes is Ukraine, with this dreamy mid-tempo ballad. It’s an interesting (some would say boring, but decide for yourself) composition that doesn’t follow a bog-standard formula, and it has the ability to transport you to another place – the set of The Lord of the Rings, for example. It’s not for everyone, but it is more geared towards grown-ups than kids.
And that’s my chosen five. If you braved a viewing/listening session on any of the above entries for the first time, let me know what you thought of them. If you’re JESC 2016-savvy already, let me know how I went selecting the songs that might just convince the haters that Junior is worth watching. And of course, if there’s anything else you want to say about the contest we’ve just witnessed – won for the third time by Georgia – go for it. I’m not ready to stop talking about it yet!
Until next time…
This is (almost) it – we’re just about to arrive at JESC weekend, people! With all of the 2016 acts in Valletta and rehearsing like mad, it’s still impossible to predict who will win the contest in two days’ time. But that’s what makes the countdown that much more exciting.
As there aren’t many digits left in that countdown, I need to move right along with the Typically Jaz™ pre-show ramblings. On the schedule today? The fourth and final round of the EBJ Junior Jury’s reviews, feat. Australia (can I be impartial? You’re about to find out), Israel, Macedonia, The Netherlands, and Serbia.
So, Alexa, Shir & Tim, Martija, Kisses and Dunja – if you happen to be reading – let’s see what the EBJJJ thinks of the songs you guys are competing with on Sunday…
My thoughts As an Australian, I try to be objective when reviewing our ESC or JESC entries, and I’m pretty sure I can do it this time. It might be unfair to assume this after only two attempts, but I don’t think Australia really ‘gets’ Junior Eurovision. Apparently we get the absolute crap out of the adult contest (and I reserve the right to brag about that at every opportunity). But our mediocre result with Bella Paige’s My Girls, and the fact that we’re sending something just as “uplifting” and pseudo-inspirational to Valletta – perhaps not learning from our mistakes – is evidence that JESC may not be our thing. Alexa’s We Are seems like the result of what a few ill-informed people considered to be the ultimate contest song for kids. I don’t know if that’s actually the case, but the cheesy and clichéd lyrics, and the been-there/heard-that pop ballad style (yes, it really is My Girls all over again) give that impression. The song coasts along, doing a semi-decent job for what it is – and Alexa definitely sings it beautifully – but it doesn’t stick, and it has pretty much zero x-factor. It isn’t terrible; I was just hoping for an improvement on 2015 rather than a carbon copy. As Einstein once said, the definition of insanity is doing the same thing over and over again and expecting a different result…so unless Alexa can pull off a performance that ticks every box – feat. perfect graphics, costumes, props and vocals – I think Australia is destined to get bogged in the sand of the average result range. How can Tania Doko, the woman largely responsible for this 90s masterpiece, also be largely responsible for We Are? PS – Is anyone else put off by the lyric referencing driving? Alexa’s not even old enough to get her learner’s permit, let alone to use operating an automobile as a meaningful metaphor in her music.
My score 6
The EBJ Junior Jury says…
- Dara, Australia – 4
- James, UK – 5
- Joshua, Australia – 3
- Matthew, Ireland – 6
- Michael, Australia – 7
- Penny, USA – 6
- Rory, Ireland – 7
My thoughts In a move that has officially crowned them the Azerbaijan of JESC, Israel kept us waiting as long as possible before unveiling their second-ever Junior song, following on from 2012’s Let The Music Win. We could even call Shir & Tim mini Ell & Nikki, but that’d only be because they’re a female-male duo (not because Shir struggles to sing live, which I’m sure she doesn’t). Follow My Heart wasn’t exactly worth such a wait, but I’m a fan of it anyway. What it has working in its favour includes: a) a mystical, minimal beginning that builds into something packing a punch; b) excellent use of English that emphasises the title and makes the song more interesting; and c) two voices that work well both separately and together. I feel like this is the sort of song that will thrive on being performed live, with audience and artist interaction making it more of an audiovisual spectacle. There’s room for really interesting stuff to be done with the staging too, so I hope the Israeli delegation and the Maltese techies will do it justice. Look what atmospheric staging did for Made of Starsin Stockholm! I appreciate Israel trying a different tactic for this comeback, and I think it could pay off…but a lot needs to go right at the right time for that to happen. I’ll keep my fingers crossed for Shir & Tim though, as their song has the potential to grow on me and become one of my favourites of the year.
My score 7
The EBJ Junior Jury says…
- Dara, Australia – 6
- James, UK – 4
- Joshua, Australia – 10
- Matthew, Ireland – 3
- Michael, Australia – 8
- Penny, USA – 7
- Rory, Ireland – 2
My thoughts More so than any other country that competed in JESC 2015 and is about to compete in JESC 2016, Macedonia has proven that a lot can change in a year. They’ve completely turned the tables on last year’s Pletenka – one of those ‘Junior of Yesteryear’ kid-pop songs that was enjoyable, but inevitably finished last – and recruited a girl with a more mature look and mature voice to sing a considerably more current tropical dance track. I really, really like Love Will Lead Our Way, and will probably drop the other L-bomb on it any day now. It takes the radio-friendly nature of Ireland’s entry and combines it with the youth and fresh feel of Armenia’s song to produce something infectious and fun, while still taking the contest seriously. Like Israel, Macedonia has used English cleverly for the title of the song – a title that goes on to be repeated throughout and becomes a memorable hook to reel us all in. The phrasing of both English and Macedonian in the chorus is simple but effective, making it feel like you’re listening to one language rather than two. The icing on the cake is that on-trend riff that makes me want to hit up a beach party in the Bahamas (the intended destination may have been the Balkans, but too bad). Oh, and did I mention that Martija is super-duper pretty, and that the camera loves her? Well, she is, and it does. I will admit that LWLOW probably plateaus too much to give it a winning edge, but if it doesn’t catapult Macedonia out of the bottom five and closer (or into) the top five, I will be 110% done with 2016. Love it! *drops the big L-bomb as promised earlier*
My score 10
The EBJ Junior Jury says…
- Dara, Australia – 1
- James, UK – 8
- Joshua, Australia – 10
- Matthew, Ireland – 6
- Michael, Australia – 12
- Penny, USA – 7
- Rory, Ireland – 8
My thoughts I’m not ashamed to admit that I LOVE how The Netherlands take on JESC. They don’t always finish at the top of the scoreboard (they actually haven’t had a top five finish since 2011), but their entries are consistently competent, polished and enjoyable. They’re also usually radio-friendly teen pop – think 2014/15 – or old-school Junior musical balls of energy, á la the unforgettable Double Me from 2013. This year, the Dutch have stayed true to type with the incredibly catchy Kisses and Dancin’ by Kisses (who clearly have something in common with Water of Life by The Water of Life Project). It’s the closest thing you’ll find to fairy floss in this year’s buffet, so if you have a sweet tooth, this is probably in your personal top five. I do, and it’s definitely in mine! It reminds me so much of Belgium’s Get Up!, sent to Junior all the way back in 2010, and that was a song I was obsessed with at the time (not so much these days since it’s not exactly a timeless classic, but temporary gratification is better than none at all, right?). Both songs have a similar subject matter and call to get up and/or dance that I find irresistible, but this one is even more infectious. The mix of Dutch and English is better here too. Throw in a carefree nature, positive vibes and instant memorability, and this becomes a serious competitor without taking the contest too seriously. What we’ll get as a result (keep in mind that I haven’t watched any of the rehearsals) is a feelgood, smile-provoking performance that may not have the legs to lead the pack, but should make Shalisa’s second-last place last year a distant memory. It was the televoters who led to her downfall, while the juries bumped her up – so with only juries to win over and a song that is much more childlike than Shalisa’s, it’s hard to say how high Kisses can go. But given that we are talking about Junior Eurovision, and that we have kids juries in play, I’d like to think they have an audience in the voting population who will clap-clap along with them and send some double-digit scores their way.
My score 8
The EBJ Junior Jury says…
- Dara, Australia – 7
- James, UK – 6
- Joshua, Australia – 5
- Matthew, Ireland – 8
- Michael, Australia – 8
- Penny, USA – 6
- Rory, Ireland – 4
My thoughts Serbia is another country that has pinballed in a different direction, after trying something dramatic (that could have passed as an adult Eurovision entry with an age-appropriate singer) at JESC last year. Flamboyant hand gestures and massive money notes are out; hoverboards and sassy summer sounds are in, via Dunja’s U La La La. Lightening things up was a move that’s likely to pay off – even I can see that, despite this song not being one of my favourites. Dunja is a girl with grunt in her voice and more attitude than most of the other artists combined, and the song is a perfect fit for her personality and vocal talents (in studio, at least). It’s youthful, catchy, and a good combo of contemporary pop and vintage JESC kid-pop (the kind I get a kick out of because it brings back memories of when I discovered mini –Eurovision). As I said, I’m not head-over-heels in love with it, although if I tried out Dunja’s hoverboard I would definitely end up head-over-heels. But I do think it holds its own as one of the ‘fun’ songs on offer, and that it stands out style-wise. Serbian really shines in an urban-sounding song, and I respect the fact that there’s no English awkwardly inserted at the start, in the middle or at the end – it’s that native tongue all the way through, making U La La La one of just three entries to stick with a language other than the most accessible one possible. I’m not saying that will benefit or disadvantage Dunja, but I admire it no matter how she scores. I don’t really have anything else to say about this, other than ‘I last listened to it five days ago and the chorus is STILL stuck in my head’, which has to count for something.
My score 7
The EBJ Junior Jury says…
- Dara, Australia – 8
- James, UK – 7
- Joshua, Australia – 10
- Matthew, Ireland – 6
- Michael, Australia – 12
- Penny, USA – 12
- Rory, Ireland – 5
Now, with those sentences about/scores for Serbia dealt with, I finally get to say this: seventeen down, zero to go! The ranking for this round is as follows:
- Serbia (8.37)
- Macedonia (7.75)
- The Netherlands (6.5)
- Israel (5.87)
- Australia (5.5)
Serbia takes out the top spot this time, with fellow ex-Yugo Macedonia snapping at their heels (or hoverboards – take your pick). The Netherlands didn’t kiss or dance their way beyond the halfway point, sadly, but they’ve got a good chance of doing so in the actual show (and the actual show, I’ll admit, matters a little bit more than the EBJJJ ranking). Israel and Australia *is outraged despite not loving the song* bring up the rear.
Stay tuned, because this weekend – just before the contest kicks off – I’ll be unveiling the Junior Jury’s complete 17-song ranking for you to feast your eyes on (and probably disagree with in a major way). I’ll also be posting my predictions for upper crust, bottom crust and filling of the scoreboard sandwich – i.e. which country will end up where once all of the esteemed jury members (and Jedward) have had their say. These predictions are going to be so hilariously inaccurate, you won’t want to miss them.
While you’re waiting, let me know which of today’s reviewed entries is your favourite – or which one makes you want to invest in a very high-quality pair of earplugs. Does one of these five have what it takes to win Junior Eurovision 2016? If so, say so – I need all the help I can get in finalising those pesky predictions…
Get ready to #embrace, everybody!
I’M BACK! I guess that’s one thing I have in common with the likes of Kaliopi, Donny Montell, Poli Genova, and that one guy from Lighthouse X who played keyboard for Emma Marrone in Copenhagen.
I, however, am back in multiple senses of the word. Not only am I back at home in Australia, but I’m also back blogging after what feels like an eternity away, on the ground in Stockholm writing with the awesome ESC Insight team. In actual fact, it was only three weeks – but what an incredible blur that three weeks turned out to be! I have SO much to tell you guys, if you’re willing and able to hear it over the next few months (what can I say? It’s going to take a while for everything to come screaming back to me).
In the meantime, if you’re feeling even a hint of the Post-Eurovision Depression that I am (and I haven’t even gone back to work yet…that’ll be the true reminder that life is going back to boring *hopes my boss never sees this*) you might want to ease the pain by checking out Insight’s epic coverage of Eurovision 2016, feat. in-depth articles, thought-provoking videos and hilarious podcasts. Because this is my blog and I’m allowed to be narcissistic here, may I recommend checking out my pieces first? Like any proud mother, I want to show off my babies. In this case, quadruplets.
- I Heard It Calling Me…And This Is What It Sounds Like (an introduction to my first Eurovision in the capacity of rabid fan and professional press lady)
- Walk On Warner: First Loreen, Now Ira Losco (the result of my interview with 2002 runner-up and 2016 returnee Ira, who has Swedish career connections to continue now that the contest is complete)
- Meet The Eurovision Character That Impacts Every Song (a look at the Stockholm stage, and how it allowed each performer more flexibility than ever before)
- Applauding The Aussies: Why Europe Is Prepared To Enlist In The Dami Army (the title pretty much explains this one. Oh, and #teamdami)
Because I’m so keen on retrospective ramblings, I’ll be filling you in on what went down in and out of the Press Centre in Stockholm as time goes on (feat. such juicy gossip as the 2016 act who called me their ‘new best friend’, and the 2016 act who I witnessed being manhandled out of the Euroclub at 3am the morning after the final. SUCH JUICINESS). But for now, I’ve got some pre-ESC loose ends to tie up – a.k.a. some outstanding business to take care of, a.k.a. some very, very late reviews to make public.
My life got so crazy in the lead-up to my Eurotrip, I didn’t have a spare second to post the last part of the EBJ Jury’s 2016 reviews, or the subsequent EBJ Jury Top 43 (including the dearly departed Romania). And if I thought I’d have time to post those while I was away, I WAS WRONG. Hectic rehearsal schedules and far-too-frequent celebrity-spotting took care of that. And now, here I am – we have a wonderful new contest winner who nobody should be bloody complaining about even if 1944 ain’t their cup of coffee, and I’m yet to review it. I am definitely un-Frans-like and very sorry about this.
I won’t drag said reviews out any longer – I’ve already created the longest cliffhanger in history, after all. So, let’s make like Barei and say hey hey hey to today’s panel of Jaz-approved judges.
TODAY’S EBJ JURORS
Remember, you can meet the entire EBJ Jury properly here.
Ali, Rory and I are FINALLY about to review Austria, the Czech Republic, Finland, Macedonia, Norway, Serbia and Ukraine – a.k.a. Zoë, Gabriela, Sandhja, Kaliopi, Agnete, Sanja AND Jamala. It’s all about girl power on this occasion, but who will prevail? Jamala, the actual Eurovision champ? Zoë, the fan favourite? Or someone else? Read on to find out, and let us know which of these ladies’ songs keeps your boat most buoyant in the comments below!
Oh, and FYI…all of the following reviews except mine were written before the contest took place, so if they seem to be totally unaware of the final results, that’s why. Just pretend it’s April, and all will be well.
FYI again (this is the last one, I promise)…this is one heck of a mammoth post. You might want to prepare yourself a pot of tea and a supply of Plopp to get you through this one.
Ali So, what do we have here? If one cares to delve beyond the overt ‘sweet’ simplicity, there is much to be found: a solo guitar’s rollicking strumming conjuring a roaming minstrel; strings (in pizzicato, then sweeping legato, and later pulsing staccato) which weave the ever-evolving landscape through which we are drawn; our singer, with gentle hope and resolve in her voice, in the throes of affirming to the spirit that is leading her, how faithfully she will follow. The destination? A country far from here, where the people, in a naïve search for paradise, are singing. A rhythmic, driving repetition sets our singer’s steady, determined pace, despite the apparent distance, and the dangers of straying into futility (‘si la route nous semble sans issu’), or into the despair of the abyss (‘même si on sera perdu’). There is a poignancy and potency in the fact that our pilgrim (coincidentally, no doubt?) adopts not her native tongue, but the language of the victims of some of the more notorious of those atrocities. The path proposed here is to faithfully follow the song and the music. Indeed, the spirit to which our pilgrim addresses herself is the music itself: when it sings, she sings too; when it flies, so does she; if it soars, she follows it, unencumbered by doubt. The song’s title, and the lyrics of its chorus, are the ever-present reminder that this place we seek is indeed ‘far from here’. The revolving ‘seasons’ in the (official) video, and the ever-flowing chord progressions, reinforce that this trek may indeed be never-ending. But equally, the chorus’s hopeful, trance-like mantra also reminds us that what matters is the journey itself. Those who glibly dismiss this song as ‘cotton candy’, ‘girly’, and calculatedly faux-nostalgic have failed to see the wood for the trees. Though cloaked in ‘lightness’, what we are invited to experience here is by several country miles the most profoundly philosophical and spiritual of all of this year’s creations. It delivers a lasting, symbolic homage to that ultimate musical pilgrimage, the song contest itself. But then again, maybe it’s just another DNQ fanwank?
Rory I’m just going to put it out there: I’m not a fan of Zoë this year. Austria had some really great artists in their NF – LiZZA, Céline/Farna and Bella Wagner (to a very broad extent) – and they went with a song with a very schlager beat to it, and it’s all in French. I’m not hating on her, okay? I’m just saying that with some other very different artists in their selection, Austria had a lot of other options. I can see why they picked Loin D’ici – the staging in itself was a show, coupled with her USP of singing in a completely unofficial language of her country. However, with an über-poppy, almost tween-ish beat to it, I can’t see it appealing to non-Eurovision fans. There’s making yourself stand out and there’s taking the p***, and I think that Austria might JUST have overshot it this year…maybe it’s a bit of a reality check? We’ll have to wait and see.
Jaz I’m going to start by reminding you again that I’m the only person reviewing and scoring this bunch of songs AFTER Eurovision (because everyone else managed to get their act together beforehand. I’m the one who let the team down). If I’d commented on Loin D’ici back in April when I was supposed to, I’d actually have a very different take on it to the one I have now. When Austria first crowned Zoë as The Makemakes’ successor, I was pretty horrified, to be honest. As cute and whimsical as the song was/is, the tragically stale Eurodance beat that kicks in after the first chorus made me want to call on Conchita Wurst to float down from the heavens (obviously she’s still alive, but I just figure she hangs out up there being perfect most of the time) and save us all from such dated un-fabulous-ness. Upon arriving in Stockholm, it became clear that Zoë was a massive fan favourite, partly due to her song being such a tribute to stereotypical Eurovision anthems of a time gone by – I was nearly danced to death by the horde of devotees basking in her Euroclub performance on Opening Party night. And I still didn’t get it. In fact, even now, I’m not about to give Loin D’ici a douze. But after being subjected to the song more times than I would have if I’d stayed home this year, I started to…well, hate it a lot less. I don’t doubt that there is as much depth under the song’s surface as Ali states, but what I rather like about it now is the face-value sweetness and light, and the almost-irresistible melody that becomes a karaoke dream once you’ve wrapped your tongue around the French lyrics. And Zoë herself is so precious, it’s hard to insult anything she’s had a hand in. I also may want to borrow from her extensive collection of frou-frou strapless dresses one day, and if I’m mean to her, there’s zero chance of that happening.
The EBJ Jury says…
- Ali 12
- Fraser 6
- James 5
- Jaz 6
- Martin 7
- Nick 4
- Penny 7
- Rory 5
- Wolfgang 12
Austria’s EBJ Jury score is…7.11
Ali The Czech Republic’s Saturday night cherry is still unpopped, so I will try to say some encouraging things here. The intro of simple lilting piano and a slow current of low strings is very promising. The chorus’ melody is pared-back but engaging, and the pace is elegant and restrained. Gabriela has a stunning voice, and is certainly gentle enough on the eye, in a Tanya Plibersek kind of way. Plus, her floral afro in the video is the most impressive I have ever seen. Alas…the lyrics of I Stand lurch between lazily clichéd and waywardly clunky, and the narrative is befuddledly (yeah, befuddledly) circuitous, with the result that – in contrast to our songstress, who professes to ‘always care’ – I find myself quickly giving up caring about her, her various travails, and anything her song has to tell me. We can’t tell who the hero is supposed to be: on one hand, the song seems to be trying to celebrate Gabby’s own resilience; but on the other hand, it’s a ‘better half as saviour’ song. And those lyrics! ‘I’ve worn the path, I’ve hit the wall’? Did the lyricists even care what these idioms mean when they tossed them in? It jars when I hear ‘head’ attempting to rhyme with ‘cares’, ‘rain’ with ‘fall’, et cetera. Can we blame Bill Gates for the fact that the spell-checker failed to flag that the past tense of ‘to fall’ is ‘fell’, not ‘fall’? And who decided Gabby should spend the video lying down whilst saying ‘I stand’? The problems with the story and words were all easily avoidable, which makes them all the more exasperating. The unfortunate result is that I end up not giving two hoots about whether she’s standing, squatting, or doing the downward-facing dog.
Rory When I saw that the Czech Republic would be interested in taking part in Eurovision again after last year’s failure to reach the final, I thought that they must be crazy. But with I Stand, I am so grateful that they’ve continued on their quest for a Eurovision qualification – which I’m guaranteeing they’re going to get with this song. Gabriela is more used to singing rock and gothic songs, but this is a really pleasant departure from her comfort zone. The lush beats and strings really bring out the best in her vocals. The peak of the song definitely comes out at the end of the song with that screech in the lead-up to the last chorus, which just lets out so much emotion and care and you can really feel that. My one concern is how they’re going to stage the song: with Hope Never Dies, they managed to understage it, because there wasn’t really anything that made you remember the performance. With I Stand, they have to play it really carefully…maybe they can get her to be like in her music video and lie down while her hair is covered by layers of flowers? Regardless, best of luck, Czech Republic!
Jaz They may not have traveled far in the final, but congratulations must go to the Czech Republic (Czechia?) for making it to Saturday night for the first time. There were several other songs I’d have preferred to see among the last 26 standing, but it’s always nice when a struggling country finds a surprising degree of success. That said, I understand why Gabriela didn’t find any on final night. Her performance was pretty much perfect – from flawless vocals with just the right amount of emotion present, to the stunning geometric floor-and-wall patterns; from her bridal-esque outfit to the timely hair-release that thankfully didn’t end the same way as Moldova’s in 2014. But…I never found I Stand to leave much of a lasting impression, and in the final, it was up against at least twenty songs that were more memorable. That’s not to mention the fact that the Czech Republic were handed the dreaded second slot to perform in, which we all know to be legitimately cursed. Hopefully, however, this progression from the semis is a stepping stone to further success for the country in 2017. It’s got to be one of the reasons they’ve already confirmed for next year’s contest.
The EBJ Jury says…
- Ali 2
- Fraser 8
- James 12
- Jaz 5
- Martin 6
- Nick 4
- Penny 5
- Rory 12
- Wolfgang 8
The Czech Republic’s EBJ Jury score is…6.89
Ali Apart from heartily fist-bumping the underlying ‘song-as-therapy’ message, I do dig a ditty that gets me lip-syncing along with it, and wiggling my ample tuchas (apologies for the unsolicited visual!), especially in a year that’s weighed down by dollops of dirges. Throw in some snappy brass riffs, a lively percussion track, a swag of ohh-ohh-ohh-oh-oh’s, a positive ‘friend-in-need’ message, and some evocative lyrics – ‘When heavy waters try to break you, you will be singing for life’ – and, hot-diggidy, I find myself in total lock-step: ‘YEAHHH!’. If Sandhja and her team are able to extract maximum engagement, joyfulness and life by connecting sympathetically with the cameras and the audience, then why can’t this (pretty please?) at least get through to the final?
Rory I’m going to go against the grain and say that I actually enjoy Sing It Away. I’ve a big guilty pleasure for funk, and Sandhja delivers in that aspect in ways that acts like the KMGs (Belgium 2007) couldn’t. This is sleek, sophisticated, and builds up before exploding into the chorus. I do think Sandhja needs to work on her live vocals, if she plans on moving as much as she did at UMK as she will onstage, just because it might prove to be a problem. I don’t see an issue with this making a connection, but in the ferocious first half of Semi Final 1, she’ll have to make sure her performance is memorable. That being said, singing lines like ‘I WANT YOUR BALLS AWAY!’ will definitely give her that edge (it’s supposed to be ‘All my troubles away’, but I can’t bring myself to correct it every time I hear it!). Hopefully, Europe won’t listen to her and will give her their balls in the form of votes, but it’s really a 50:50 chance!
Jaz I had some ridiculous favourites in UMK this year (Thief, Shamppanjataivas, and the comparatively normal On It Goes) as well as some songs I detested (mainly just the bookies’ number one, No Fear). Sing It Away fell in neither of those categories, but I was mighty relieved when Sandhja beat Saara Aalto nonetheless. Her song did all it could do at Eurovision – it served as an excellent-but-disposable show opener, so easily sacrificed that it might be better for us to think of it as part of the first semi’s opening act than as an actual competition song. I don’t dislike it – it’s fun and funky, and Sandhja has the personality required to pull it off and convince us that she will sing ‘it’ away (it’s great how the ‘it’ is open for interpretation. Got dandruff? She’ll sing it away. Been run over by a parade float full of schlager stars? Sandhja’s got you covered). But it lacks the fire and some of the energy that saw counterpart What’s The Pressure sail into the final and squeeze into the top 10. It’s almost as if it won UMK by accident because the decision-makers couldn’t choose between Saara and Mikael – a kind of DMGP/Eurovision 2011 situation. And that doesn’t give you a contest winner…Eurovision 2011 aside. But we’re all still scratching our heads over that one, aren’t we?
The EBJ Jury says…
- Ali 10
- Fraser 5
- James 7
- Jaz 6
- Martin 5
- Nick 3
- Penny 7
- Rory 7
- Wolfgang 3
Finland’s EBJ Jury score is…5.89
Ali Unlike Nika (from Georgia) and his muddied bed partner, I don’t smoke. But I will definitely be buying myself a cigarette lighter to take along to the second semi-final, just so I can do the old ‘waving-the-ciggy-lighter-back-and-forth-to-the-slow-chorus’ thing to this big, hearty Balkan tavern ballad. Sometimes it can be satisfying when a song delivers (with aplomb) a totally ‘no-surprises’ offering. Even though I have not been overly generous with my points here, this in my book has an ample supply of plombs. Staying with a more classical structure, this builds in all the right ways, and Kaliopi’s voice, as always, intoxicates us with the smokiness of an Islay single malt. There is some loss of momentum from having an unadumbrated middle verse (in contrast to the modern trend of cutting it short, e.g. Norway this year), but it is worth the price, because it makes us savour the ‘bring-it-home’ chorus all the more. Being one of only three songs this year (count them) that are entirely in a LOTE, and therefore arguably less ‘accessible’ to the full spread of jurors and televoters, qualifying is far from a ‘gimme’, but one can live in hope. Who is Dona? I have no idea. But all in all, I’m very glad someone thought she/he/it was worth singing about.
Rory DONUT, DONUT, DONUT, DONUT, DONUT, DONUT, GLAAAAAAD I MET! Oh wow, Kaliopi is back with a bang and I’m secretly enjoying it. I must admit, I was expecting something along the lines of Crno i Belo, but with Dona, I feel like I’ve been transported back to the late 80s/early 90s, with a power ballad like this. Of course, we’ll have to see how she delivers this onstage to get a feel of how it could do in the long run, but with only half the vocal range required to sing Dona than to sing Crno i Belo, I think Kaliopi will slay BIG TIME with this. Whether it qualifies or not, however, is a completely different story. I’m very sorry, but I’ve got nothing else to say about Macedonia…unless you want to hear me sing DONUT, DONUT again!
Jaz The following sentence will tell you what I think about Dona in a nutshell: I didn’t have high expectations of Kaliopi’s second official ESC entry given that I didn’t love her first…and as expected, I like this even less. That’s not to say that I detest it – and, as with a few other 2016 songs, frequent exposure during the rehearsal period ensured that it grew on me – but it’s too dated and over-dramatic for my taste. Even Kaliopi, a singer whose power knows no bounds (she can shatter glass with a single note, so it’s a good thing she wasn’t performing in the Crystal Hall this time) seemed to struggle to give her all to the demanding Dona, just ever-so-slightly. It’s for that reason that her highest-of-high notes at the end of the song never quite measured up to the clarity and pitch-perfection of Jamala’s. There are things about this track that I like – more so the gentler verses than the big, domineering choruses. But even from the beginning, I have trouble paying attention to Kaliopi for three whole minutes, without wondering if a song I like better is coming up next in my playlist/the semi. It usually always is. I thought Macedonia would make it to the final if mainly on artist name alone, but I have no issues with the fact that they didn’t.
The EBJ Jury says…
- Ali 5
- Fraser 6
- James 12
- Jaz 3
- Martin 4
- Nick 1
- Penny 6
- Rory 6
- Wolfgang 5
FYR Macedonia’s EBJ Jury score is…5.44
Ali A lot of good, solid, ‘play-to-our-strengths’ Lapp/Nordic buttons are being pushed here, and coupling that with Agnete’s fine voice and presence, I think this may manage to sneak (break?) through to the final. Many listeners have reportedly found the tempo change for the chorus unsettling, if not disappointing, given that by all indications it was otherwise building into a Euphoria-esque up-tempo dance number. But I think, in context, it works: after all, an ice-breaker is not a particularly fast-moving vessel. And having the brakes go on the pace at that point also reinforces the arduousness of the effort our Agnete would need to put in to liberate her ‘stuck’ friend. However, the storyline here lacks traction: a lot of the song is spent cataloguing the reasons why this ex-and/or-potential partner is extremely high maintenance, if not an outright cad/cadette, so we aren’t given much of a feel for why Agnete would be so determined to save him or her. Indeed, perhaps this cad/ette would benefit from spending a bit of reflection time stuck in the ice – sorry, I mean in the ‘fro-o-o-zen water’…a.k.a. ice?
Rory I’m not really sure what to make of Icebreaker. I mean, I can see how many people could enjoy the metaphor that she’s going to be the ship to free us all from the ice we’ve been stuck in (maybe that’s why I’ve been so hypothermic), but the song just leaves me feeling…empty. There’s nothing in here for me to like or dislike. It’s just…neutral, if you get what I mean. Agnete’s vocals are exceptional and I’m sure that that will work in her favour, but the song is just very lacklustre – which is highly ironic, as I should really be enjoying this sort of genre! Norway will easily sail through to the final, just because it has a few reliable countries making its case. As for the final, I can’t exactly put my finger on their exact finishing position – it could be the bottom of the left-hand-side of the scoreboard or the top of the right-hand-side. It’s definitely a Mar(Vegi)mite song this year, a lot like I Feed You My Love – you either love it or you hate it. Suffice to say, I don’t eat Mar(Vegi)mite, so you’re better off asking someone else!
Jaz Love, hate or feel indifferently towards Icebreaker, you have to applaud Norway for managing to send two entries to Eurovision this year without breaking any rules: the first, an atmospheric Euphoria-esque dance banger; the second, an intense I Feed You My Love-style anthem that I do not recommend listening to if you have a headache coming on. The stark tempo and genre changes in Agnete’s song were initially arresting in all the wrong ways for me, back when I was still bitter that Afterglow didn’t win NMGP. But as I’ve gotten more accustomed to them, I actually think the track takes a risk that could have paid off under better circumstances. It’s adventurous in a way that we hadn’t heard at Eurovision before, and the overall effect is edgy, dramatic and powerful. It’s just a shame that Agnete was too poorly pre-ESC to trek the promotional trail (i.e. attend any pre-parties, or press conferences on the ground in Stockholm) or reshape her performance much from the national final stage. I always expected Icebreaker to have a 50:50 shot at qualifying, but if Agnete’s path to the contest had been as smooth as everyone else’s, I think she might have slotted in to Saturday night. I would have loved to see her there as I actually get multiple kicks out of this song now – but just making it through rehearsals and the broadcast was a win for her, at the end of the day.
The EBJ Jury says…
- Ali 4
- Fraser 2
- James 4
- Jaz 10
- Martin 5
- Nick 1
- Penny 6
- Rory 5
- Wolfgang 7
Norway’s EBJ Jury score is…4.89
Ali This has huge potential, and I really want to like it. But ZAA’s stage performance will be the decisive factor. In the official video, her melodramatic gestures and facial expressions are a bit OTT, and borderline comical. This obviously tends to detract from the real potency of the song’s conflict-laden atmosphere. A more constrained presentation would more powerfully convey the inner struggle inherent in the theme. She also has to get the audience on side. One way to help do this would have been to have ZAA herself singing (with backing vocalist accompaniment) the sympathetic ‘whoa-oh-oh-ohhs’ that follow the chorus — but admittedly, that would leave her without a decent breather, so may have sapped her energy for the big finish. In terms of the song itself, I know the temptation would naturally have been to give ZAA opportunities to demonstrate her undoubted virtuosity, but I do find it a bit off-putting how, in each half of the chorus — in contrast to the controlled tension of the notes and dynamics in the verses — the notes at the end of the first two lines wobble round like a learner driver trying to work out which gear to use: ‘Every time I say goodby-Y-y-Y-yyye …’. Anyway, the ingredients are all there for ZAA to make this either a Eurovision classic or a Eurovision calamity. Hey, Laura T – you need to have a chat to ZAA about pressure, STAT!
Rory This year, Serbia has me questioning a lot of things. First off, I very much appreciate sending an unknown singer to Eurovision, but why give her two names? ZAA Sanja Vučić? Could it not just be her? The song is pleasant enough to listen to, but when it comes to the subject matter – domestic violence – I just feel like it’s ripping off András Kallay-Saunders, but with a more mature vibe to it. Secondly, Sanja is a singer who – with ZAA – normally plays ethnic-indie music (see her video for Irie&Kool for a proper reference), so why get her to sing a ballad that is so pop, it oozes Charlie Mason? Finally, why does she make so many facial expressions and jagged movements, some of which don’t even work in time with the music? I just feel like this has been very forced and I think that had she been given a more alternative song, or a song in a genre she’s more experienced in, she’d give a more convincing performance. Nevertheless, her vocals are amazing, and the versatility and flexibility of her music makes her incredibly adaptable. But I feel RTS just took a shot in the dark, and that it might not pay off.
Jaz When it comes to controversial song subject matter at Eurovision, I’m an advocate. I think it’s important for music to be used to address issues other than love and fairytales and happy endings and falling stars and donuts (say whatever you want, Kaliopi…we all know your entry is an ode to Krispy Kremes). Not all the time, but sometimes. That’s partly why I hold Hungary’s Running and Ukraine’s 1944 (which I’ll be gushing over in a minute) in such high regard. Serbia’s Goodbye (Shelter) has the kind of ambiguous lyrics that could refer to a verbally-abusive or extremely strained relationship, as much as to a physically-abusive one. That makes it less uncomfortable to listen to, but it also gives it less of an identity and less strength, message-wise. Having said that, I still believe it’s a powerful song – a rocky Balkan ballad delivered with a maturity you might not expect from a normally happy-go-lucky 22-year-old like Sanja. Given that she reined in the jerky performance style we saw when Goodbye was presented on Serbian TV, there was nothing vocally or visually wrong with her performance. Perfect colour scheme, perfect graphics, perfect costumes, perfect choreography…every piece was in place. But I still didn’t love the song enough to back it as a potential winner. It certainly deserved its place in the final, but it didn’t move me, and I understand why it didn’t bother the top 10.
The EBJ Jury says…
- Ali 3
- Fraser 6
- James 4
- Jaz 7
- Martin 12
- Nick 5
- Penny 12
- Rory 4
- Wolfgang 6
Serbia’s EBJ Jury score is…6.55
Ali Never has there been a more soulful song about the swallowing of souls! I can report that, on more than one occasion, in the course of listening to 1944, I have detected on my upper cheeks the inexplicable presence of salt water. Jamala will indeed win many a heart with her ‘Negro-spiritual’-like timbre, and prodigious vocal range. Whether a largely uninitiated TV audience will be able to pick up on the full gamut of what is being laid out before them here is very doubtful. It may, for example, be vulnerable to the predictable Norton-esque derision for being too ‘dreary’, ‘serious’, etc. We shall see. The lyrics may have benefited in some places from having their nuances honed, to ease them back from the brink of what might be perceived as hyperbole, but that is a very minor quibble, in the context of the subject matter. If this is not in the final, the universe will be very much the poorer for it.
Rory There is absolutely no doubt in my mind that I’ll sound biased on this, but 1944 is my favourite song of the 2016 contest by millions and millions of miles. When I first heard the song on February 5th, the day before it was due to be performed at the national selection in Ukraine, it LITERALLY reduced me to tears – I’m not even exaggerating. The song is just so beautiful and emotive, it gives me goosebumps every single time I listen to it – you know that every note Jamala sings is one that she feels for both herself and her fellow Crimean Tatars. Turning to the dark side of the song, I am clearly stating that there’s no political intent in 1944 whatsoever. Jamala has said in an interview that politics aren’t her cup of tea (sorry Valentina Monetta – Jamala doesn’t get you!), and that there was no political motive behind the song. The fact that some people see a political aspect to it is just a coincidence. 1944, with its breaking-beats, Crimean Tatar lyrics and climax with the final chorus (along with that scream that just gives me the shakes every time – it’s like she’s releasing her soul whenever she reaches that note) give it that edge to stand out a mile in the semi final, and all skeptics will be proven wrong when it easily qualifies – it might even win the semi! Personally, Jamala is my winner of the whole contest, but will she actually win? She’s definitely top 10 or top 5 material. I could go on all day about her, and about 1944 and her other songs, but I won’t bore you to death. I will let you know that Ukraine is my #1 for this year’s Eurovision, in case that wasn’t already clear. DAVAI UKRAÏNA!
Jaz I’m not quite sure how to articulate my affection for 1944. ‘Affection’ is an understatement, really. This song had me hypnotised from the first few seconds of my first listen, partly because it was so different to what I was expecting – Jamala’s previous entry in a Ukrainian NF, Smile, was way too cheesy and repetitive for me, and I figured she’d be offering up something similar this time. FACEPALM!! I’ll admit, I didn’t realise how versatile she was as an artist. I did realise that her vocal range is beyond incredible, and 1944 shows that off to the fullest, while simultaneously allowing her to tap in to her emotions. I don’t think it’s just her acting abilities that give Jamala the skill to make past pain feel fresh every time she performs this song – it’s also the fact that this song is about a specific experience, even though she wasn’t around to live it. It’s the most substantial song that competed in Stockholm, and the most experimental, and I’m still over the moon that it managed to win the whole contest when its divisiveness could have dragged it down. It’s everything a winning song should be made of, in my opinion – it’s unique, contemporary, brilliantly performed (without the staging overshadowing the sound), and has something real to say. To some, it might be a vehicle for a wailing Eastern European woman; to me, it’s a victory for inventiveness and significance in a contest where the appeal of the last few winners has been in the artist’s persona (Austria 2014) and the high-tech trickery of their performance (Sweden 2015)…not to take anything away from Conchita or Måns (you guys know I love them both). Let’s also not forget that, with so few songs that weren’t entirely in English competing in 2016, not only did one of those win, but it was the one featuring a language new to the Eurovision stage. As Petra and MZW declared during ‘That’s Eurovision!’, music is a language that we all know how to speak, and Jamala’s Crimean Tatar transcended tongue barriers to entrance jurors and televoters everywhere (and make me cry in front of thousands of strangers). That’s one heck of an artist, and one heck of a song.
The EBJ Jury says…
- Ali 10
- Fraser 8
- James 12
- Jaz 12
- Martin 8
- Nick 6
- Penny 8
- Rory 12
- Wolfgang 12
Ukraine’s EBJ Jury score is…9.78
And with judgment passed on Jamala, I finally get to say this…we’re done! It took ever-so-slightly longer than I’d intended, as I said at the start – and involved me deviating to a different hemisphere for a few weeks – but the EBJ Jury has officially reviewed all 42/43 entries of Eurovision 2016. I think a round of applause and some hysterical screaming is warranted here.
Applause and screaming should also be directed at our winner for this round, who also won the actual contest and therefore gets to be the reigning champ until Sweden wins again next year: Ukraine!
- Ukraine (9.78)
- Austria (7.11)
- Czech Republic (6.89)
- Serbia (6.55)
- Finland (5.89)
- FYR Macedonia (5.44)
- Norway (4.89)
Austria finishes surprisingly strongly (as they did IRL) in second place, with the Czech Republic and Serbia not too far behind. Finland and FYR Macedonia could only muster up mediocre scores, and it looks like I was basically the sole supporter of Norway in the EBJJ. Today’s top 4 qualified in Stockholm, while the bottom 3 didn’t – so I guess as a group, we’re pretty perceptive. Or psychic.
Of course, there’s still one loose end left to tie up, and it’s the EBJ Jury Top 43. Each round of reviews has featured its own mini-ranking, but meanwhile, I’ve been busy combining and tie-breaking until I’ve been left with one big list of favourites, and…not-so-favourites. Next time, that ranking will be revealed – and since the 2016 comp has taken place, I’ll be comparing it to the actual Top 42 to see if my elite assembly of Eurovision freaks (I mean that in the most affectionate of ways) managed to predict any of the results correctly. Hint: we actually did!
I’ll (hopefully) see you then, as I continue to play catch-up and fill you in on all the details of my first, fabulous ESC experience. Over the next month or so, you can expect some belated national finalist playlists; my extensive gallery of 2016 doppelgangers; a series of Stockholm photo albums that will send you to sleep; and the annual EBJ Awards for Eurovision Excellence, in which you get to play a bigger part than ever (if you want to). Watch out for all of that – it’s on the way to help ease your PED. And mine, of course. I don’t do anything unless there’s something in it for me.