Hi guys! Jaz here. Before I begin this post properly, I wanted to apologise for being so AWOL since Eurovision and for taking an Alekseev-esque forever to get this final review up. The only way it could have been later is if I posted it closer to the final of Eurovision 2020 – and believe me, that could easily have been the case. Thanks to a lot of life stuff (some good, some bad and some that kept me inconveniently busy) I’ve had to prioritise other things for the past four weeks, and I couldn’t be on the ball with post-ESC discussions which I’m sincerely sorry for. I’m also sorry to announce that, since too much time has passed and because I’m still under pressure, I won’t be able to hand out any Eurovision awards this year. I’ve done so in some form every single year since 2009, so I’m pretty sad about having to abandon them – but I am planning to bring them back bigger (SO MUCH BIGGER) and better next year. By then you’ll be looking at a new and improved EBJ, because at the moment I’m also working on a complete revamp/rebrand of the blog to coincide – more or less – with its 10th birthday (!!!). I felt that an extreme makeover was due, and I thought this was the perfect time to make it happen. Please stay tuned for the unveiling (a costume reveal of sorts) and don’t give up on me if you’ve enjoyed my contest-driven content in the past. I’m still here, planning exciting Eurovisiony things for the off season, and I’m always available to chat on my socials. Follow me everywhere and/or subscribe to EBJ in the sidebar, so you know when I’m back on track and when you can check out my kickass new look and layout! Now, back to today’s post…
BREAKING NEWS: I’m still alive! My excuse for taking so long to get this grand final review done is that I pushed everything non-ESC in my life aside in the contest lead-up (since I couldn’t concentrate on anything else). And so, after the show I sadly had to spend some time attending to stuff like going to work, paying my bills and interacting with other human beings.
But I’m back on the blog now, with a supersized look at what went down on May 18. This was the final from top to bottom, feat. the controversial aftermath that’s left the contest with some loose ends. Are you up for attempting to read the whole thing? If so, get comfortable, brew yourself a behemoth cup of coffee, and I’ll see you on the other side of this Eurovision 2019 tsunami of typing. Catch me down in the comments where we can talk about all things Tel Aviv…if there’s anything I haven’t already mentioned by then.
That’s how you start a show! The star-studded flag parade
I don’t know about you, but I love the now-traditional ESC final flag parade/artist parade/whatever you want to call it. It gives all of the acts a pressure-free moment in the spotlight to say hey to the crowd, have a dance break or wordlessly advocate the destruction of capitalism. You know, the usual.
This year there were plenty of non-competing stars involved too, i.e. Dana International, Ilanit and Netta (of course). But the best guest was Nadav Guedj. No longer a teenager but still looking 30 like he did in Vienna at age 16, he asked us to let him show us Tel Aviv IN Tel Aviv, and it was magical. Thanks to KAN for making all of our dreams come true by bringing him back. I just wish we could have had the full three minutes of Golden Boy, since Nadav is the self-proclaimed King of Fun and all.
The automatic finalists bring their A-game
Now, on to the filling of this song contest sandwich. It’s a blessing and a curse having your spot in the final secured, and it sometimes feels like the Big 5/host country don’t have the same fight of the countries that made it through semis. I was pretty impressed this year, though…mostly. The first auto-finalist to take the stage was Germany, followed by hosts Israel, then the UK, France, Italy and last but not least, Spain. My ranking of their performances from ‘HECK YES!’ to ‘hmm’ might surprise you.
Spain Why did I love this? How did the tacky two-storey house manage to work? Why did the giant puppet not-on-a-string amuse, not confuse me? It must be the sheer power of Miki, his biceps and La Venda. This whole performance was OTT and not at all how I would have played it – but it was fun, created a party atmosphere and closed off the show in classic Eurovision style.
France Speaking of OTT, France could have taken Chanel’s advice and taken one thing off before leaving the house (or in this case, dropped one element of their staging before taking it to Tel Aviv) but again, I didn’t mind that much. Bilal has sass, stage presence and style pouring out of him. Combine that with the poignance of his two dancers and the home video slotted in at the end, and you’ve got a memorable and moving performance.
Italy For me, this live didn’t quite do justice to Soldi as a song, but that’s because the song is so good it’s better heard and not seen (not that I mind looking at Mahmood for three minutes). I would have preferred more of a ‘Sacha Jean Baptiste Does Switzerland’ approach to the visuals: edgy camera cuts, a restricted colour scheme and that screen ratio that gives things a music video look. But this is Italy and they never completely miss the mark.
Israel Say what you want about the song (and the possibility of Kobi being Sacha Baron Cohen in disguise) but this was a very classy presentation from Israel. After the bonkers-ness of Toy, it was a nice contrast to see them pull off something serious and sophisticated. There weren’t any plot twists, but a song being staged exactly as it sounds like it should be isn’t a bad thing.
Germany Call me crazy, but my opinion of Sister changed for the (slightly) better after Carlotta and Laurita had done their thing. Against the odds and my better judgment, I genuinely liked what Germany did with their staging, simple as it was. Chemistry and vocals were top-notch. This was not the definite last place performance I was expecting. Lucky I didn’t bet on it!
The UK Michael’s performance might be my least favourite of the auto-finalists, but it wasn’t bad. It just wasn’t anything special. It felt a bit half-baked as he wandered around the stage by himself for the first few minutes, and even when his backing singers materialised, it wasn’t a ‘wow’ moment.
Highlights of the first half
The honour of opening this year’s final went to Malta, which was going to be no mean feat for 18-year-old deer-in-the-headlights Michela. Chameleon was the best possible song to start with, but would being first cab off the rank scare her into underperforming? That was the question, and no way, José was the answer. Michela did an awesome job, even if she still lacked the confidence of former openers like Laura Tesoro and Imri Ziv.
Poor Albania was stuck with the cursed second slot (which was a waste of space for any country that wasn’t Germany, to be honest) but I was just happy to have Jonida in the final. As always, she looked stunning – Eurovision on Saturday night, flamenco competition on Sunday morning – and as always, she sang like an extremely impassioned songbird. Moody lighting! Fire! Writhing CGI bodies in a massive bird’s nest! This had it all.
Once again I had the pants charmed off me (not literally, but it was a close one) by the Czech Republic. Lake Malawi are fantastic live – with lead singer Albert delivering vocals almost as perfect as his teeth – and their simple-but-effective performance provided damning evidence that less is more. I couldn’t complain about any aspect of their three minutes, even if you held a confetti cannon to my head.
If you thought Sweden wasn’t going to make my shortlist of first-half highlights, do you even know me at all? Their staging was glorious, John was his usual charismatic self and The Mamas were fab. I would like some more fire from Sweden next year, and they’ll need it if they want to secure that seventh win Björkman in particular is so desperate for.
Everybody was switched on for the final, and that was extra evident with Cyprus. If you read my SF1 review you’ll have seen my Tamta roast (she wasn’t putting in any effort, her outfit was atrocious, etc) and while I stand by what I said then, I have to hand it to her – that Saturday night performance was AMAZING. Whatever was holding her back earlier in the week was no longer an issue, and she showed us all why she’s such a superstar when it mattered most. I actually came around on the crystal-encrusted bathing suit and crotch-high platform boots, so I guess I can’t stand by my initial comments on those. It’s not a great getup for grocery shopping, but for Eurovision? Sure.
The one to watch out for in this half was The Netherlands. And if there was anything amiss or missing in the semi – camera connection, descending lamps that dropped down a little too far, etc – it had been dealt with to make this a definite contender, if not the Fairytale-type runaway winner the odds were suggesting it could be. I still had the overwhelming desire to pick up that piano and throw it across the arena, but I couldn’t because a) I was at home in Australia and not inside the arena, and b) I’d have trouble lifting it, let alone making it airborne.
My favourite moments from a seriously stacked second half
Back when I reviewed Norway I said Spirit In The Sky was way too much fun to be left in the semi and miss out on the final top 10. Alexandra, Tom and Fred reminded me why with their sensational three-minute schlagerjoikfest (there’s a word I never thought I’d use, but I hope I get to use it again). I still wasn’t totally sold on the visuals, but the song is irresistible. And Alexandra is a Nordic queen who we need at Eurovision solo ASAP (no offence, boys).
The award for Most Improved Between SF and GF goes to…who else but Estonia? Victor’s semi performance at Eesti Laul was super ropey only for him to pull himself together for the final, and the exact same thing happened at Eurovision. Weird. Whatever the reason for the tune-up, the only thing wrong with Estonia’s performance on Saturday was that shot of a cameraman and the side of the stage that went on for a full three seconds. What is it with songs called Storm and things going wrong? Granted, a dodgy shot isn’t on the same scale as a stage crasher, but I’m starting to think this song title is cursed.
All references to how ridiculously good-looking Chingiz is aside (for the moment), Azerbaijan was well and truly back this year. If X My Heart was a half-hearted hop, Truth was a running leap across the Grand Canyon that landed safely on the other side. They may have been trying too hard with that tacky representation of Chingiz’ soul taking a quick vacay in the arena rafters…but apart from that, I have no issues. I would love to see Mr Mustafayev back at Eurovision in the future doing some of the flamenco-fusion he does so well. Preferably shirtless.
It was going to be hard for Serbia to stand out in such a competitive half of the final. In all honesty, they didn’t. But that doesn’t mean Nevena didn’t deliver absolute perfection. I love Kruna on its own, but the atmospheric staging, glamourous/edgy styling and phenomenal vocals were the salted caramel syrup and toasted coconut flakes on top (great, now I’m hungry).
I don’t know where Switzerland got that extra spark from, but it was in the air the whole time Luca and his ladies (and gentlemen) in red were dirty dancing their butts off on stage. This felt like a surefire podium finisher to me, or at least Switzerland’s most successful contest in (what feels like) forever. She Got Me was never going to be vocal jury bait, but it nailed the Eurobanger brief.
How can I not mention my homegirl Kate Miller-Heidke? With all the momentum she’d built during the week and all the talk of Australia potentially taking the trophy home, I was extra anxious during her performance. Would she deliver a knockout vocal again? Would the poles bend and not snap? Would she succumb to the pressure and accidentally fling her mic across the arena and concuss Jon Ola Sand? Thankfully, KMH sang beautifully and did not injure herself or the Executive Supervisor of the EBU. See, Australians can behave themselves when they’re overseas! Zero Gravity’s staging was and will remain iconic for a long time to come, so a big congrats to our delegation for making magic.
The best and worst of the interval acts
In hindsight, the 2019 show should have been called the Eurovision Interval Act Contest. If that were the case and we were awarding points to everyone who occupied the HOUR-LONG voting window, my douze would go to the Song Switch for sure. Conchita, Måns, Eleni and Verka practically blew the roof off Expo Tel Aviv (is that an inappropriate way of describing it?) with their respective reworkings of Heroes, Fuego, Dancing Lasha Tumbai and Toy. The most powerful rendition was Conchita’s; MZW gets the gong for Song I’ll Be Playing On Spotify Constantly; Verka by Eleni shouldn’t have worked but somehow it did (I could say the same for the strategically-placed stars on her bodysuit); and Verka herself took Toy to brilliant new levels of bonkers. I would happily watch an entire concert of Eurovision grads singing each other’s entries, especially if it culminates in a group song with yet another former winner like Gali Atari.
My other favourite interval act – which I had to YouTube later because Aussie broadcaster SBS cut it out to make room for an ad break – was The Idan Raichel Project with Bo’ee. I was already a big fan of Idan, so when I found out he was on the program it was like discovering Darin and Agnes were doing Malmö all over again (well, maybe not quite that exciting, but what is?). This guy moves me with his music like an Israeli version of Joci Pápai, and there was no chance I’d be unaffected by his Eurovision appearance. Any chance we can have him and his project represent Israel one day, KAN? You’d get most of my votes if you made it happen.
Then there was Netta, who popped up again in a subtle yellow number to perform Margaret’s In My Cabana. Or was it her new song Nana Banana? I can’t really tell the difference, but I always enjoy watching her do her thing.
The eyepatch-wearing elephant in the room at this point is Madonna, who was sickeningly overpaid to “perform” (a.k.a. attempt to sing and then have the crap autotuned out of her voice) Like A Prayer – a song of hers I do normally enjoy – and Future – a song of hers I don’t want to enjoy but find myself singing in the shower. If we’re going to compare her to the 26 acts that performed in the competition, here’s my verdict: her staging and costuming were elaborate and on point, but her vocals were not up to scratch. If we had to have about 57 interval acts, then I’d have preferred more affordable Israeli entertainment…or an extended Song Switch with Salvador Sobral doing his best job of Hey Mamma by the Sunstroke Project. A girl can dream.
Jaw-dropping jury results + televoting triumphs and tragedies
About six months after Malta opened the show – thanks to that excessive voting window – it was finally time for the results to filter out, starting with the points from the juries. You guys know what went down, so I’m not about to rehash the whole sequence…but here are a few things that stuck out to me.
The big shock success with the juries was North Macedonia. Maybe I should have seen it coming (I had been trying to figure out who the Austria 2018 of 2019 would be, but couldn’t land on anyone) but nope, my jaw was on the floor as big points rolled in for an equally-surprised Tamara over and over again. Proud is hardly one of my favourite entries of the year, but I couldn’t help having my heart warmed by such butt-kicking from a country that hadn’t even qualified since Baku. It’s terrible that Tamara and her team were robbed of knowing North Macedonia won the jury vote during the broadcast…but more on that in a minute.
Italy and the Czech Republic also found favour with the juries to an extent I didn’t expect. Obviously Mahmood was a jury winner in Sanremo, but I wasn’t sure the professionals would warm to the urban style of Soldi at Eurovision. That 4th-place finish said otherwise, and I was damn excited about it! I’m also thrilled for Lake Malawi, who must have come across as flawlessly to the jurors as they did to common folk like myself watching the following night. I thought the Friend of a Friend lyrics, if nothing else, might turn them off – but perhaps it really hit home that sometimes, noisy neighbours sound like YOU AND ME WHEN WE’RE MAKING LOOOOOOVE.
In terms of countries I thought would fare better than they did on the jury vote, The Netherlands and Australia come to mind. Duncan’s 3rd place is nothing to scoff at of course, but I figured if he couldn’t win the jury vote he’d have to be runner-up at least. The actual result cast some brief doubt on whether his televote score would be enough for The Netherlands to win. Kate Miller-Heidke’s 6th place was also fine, but I think some jurors might have seen her performance as novelty rather than the incredible show of talent and lady-balls that it was.
Serbia and Israel also did worse than I’d predicted. The host country got an especially raw deal (something we’re used to seeing at this point) with 12 points and 12 points alone from the “Belarusian jury”, which we later found out should have been a big fat zero. Poor Kobi.
After all that, it was time to move on to the televote and see how the new point-presentation method would pan out. It was confusing, it was heartbreaking here and there, and it gave us moments like these:
- The Czech Republic receiving 7 measly public points. What was that about? I’m even more shocked by this than I am by their jury score. All I can think is that Lake Malawi’s early running order position paved the way for 23 other songs (well, minus the UK and Germany) to memory-block them into almost nothingness. FOR SHAME, EUROPE (not Australia because we gave them 2 of those 7 points).
- Norway’s spectacular three-digit, winning – as we found out later, grr – score that more than made up for the lack of jury love for Spirit in the Sky and had Alexandra crying adorable tears of joy. If only KEiiNO had been left until last á la the “old” results sequence, ramping up the tension and letting them celebrate that televote win on camera instead of later when it dawned on them what had happened.
- That now iconic ‘I’m sorry…’ to Germany as they scored absolutely nothing. On the one hand, it’s an achievement to rack up zero points from 40 countries, especially on more than one occasion. On the other, I do feel sorry for S!sters, who delivered the best performance possible and deserved at least a handful of points for their trouble. Having said that, I didn’t have a reason to vote for them, and I guess nobody else did either.
- Sweden and The Netherlands being set up as the last two standing when in fact, they were not. Some people got the same enjoyment out of watching John Lundvik’s soul be destroyed that they got out of Benjamin Ingrosso’s 21 points last year, but celebrating a comparative failure is pretty mean-spirited IMO – and the new system ensuring it would be fixated on quite frankly sucks.
As a last word on this, I’m going to beg the EBU to revert back to the perfectly tense and dramatic 2016-2018 televoting sequence. It wasn’t broken, so there was no need to fix it. And that way we can avoid the on-screen devastation of cinnamon-roll Czechs, vulnerable teenagers from Malta and Swedes fooled into thinking they’re one of the two remaining contenders when they’re actually not even close. All of the above was PURE EVIL, even if it did make great TV.
Thoughts on the final scoreboard and this year’s winner…actually, wait a second!
Because which scoreboard am I supposed to discuss here? Just when we and the Eurovision acts themselves had come to terms with who finished where, mistakes became apparent. If we thought that one Danish juror ranking backwards in 2016 was bad, we were wrong.
The biggest ‘oops!’ has to be the Belarusian “jury” points – put together based on their allocation pot after the actual jurors weren’t able to, in the words of Chingiz, shut up about it – being delivered backwards. Your guess is as good as mine when it comes to how the hell that happened, but as a result, Israel ended up with 12 points when they should have received 0, and Malta was denied a douze point celebration. And that’s the tip of the iceberg in terms of what was affected by this monumental f%$k-up. You know it all by now, but Sweden moved up to 5th place, bumping Norway down to 6th; North Macedonia moved from 8th to 7th (oh, and they actually WON the jury vote); Cyprus moved from 15th to 13th; and a bunch of other countries swapped places too. WTF?!?!
Then it was revealed that, thanks to the possibility of three jurors voting backwards, Poland and Lithuania could have qualified to the final over Belarus and Denmark in their respective semis. Obviously, any truth to this can’t change anything, but that just makes me feel extra bad for the implicated countries. Lithuania might have been the most severely screwed over. An issue with the Italian televotes was dismissed, one that would have put Jurij in 10th place…but if the Russian juror alleged to have ranked backwards did do so, it would also have put Jurij 10th. He then would have tied with Leonora, and on (my) countback it seems Lithuania would have been sent through to Saturday instead. My GOD. This whole situation is messier than my bedroom, and it’s going to be hard to trust the initial results next year in the Netherlands – though you’d think this reflects so badly on the EBU, they’ll do anything to ensure it doesn’t happen again.
Speaking of the Netherlands, let’s move on to happier topics (and from now on I’m talking about the altered, correct version of the scoreboard). A big belated congratulations goes to Duncan from me, for grabbing the first Dutch win in 44 years with a song that may not have been my preferred winner, but is undeniably worthy (and if you’re about to deny that, just imagine me drowning out your voice by blasting the ‘DOOOOOON’T DEEEEEEEEENYYYYYY’ part of Face the Shadow). Arcade is Amar Pelos Dois all over again for me: a beautiful ballad feat. a pitch-perfect, pared-back but still atmospheric performance that I wasn’t personally emotionally invested in, but I knew it was The One anyway and could accept that. Especially since it means I may well be off to the Netherlands next May, a place I’ve always wanted to go and a place I’m sure will host the shiz out of the ESC, if their JESC efforts are anything to go by. Also I really, really like stroopwafels – so if I do go to Amsterdam/Rotterdam/wherever, I’ll probably be eating them for every meal.
Other results that put a spring in my step in spite of the disastrous Post-Eurovision Depression were Italy finishing 2nd, their equal-highest placement since 1990 (though I was surprised they hit those heights with a good but not great performance…see below); Switzerland scoring their first top 5 finish since 1993; Sweden scoring their 7th top 5 result of the decade; Australia squeezing back into the top 10 after last year’s blip; and the Czech Republic doing pretty well for themselves even with the handicap of that disgustingly low televote score. I’m not going to dwell on the “losers” of the night, but I will say this: for the love of Jessica Garlick, PLEASE get your act together BBC. Something’s got to give and it has nothing to do with erasing Brexit from the memory of the voting public. As Leonora keeps telling us, don’t get too political…because it’s stupid.
As happy as I am with a lot of the final results, there are some that still don’t sit quite right with me. Was it just a weird contest and nothing would have made sense no matter what happened? Maybe. But I’m talking Italy’s 2nd place (which performance-wise, doesn’t feel as slick or iconic as Fuego, Beautiful Mess, Sound of Silence…I could go on); Russia’s 3rd place (which feels a little unearned, and my gut feeling is that bronze position deserved to go to Switzerland); Australia’s 9th place (call me biased, but with such a statement performance and so much pre-final momentum it seems like we should have ended up a bit higher); and a few placements further down that I’ll sit and stew about quietly because I’ve already said too much. If you’re as confused by some of the outcomes as I am, then let’s both hope 2020 brings with it a more straightforward Eurovision in every possible way.
Okay – believe it or not, I think I’ve said everything I wanted to say about this year’s dramatic, slightly disastrous (in hindsight) Eurovision final. I know it took me a few weeks longer than everyone else on the planet, but it’s better to arrive late to the party than to not turn up at all.
I still have some 2019 coverage to come here on EBJ, and then I’ll be moving on to some top-notch off-season content if I say so myself. That will include a Best of the Decade series, where we celebrate all that the ESC has gifted us throughout the 2010s…and boy, has it been generous! I hope you’ll drop by for some of that goodness. Remember to subscribe in the sidebar and/or follow me on my socials (also in the sidebar because CONVENIENCE) to make sure you don’t miss a thing.
In the meantime, hit up that comments box with your personal highlights and lowlights of Tel Aviv. Whatever you’re thinking, if it’s Eurovision-themed I want to hear it. If it isn’t, I’ll have to pass. Sorry.
Until next time,
Hello again, and welcome to the space between Eurovision’s second semi and the grand final, when speculation is at an all-time high and so is nervous anxiety (or is that just me now that Australia has climbed to second in the betting odds?). We have ten more qualifiers, and the final line-up is complete right down to the running order. But before I get into that, let’s have a look at the juicy bits from last night’s semi: the performances and the results.
PS – I hope you’re proud of me for producing a short, normal-person introduction for once.
The performances: From WTF to OMG
Once again I’ll run all the way down the list of 18 acts, but in order from my least favourite performance to the one that had me picking up my phone to vote (only to realise that I couldn’t vote in this semi…oops). Let me know how you would rank them in the comments.
Moldova For those of us who remember Ukraine 2011, this was the Walmart to Mika Newton’s Chanel. For those who don’t recall that performance, I’m assuming this still came off as soulless, substandard and at times, downright ridiculous (Kseniya trying to mime the “snow art” at double speed would have fooled no one with functioning eyesight). Anna’s vocals were solid, but her dress screamed 1996 senior prom…and Stay is even more dated than that.
Ireland Well, wasn’t this cute? I’d happily hang out with Sarah and her gal pals at Diner 22, drinking prop milkshakes and lying unhygienically on the counter bemoaning my lost love. Unfortunately it was all a bit amateurish – the high school talent quest act of SF2 that Montenegro provided in SF1. I loved the Roy Lichtenstein-esque pop art backdrops (he happens to be my favourite artist) and I admire Ireland’s commitment to retro, but there was no question about the DNQ Sarah had coming.
Austria I was looking forward to seeing how Limits would come across live: whether it could win me over with its understated beauty, or if I’d be bored by the repetitive chorus that wears me out when I’m listening to the studio version. In the end, Paenda left me somewhere in the middle and somewhat unsatisfied. Her staging was well-executed, but she lost control of her vocals a few times and I found it distracting. This needed to be totally pitch-perfect and she just couldn’t pull it off.
Latvia That Night is another song that makes it hard to stay awake (especially as an Australian watching it performed at 3.30am) and the last minute or so drags beyond belief. That was definitely the case last night, but I have to give credit where it’s due: the staging and setup was lovely, if not engaging or exciting enough. Lead vocalist Sabine was the shining star, glowing like a goddess on camera and delivering silky-smooth vocals. Latvia did the best they could with what they chose.
Armenia Okay…there were some extreme pros and cons here. Positively speaking, Srbuk looked fierce AF and suitably, sang like a woman scorned (scorned but still very much in control of her vocal cords). But the Negative Nancy in me nearly expired when those empty arena shots were spliced in. What was Armenia THINKING? I assumed something had gone wrong and rehearsal footage had been hurriedly inserted to cover for it, when it was a calculated decision all along. WHY?!?
Lithuania There was nothing wrong with Jurij’s performance per se. He looked mighty fine if I may say so, and you’d be hard pressed to nitpick at his vocals. But there was nothing to speak of in the way of staging, and Run With The Lions isn’t an Arcade or a Too Late For Love – a.k.a. a song that can not only survive but thrive with pared-back, lighting-centric staging. The only zing I felt from this was a little one every time Jurij shot one of his alluring looks down the lens. I’m only human!
North Macedonia North Macedonia not stuffing up their staging was proof that miracles can and do happen. Tamara’s vocals weren’t as flawless as I was hoping, but they still had power and passion, and her whole performance was classy and elegant. I’m not one for gigantic faces plastered on backdrops (when will that go out of fashion, FFS?) but I’ll make an exception for the black-and-white photography used here. The pic of Tamara and her daughter at the end was the clincher.
Norway Something was weird about this. It was too dark and not joyful enough, and the stage felt super empty both when KEiiNO were apart at the start and when they joined forces later. Why then, you might ask, don’t I have Norway lower down in my ranking of the 18? The answer is, because I f*%!ing love Spirit In The Sky as a song and it was still enough to satisfy me. I also love the chemistry this trio has, and Alexandra’s overall perfection sight-wise and sound-wise. She’s a queen.
Romania How do you say ‘OTT’ in Romanian? The On A Sunday music video came to life on stage last night and although it was a lot to process, I wasn’t mad about it. And no matter how many kitchen sinks were thrown at this, I couldn’t be distracted from Ester’s crazy-good vocals – she’d never sounded better. She also played her part of the jilted and slightly crazed ex to an Academy Award-winning standard, which may have put some people off but to me was a highlight.
Russia I don’t really know how to feel about this. Sergey is a great guy with superstar stage presence, and he can SING (imagine how fantastic Scream would have sounded if he’d sung it in Russian). But this staging left me cold. I felt like I was supposed to be impressed, but the wow factor of You Are The Only One was nowhere to be found. It’s a strong package, but not a winning one the way I see it. Showering on stage fully clothed can only get you so far.
Denmark Some call this creepy, some call it cute…I call it both at the same time. There was a slight twist on the DMGP performance at play (and either the chair had shrunk a bit or just looked like it had) but mostly it was a carbon copy, including the top-notch vocals and unblinking stare of death from Leonora. I can’t fault this on a small scale, let alone a massive one. Denmark looked extra sweet and light after Romania, and it seemed that worked in their favour.
Croatia Melodramatic, flamboyant and just the kind of thing media outlets will pick up on so they can say ‘That’s SO Eurovision!’, Croatia put on a serious show (that couldn’t be taken too seriously). The story they told was loud and clear, and when the sexy golden angels awarded Roko his wings, I felt the strongest rush of guilty pleasure a person could possibly feel. And I know I’ve banged on about vocals a lot so far, but damn – Roko is a talented teenager. He owned his three minutes.
Albania Personally, I’d have factored more lights, shadows and fire into Albania’s performance. But that aside, HOLY HECK. Jonida is an incredible woman with a powerful, haunting voice that could cut through cement, and a striking sense of style that was on show via that glorious back and gold (or was it blue and white?) dress. I could not love her more, and she poured Jamala-level emotion into Ktheju Tokës. Kudos to her kick-ass backing singers too.
Switzerland To keep talking like the staging expert I am not, I envisioned something different for She Got Me. I was also a little disappointed in the dance break, which wasn’t half as dynamic or energetic as Luca’s dance moves throughout the rest of the song. But whatever – this remains one of my favourites in the contest, and it’s only partly to do with Luca’s biceps. Hearing the audience respond to the choruses made me so excited for Switzerland. Man Fuego is more than fine by me.
The Netherlands The big favourite did not (totally) disappoint. I have reservations about the staging, in particular the piano – and the fact that it takes ages for a close-up shot of Duncan to appear and allow him to connect with us down the camera. But Arcade is a stunning song, and Duncan’s vocals (here she goes again with the vocals!) were gorgeous. I’m not sold on this as a winner – I don’t get The Vibes – but since I said that about Israel this time last year, bring on Amsterdam 2020.
Malta This little island has done big things in Tel Aviv. Chameleon is such a cool song, and the youthful, colourful staging did it justice. Michela didn’t quite exude the confidence of fellow teen Roko before her, but she sang well and looked more and more comfortable as the song went on. While I expected to be impressed by Russia and wasn’t, I didn’t have huge expectations of Malta only to be blown away. Great stuff.
Azerbaijan Sure, Chingiz could have stood on the stage and flossed his teeth for three minutes and I’d still have swooned. But he did much more than that. This was a slick, high-tech performance, elevated by the ethnic bridge and dragged down by that tacky gimmick towards the end. Then again, was it any tackier than supersized CGI Cesár Sampson? Austria didn’t suffer for that, so I suspect Chingiz ascending in a blaze of bargain basement fire won’t impact Azerbaijan’s success.
Sweden If you’re shocked by Sweden’s performance being my fave of the night, you must be new around here. Was it absolutely perfect? I’m going to say no, mainly based on us not getting a good view of The Mamas’ strobe-lighting reveal. But was it joyful and uplifting and expertly-engineered nonetheless? Oh yeah. I just need John to give even more oomph and sparkle in the final, where he rightfully deserves to do very well for himself.
After all that, we were treated to another awesome mash-up of ESC entries; a performance from Shalva Band that warmed even my cold, cynical heart; and previews of Germany, Italy and the UK on the Expo stage (which didn’t change my mind about Germany). Then it was time to find out who would be staying in Tel Aviv for the weekend, and who…well, wouldn’t.
The results: As expected…for the most part
Despite being the more competitive semi, this was the easier of the two shows to predict – for me, anyway. Correct me if I’m wrong! Ultimately North Macedonia, The Netherlands, Albania, Sweden, Russia, Azerbaijan, Denmark, Norway, Switzerland and Malta made it through. The unlucky eight were Armenia, Ireland, Moldova, Latvia, Romania, Austria, Croatia and Lithuania.
New name, new stroke of luck? That might hold true for North Macedonia, who find themselves facing their first final since 2012 on Saturday. I can’t say I’m too surprised, even though Proud isn’t one of my preferred picks of the year and I wouldn’t have voted for it had I been able to vote. Albania was the one I didn’t see coming, but I’m stoked to see them qualify again with a song they didn’t feel compelled to switch into English.
The rest of the top 10 were more or less expected to progress, though Denmark and even Norway were borderline – but Finland aside, we now have a full Nordic house for the final. I had a mini heart attack waiting for Switzerland to be announced, which was no doubt the intention of whoever decided on the “random order” this time round. But my pounding chest would have been nothing compared to what Malta’s Michela was feeling, as she sat through nine countries’ namedrops hoping and praying for her own to be spoken. It was borderline psychopathic making her wait so long, but worth it for what is now an all-time favourite reaction of mine.
Who won this semi? It has to be The Netherlands, though I’m not so sure Duncan would have won both the jury and televote (and I don’t think he’ll do that in the final either). The other end of the spectrum includes Armenia, who have now missed out two years running; Moldova, whose run of fun-driven fortune has screeched to a halt; Romania, also missing out again after their first ever DNQ in Lisbon; and Austria, who will be absent from the final for the first time since 2013. It really was a raw deal sacrificing eight songs in this semi, but those are the rules of the game…and if you’re not good enough, you’ve got to go.
Now for a quick word on the running order for the final, which was released pretty rapidly after last night’s qualifiers drew their halves. Opening was realistically between the Czech Republic and Malta (Björkman wouldn’t put Sweden first on a Saturday, nor would he want a replay of Replay being first on stage) and we’re really getting the party started with Chameleon. Albania scores the cursed second slot – a lucky escape for Germany. Russia won’t be thrilled with fifth position, and it looks like we can count them out for the victory they were desperate for. Sweden gets a decent, relatively late first-half spot between North Macedonia and Slovenia, while winner-in-waiting The Netherlands sits pretty in 12th – though that Cyprus/Netherlands/Greece run is intense.
Israel, as we already knew, will kick off the stacked second half which includes Norway, Iceland, Azerbaijan, France, Italy, Switzerland and Australia. My flying fairy queen Kate performs in 25th, the penultimate position previously occupied by Kristian Kostov and Eleni Foureira. And finally, we’ll end the show as we started it: in party mode, this time thanks to Spain.
With all that to contend with, plus about fifty interval acts (Madonna is the tip of the iceberg), it’s going to be a long night – or morning, for me and my fellow Aussies. But it looks like it will be a final worth getting next to no sleep for. The winner may be expected, but 2nd through 25th places (because you know who I think will come last) are up for grabs, and there’s sure to be some shocks when all is said and done.
That’s all I have to say for now, as we count down the hours to Eurovision 2019’s night of nights. You’ll be able to find my predictions for the show on all of my socials @EurovisionByJaz – so please follow and/or like if you don’t want to miss them (links are in the sidebar).
If you do want to miss them, fair enough. I’m keen to hear yours though, so leave me a comment here, there or anywhere and tell me where you think we’ll be going in 2020. Is Amsterdam inevitable, or is Milan still a possibility? Could Australia be choosing a European country to host on our behalf, or will be back in Sweden next year? Maybe I’m way off the mark and Berlin will be our next destination. Whatever you’re thinking, let me know below.
Merry Eurovision weekend!
Hello again, if you’ve been here before…and welcome if this is your first time dropping by! I’m Jaz, and these are my Eurovision 2019 reviews. If you’d like to catch up or need a refresh on the countries I’ve covered so far, check out Rounds 1-3, ASAP:
- Round 1 Albania, Cyprus, Latvia, Montenegro + Serbia
- Round 2 Australia, Georgia, Hungary, Romania + Switzerland
- Round 3 Croatia, Czech Republic, Estonia, Lithuania + North Macedonia
All up-to-date? Awesome. I’ll get going with Round 4 then, featuring Armenia, Belarus, the Netherlands, Norway and Russia. In this bunch is the bookies’ favourite, the bookies’ second favourite, a former Junior Eurovision co-host, a powerhouse vocalist and KEiiNO (look, they’re hard to describe in just a few words). It’s a mixed bag, but I was feeling generous when I reviewed them and may have handed out some very high scores. Want to know who got what? Well, there’s only one way for you to find out!
See what I think of Srbuk, Zena, Duncan, KEiiNO and Sergey’s songs for Europe (slash Australia slash the rest of the world) and share your thoughts in the comments.
Armenia + Eurovision = a bit of a sore point for me after my precious Qami did a DNQ in Lisbon. I do understand how it happened (though I will argue that it’s an amazing song until the day I die). But that was the first time ever a song in my top three hasn’t made the final. I’m used to songs I love finishing last in the final, but the Sevak situation was a fresh kind of hell I’d prefer not to experience again. Fortunately it isn’t going to happen with Armenia this year since a) Walking Out has a way better chance of qualifying, and b) I’m not super-duper invested in it to start with.
Don’t get me wrong, I do like it. I didn’t know what we were going to get from Srbuk once we finally got it, besides something along the lines of Half A Goddess. The ESC entry didn’t end up sounding like that at all, but that’s testament to this lady’s versatility. Walking Out is more of a soulful power ballad with an edge, but almost all of its attitude comes from Srbuk herself and her cracking vocal performance (literally…watch your windows towards the end). She tells a story with her voice as she swaggers through the song, letting frustration and anger build during the verses and then venting it in the chorus. Speaking of the chorus – with a few anticlimactic ones in the 2019 contest, it’s great to have something explosive from Armenia that’s bound to be sung along to by everyone who’s ever wanted out of a relationship (or anyone who’s just feeling angsty). It’s the centrepiece of the song, as it should be. But Walking Out doesn’t reach its climax with the chorus. That happens in the last thirty seconds thanks to Srbuk’s screeching. Impressive, in-tune screeching which makes the song a lot more memorable. You know what they say: go hard or go home.
As Armenia has gone hard, I don’t think they’ll be going home early this year. Qami’s staging must have been a misstep because I do trust them to stage the heck out of a song like this. Based on the music video, I’m expecting something powerful and artistic with an emphasis on strong choreography. And of course, a troupe of attractive men wearing tuxedo jackets over their bare torsos would be a welcome addition. Shirtless men involved or not, there’s no doubt Srbuk will start the SF2 party off with a bang (too bad Maruv can’t provide the bang for SF1). And assuming she nails her vocals for the jury shows and the broadcasts, this will have major woman power. I know I said I wasn’t obsessed with Walking Out, but I still think it kicks butt. You go, girlfriend.
In a line An attitude-packed theme song for pissed-off spouses and other angry people 2018 VS 2019 2018 – you know I’m qrazy for Qami Predicted result SF 5th-9th, GF 8th-14th My score 8 points
Like Armenia, Belarus will be looking to recover from a somewhat surprising (until we’d witnessed the performance) DNQ in Tel Aviv. The only similarity between ZENA and Alekseev, since she doesn’t have flowering plants penetrating parts of her body and won’t shake like a leaf on stage, is the scent of national final rigging they share. I know there may be no truth in the rumours, but like last year it seems only one act had a chance of winning the 2019 Belarusian NF. And that was ZENA, whose name I apparently have to type in capitals even though it looks like yelling. Junior Eurovision fans will recognise her as one of 2018’s co-hosts, and her experience presenting such a big show on such a big stage – in English – has helped a heap with her ESC journey.
Oh god…did I just use the term ‘journey’? Forget that, please. At sixteen, ZENA is confident performing to a crowd and to cameras; she can sing and dance at the same time (not flawlessly on both counts, but I’ll come to that); and she has no trouble with English pronunciation, which is a bonus when you’re singing a song as wordy as Like It. I thought Italy was supposed to be master and commander when it comes to maximum words per minute, but Belarus takes the title this year. The wordiness is one of the things I really like about Like It. This is such a fun song, and an underrated one in the fandom as far as I can see (which is about as far as my Twitter timeline). It’s catchy, energetic and age-appropriate without being too youthful to have adult appeal. The frantic verses are thankfully broken up by the more minimalist pre-chorus and chorus, the latter being so simple you could lip-sync it in your sleep…which isn’t a bad thing. And the whole song is catchy as heck. I wouldn’t be shocked if Zara Larsson came out with something like it (title pun intended).
On the downside, it’s a better studio song than it is a live song, but ZENA’s performances so far have been far from disastrous and just need polishing. She is one of those vocalists who can struggle until they get to belt out a big note. She handles those better, but who could blame her when there’s barely time to breathe during those verses? Apart from some vocal coaching, I’d also like to see some development in the staging come Eurovision rehearsals. It wasn’t bad at Eurofest, but kind of basic and could easily be amplified to match the much bigger event/stage space in Tel Aviv. All in all I see potential in this package, and I’d love to see it qualify. Sadly, though, I don’t think I’ll have any spare votes for Belarus by the time I’ve voted for my other first-semi favourites.
In a line Yes I’m gonna like it, yes I’m gonna like it 2018 VS 2019 This is a tricky one, but 2018…I think Predicted result SF 9th-13th, GF 16th-20th My score 10 points
The Netherlands have been pretty hot Eurovision property since 2013, when Birds (inexplicably) gave them their first top ten result in years – and paved the way for a string of successes including Calm After The Storm’s second place. Sure, Trijntje Oosterhuis-gate was an exception, but the less we mention that the more we can pretend it never happened. After a solid if divisive showing last year in Lisbon, the Dutch are back on form in 2019…and then some. We’re talking about the current and longstanding odds leader here: The Voice of Holland alumnus Duncan Laurence (who was coached on the show by none other than Ilse DeLange) and Arcade. To cut a long story short, this song is so good I didn’t even notice Duncan was butt naked in the music video at first – which for me, a straight woman with an eye for a sculpted male behind, says a lot.
To NOT cut a long story short, here’s the specifics of why I think Arcade is amazing. Starting out sparsely but creating an atmosphere fast is musically uncommon, but this song does it with ease. It’s arresting from the beginning, with the first line alone enough to send shivers down my spine. Then Duncan drops in with his delicate vocals – lighter than air but carrying the weight of loss and hopelessness at the same time – and tells us an emotional tale without a trace of the contrived, cheesy lyrics Waylon crammed into Outlaw In ‘Em. Everything that leads up to the chorus is fragile and beautiful, and then the chorus comes along and Duncan gets to let the pain loose while packing a punch of his own. It’s all ethereal and floaty and full of feelings, and stops you in your tracks (unless you’re a soulless cyborg). And on top of that, the metaphor that runs through the song actually makes sense. An arcade à addictive games à pennies in slots à winners and losers…well, it makes sense when you listen to the song. Unlike, for example, Malta’s cannibal/animal/miracle mish-mash of WTF from 2018.
We will have to wait until rehearsals start to know whether The Netherlands can win Eurovision 2019, but so far so good. That includes Duncan’s live performances, when he’s delivered a falsetto that has had me falling to the floor. There are certainly less obstacles on his way to the win than there are for the other favourites: Italy might not have the mass/jury appeal they need, the Swiss EiC performance raised doubts, and Russia is trying way too hard to their detriment. All of those countries are more likely to rank highly with juries OR televoters, not both – whereas the Netherlands has televoting appeal and jury boxes ticked. That’s thanks to a stunning song, an attractive and likeable performer (who we know has been blessed in the butt department) and the chance to use Arcade’s atmosphere to create a spellbinding stage show. Given that the man behind both CATS and Walk Along – who is somehow the same man – is in charge of this entry’s presentation, there’s a hit-or-miss risk. But with all the hype and Duncan’s status as favourite, I can’t imagine the delegation stuffing this one up. Amsterdam 2020 is a definite possibility.
In a line A ballad so beautiful, I could cry 2018 VS 2019 As much as I adore leopard print, it’s got to be 2019 Predicted result SF 1st-3rd, GF 1st-3rd My score 12 points
The 2019 selection season was full of surprises, and it often wasn’t the favourite act who took home ESC representation rights. In Norway, however, KEiiNO – made up of MGP returnees Tom Hugo and Alexandra Rotan, feat. the Norwegian Jon Henrik Fjällgren – won to the shock of nobody. Only Alexander Rybak could have beaten them (even if he’d taken part with a song called ‘That’s How You Play A Recorder Really Badly’ that lived up to its title). Spirit In The Sky is another light-and-fluffy entry from Norway, but it arguably has a bigger fanbase than That’s How You Write A Song did. I like both songs a lot, but while Rybak’s was a guilty pleasure I’m happy to own my enjoyment of KEiiNO’s.
It’s a banger, folks. A banger with JOIKING. It’s as if the aforementioned Jon Henrik Fjällgren teamed up with Jessica Andersson and Martin Rolinski for Melodifestivalen. Only this is Norway, and believe it or not, I can stop talking about Sweden for long enough to discuss a different country. So, Spirit in the Sky: what an epic combo of modern and traditional sounds it is! Tom kicks things off with a mysterious pre-verse verse (if that’s a thing) before Alexandra takes the lead and brews up the dancefloor filler chorus we just know is coming. Then Jon Henrik Fred gets joiking and makes Norway’s mark on Eurovision 2019 tattoo permanent. There are a handful of musical styles at play here – pop, dance, a touch of schlager and those ethnic elements – but they all work together as well as Tom, Alexandra and Fred. In this trio, nobody in particular carries the performance or outshines the rest of the group. Kind of like O’G3NE, but without the mind-boggling harmonies and sisterly synchronicity.
Lack of harmonies and blood relations isn’t going to stop KEiiNO from outdoing O’G3NE in the Eurovision final, I suspect. Their song is too catchy and iconic to finish outside of the top 10. I realise that the second semi has Norway performing between the deadly serious, straight-faced drama of Albania and the delicate, moving Netherlands…and some fans understandably think Spirit in the Sky will taste cheap and tacky in that sandwich. Personally I think it’ll be a breath of fresh air after a run of intense, down-tempo ballads, and it will stand out. I don’t expect another semi winner from Norway this year (and TBH I’m still not sure how it happened last year) but I am expecting a comfortable, deserved qualification and a result on par with Grab The Moment or Monster Like Me.
In a line Sensationally Scandinavian ethno-dance-pop 2018 VS 2019 2019. This is how you write a song Predicted result SF 4th-6th, GF 7th-10th My score 10 points
I think we all knew that this day would come: the day Sergey would return to Eurovision to avenge himself after 2016, The Year Russia Should Have Won According To Russia (and the televote). On the plus side, 2019 isn’t looking too much like 2016: Ukraine is no longer competing, Australia is at risk of a DNQ and sadly, Måns and Petra are nowhere to be seen. On the other hand, once again there are songs that might squeeze into the winner queue ahead of Russia based on Russia showboating and trying desperately hard to win. God knows – though he might have told Philip Kirkirov – what Sergey is going to have to do on stage this time to eclipse everybody else’s staging, but we certainly need to brace ourselves.
About the song…well, great expectations were heaped on Russia, I know. We all figured Sergey wouldn’t make a comeback with any old entry and would want to win, and with great expectations come inevitable tweets from Eurofans complaining about how underwhelmed they are. But really, a dated but dramatic and earwormy song elevated by impressive staging was Sergey’s M.O. in Stockholm, so we should have seen Scream and Kirkirov’s promise to knock our socks off coming. I’m glad the song isn’t a stylistic carbon copy of You Are The Only One. Instead it’s a big, theatrical ballad that belongs in a Broadway musical, and it’s bound to let Lazarev show off his spectacular set of pipes (because the man can sing) rather than keep him busy dancing and climbing up/falling off unclimbable walls. The instrumentation is grand and beautiful and makes me wish we could have a forty-piece live orchestra just for the occasion. I like the chorus, especially that ‘OH OH OHHHHHHHHH’ bit, which gives me goosebumps. And I appreciate the message of the song and how it more or less advocates men being allowed to cry. I totally support that.
But there are cons to those pros. Sergey may be in tears on May 18th, but not trophy-lifting tears. Behind all the drama of this track is little substance. It’s much ado about nothing. And I have trouble getting past the lyrics, which are so clichéd and excessively rhymey they sound like a poem I might have written in my diary when I was a pre-teen. I still see Scream as a possible winner, but I’d be disappointed if it did take the prize (let’s pretend Russia hasn’t won before with a returning male artist whose victorious song wasn’t as strong as their previous top three entry). Considering how statement the song is, Sergey’s talents and how impactful the stage show will be, Russia may be there or thereabouts, but the whole thing screams (HA) 2nd place max to me. There are plenty of better, more contemporary and less desperate-FTW songs competing, and if Russia did win it would be like it only happened because Sergey had an IOU. Should they do it, I’ll be happy for the man himself since I fell in love with him a little in 2016 (I went to his press conference where he was super sweet and humble and tripped up the stairs when he came in which was too cute). But Scream as a winning song? Net.
In a line A big, bold comeback that shouldn’t win by default 2018 VS 2019 2019, unless Sergey also gets an ill-advised mountain prop to sing on top of (or would that actually work for this?) Predicted result SF 2nd-5th, GF 2nd-4th My score 8 points
And that’s my five for today judged and scored! Stand by for me to change my mind on said scores at least three times before the contest arrives. At the moment, they look like this:
- The Netherlands (12)
- Norway (10)
- Belarus (10)
- Russia (8)
- Armenia (8)
Surprise, surprise – the favourite to win is also my favourite of these five. Sorry for being so predictable.
Now, an update on my overall ranking for anyone who’s interested (if you’re not, just make like Finland and look away):
- Hungary (12)
- Switzerland (12)
- The Netherlands (12)
- Estonia (10)
- Norway (10)
- Cyprus (10)
- Czech Republic (10)
- Belarus (10)
- Russia (8)
- Romania (8)
- Armenia (8)
- Serbia (8)
- Albania (8)
- Lithuania (7)
- Croatia (7)
- Australia (7)
- Montenegro (5)
- Latvia (5)
- North Macedonia (4)
- Georgia (4)
Hungary is holding on to my top spot, but how much longer will that last? Can Belgium, Greece, Iceland, Poland or San Marino take them down a place…or five? Will I ever stop asking annoying rhetorical questions? Find out during my next round of reviews.
Make sure you don’t miss a thing by following me @EurovisionByJaz across all the usual socials. And don’t forget to let me know how you’d rank today’s ESC 2019 entries in the comments.
Love love, peace peace!
I’m back…again!!! I’ve had to announce my comeback after an extended blogging break pretty often in the past, so I figured why stop now?
My excuse is the same as always: even though Eurovision is my one true love, the older you get the busier you tend to be, and the more commitments you tend to have that keep you from sitting in bed in your pajamas writing about Europop (sadly). Having said that, I will do my best to be here on EBJ as often as possible in the lead-up to Junior Eurovision, the start of the 2018 NF season, and beyond. I’m like Valentina Monetta – you can’t get rid of me permanently and I’ve only made it to the Eurovision final once.
Since my last post, a lot of stuff has happened on Planet Eurovision: JESC switched venues (!); Eurovision Asia officially became A Thing™ (!!!) and Louis Walsh admitted that he thought Ireland would float – hot air balloon pun intended – straight through to the final in Kyiv (?!?!?). Even so, today I wanted to talk about something else. More specifically, I wanted to engineer a song contest showdown in which particular pairs of ESC entries would go head-to-head until, as Ryan Dolan might say in this situation, only one survives (from each battle). I actually started a similar series ages ago but accidentally forgot to continue it. Oops.
For no reason other than I felt like it, this song battle reboot will pit the top 10 tracks of Stockholm 2016 against their 2017 counterparts – so that means Jamala VS Salvador Sobral, Sergey Lazarev VS Sunstroke Project, and (amusingly) Frans VS Robin Bengtsson (because Sweden is apparently awesome at finishing 5th). I’m going to weigh them up against each other musically, crown my personal champ and then give you guys the chance to vote for your preferred song from each pair. Make sure you read through to the end (a toilet break may be necessary at some point) to vote for the best overall top 10.
Stockholm VS Kyiv – which city’s left-side scoreboard was superior? Let’s get this showdown started and find out!
Battle #1 | 1944 by Jamala VS Amar Pelos Dois by Salvador Sobral
They’re both brilliant brunette vocalists who made me burst into tears with their emotional performances. I worship the phenomenal woman-power of one and want to give the other one a bone-crushing hug. But which artist had the better winning song? I’m sorry if you wave your pom-poms for Team Salvadorable, because I have to say IT’S YOU JAMALA. This is my opinion, obviously, and you’re welcome to disagree with it. But I was hypnotised by 1944 from first listen, and when it won it was my #1 entry of the year. Amar Pelos Dois took time to tug at my heartstrings, and it’s not something I’ll press play for as often as I did (and still do) with last year’s winner.
Battle #2 | Sound of Silence by Dami Im VS Beautiful Mess by Kristian Kostov
This is more of an apple-to-apple comparison than most of the other head-to-heads on this list, which actually makes it easier to pick a winner. If I were an Australian who’d be on the Olympic podium for patriotism (if that event existed) then this battle would not be in Bulgaria’s favour. But I like to consider myself pretty objective, so – as kick-ass as Dami’s performance was, and as much as I admire the Sia-esque power pop of Sound of Silence – Kristian’s Beautiful Mess is a better song in my brain. It’s just as strong in studio as it is when you see it on stage, whereas Sound of Silence relied a lot on the pizzazz of the performance to push it into top-two territory.
Winner Beautiful Mess
#3 | You Are The Only One by Sergey Lazarev VS Hey Mamma by Sunstroke Project
There are a lot of differences between the two songs that have taken home the bronze at Eurovision in the last two years. In a way, YATOO was the Italy 2017 of 2016 – a big longstanding favourite that didn’t follow through in the end (though Sergey came closer than Francesco); while Hey Mamma was a massive surprise in terms of propelling Moldova into the top three for the first time. Personally, I loved Hey Mamma immediately and want to weep with joy every time I remember that it came third, whereas YATOO was a track I hated at first (because I thought it was a terrible ESC throwback) but came to love later. I listen to them both on repeat, but my favourite of the two has to be Hey Mamma because it’s a totally 2017 slice of Europop – with a generous dollop of Epic Sax on the side – that never even had to try to win me over. Sergey fans, don’t be so mad…if you knew me, you wouldn’t be surprised.
Winner Hey Mamma
#4 | If Love Was A Crime by Poli Genova VS City Lights by Blanche
They both wore black and sang (mostly) in English, but that’s where the similarities between Poli and Blanche come to a screeching stop. I guess you could also say that both ILWAC and City Lights were examples of so-cutting-edge-you-might-need-a-BandAid pop music, but the songs have totally different vibes. For the most part, I’m more likely to lean towards an upbeat song that I can awkwardly dance to (my take on Poli’s choreography is unfortunately reminiscent of the Chicken Dance), so even though I do think City Lights is a brilliant song – and I’m so happy Blanche got over her nerves to deliver a performance worthy of the top 5 – ILWAC is too irresistible for me to…well, resist. Summer hit > melancholy electro-bop. Just.
Winner If Love Was A Crime
#5 | If I Were Sorry by Frans VS I Can’t Go On by Robin Bengtsson
DAMN YOU, SWEDEN, FOR FORCING ME INTO THIS DECISION BY FINISHING FIFTH TWICE IN A ROW!!! Even if this is your first visit to EBJ, you can probably sense the Swedophile status that makes comparing something Swedish to something else Swedish and deciding which one’s superior a heart-palpitating task for me. There’s never been a Eurovision song from Sweden that I haven’t at least liked (2009’s La Voix is just noise, not a song, so it doesn’t count) and my relationship with their entries from 2016 and 2017 is more than platonic. But…giving in again to my penchant for a danceable piece of pop, I’m declaring I Can’t Go On the winner by one of Robin Bengtsson’s perfectly-groomed chin hairs. That’s because the second I hear it start, I perk up and prepare to sing loudly over the top of him, and If I Were Sorry doesn’t have that power (sorry!).
Winner I Can’t Go On
#6 | J’ai Cherché by Amir VS Occidentali’s Karma by Francesco Gabbani
Now THIS might be a controversial battle – either because you guys will be split down the middle, or because it’s actually an easy one for me but that might have some people plotting my death. I like Occidentali’s Karma a lot, and always have (‘always’ = since February when we first heard it), even if I suspected for the longest time that Eurovision 2018 wouldn’t be popping up in Italy. It’s fun, it’s catchy, it makes astute observations AND it has its own dance á la the Macarena…what’s not to like? Nothing. But you know what? I like it rivers, and I love J’ai Cherché oceans. Amir is just adorable (it’s not his fault that his name doesn’t illustrate just how precious he is, unless it’s not too late for ‘Amir-acle’ to catch on) and J’ai Cherché is a masterclass in sunny, uplifting – but not cheesy – folk-pop. It’s one of the few songs you can clap to without feeling like an overly-enthusiastic dad at his kid’s soccer game. C’est magnifique.
Winner J’ai Cherché
#7 | LoveWave by Iveta Mukuchyan VS Yodel It! by Ilinca & Alex Florea
This fistfight is a no-brainer for me to call champion on, so I won’t keep you in suspense. Simply put, LoveWave has aged better over the past year-and-a-bit than Yodel It! has in a matter of months – for me, anyway. I have to be in the right mood to listen to Alex and Ilinca doing their yodel-rap duties these days, and if I have even a hint of a headache, forget it. Iveta, while not one of my favourites from last year’s contest, left a more sophisticated and less irritating legacy behind (and she really put the ‘leg’ into legacy).
#8 | Color of Your Life by Michał Szpak VS Origo by Joci Pápai
For those of you who’ve forgotten about the epic scoreboard leap Poland made in Stockholm, here’s your reminder (I don’t have room to insert the GIF, so just pretend I did). I don’t begrudge Michał his awesome last-minute result, but in this battle he was bound to lose. Even if he’d turned up at my front door with pleading eyes and a million-dollar bribe (which shockingly, he didn’t), the love I have for Origo would have seen me slam the door in his face – while being careful not to maim any of his majestic man-hairs, of course. Joci Pápai’s ethno-dance dream was and still is my douze pointer of Kyiv’s 42, so nothing short of my all-time favourite ESC entry (Lane Moje by Željko Joksimović, FYI) would have a shot at changing my allegiance.
#9 | I’ve Been Waiting For This Night by Donny Montell VS Don’t Come Easy by Isaiah
Donny definitely wins the showdown when it comes to song title length, but does victory come easier to Isaiah (HA HA) in terms of song quality? And another question: will I be deported if I say no? Let’s find out. I don’t think many Eurofans would argue that Donny himself and his second Eurovision song have more of an x-factor than Isaiah and his song – ironic given that Isaiah won The X Factor. It’s probably down to Donny’s more extensive stage experience and showier personality, plus an entry that just happens to be more exciting and have more mass appeal. That appeal does extend to me, although I am fond of Don’t Come Easy. But *packs suitcase* I just *heads to port from which I’ll be shipped off to a faraway land for being un-Australian* prefer Donny’s package. No dirty thoughts, please…you know what I mean.
Winner I’ve Been Waiting For This Night
#10 | What’s The Pressure by Laura Tesoro VS Grab The Moment by JOWST
Squeezing into the top 10 in 2016 and 2017 were two great tracks from Belgium and Norway. For the former, it was their second consecutive year on the left side of the scoreboard, while the latter country was clawing their way back up after a DNQ on Swedish soil. But who did 10th place better? I’m pretty torn, to be honest. Laura’s grand final opener put the fun into funk and proved yet again that saxophones are as effective at Eurovision as they are in George Michael’s Careless Whisper (a.k.a. VERY). JOWST, on the other hand, brought something uniquely 2017 to the contest stage with lyrics that I previously crowned my faves of the year. As much as I want to be loyal to Laura, I think I have to go with Grab The Moment because it’s a little cleverer and a lot more original.
Winner Grab The Moment
Okay…we’ve finally made it through the entire top 10 of both Stockholm ‘16 and Kyiv ’17. Now the main part of the show(down) is over, in true ESC style it’s time for some overall results.
2016 = 5
2017 = 5
DAMMIT. It’s a tie – practically Eurovision 1969 all over again (but on a much, much smaller scale and minus booms + bang-a-bangs). I am going to break this tie though, looking at the entire top 10 of each year and deciding which one was stronger – for me. BRB.
*several hours later*
Okay, I’ve got it. The winner is…
Maybe I’m a bit biased since I was there (#subtlebrag) but I do think the overall kick-assery of the 2016 top 10 is slightly more forceful – there was practically a residual shoeprint – than the 2017 top 10. Do you agree? If you voted in the polls above, then I’m guessing you won’t mind voting in this one to let me know.
You can give me the lowdown on all the super-important choices you made above in the comments. Not gonna lie, I kind of want someone to start a fight with me over “the clear superiority of Sergey in comparison to Sunstroke Project Vol. II”. Just remember, if we all liked the exact same songs to the exact same degree, Eurovision would be extremely predictable and pretty boring.
But obviously, I’d still be obsessed with it.
Good evening Europe, and everywhere else that’s relevant!
You’ve just made the excellent decision to tune in to the super-delayed first episode of the 2016 EBJEEs: that is, the EBJ Eurovision Excellence Awards. There’s no time like way after the official, Justin Timberlake-less Eurovision DVD has been released to do something like this, right? Not when this is the earliest I’ve been able to get around to it. Better late than never, that’s my motto.
So, if you’re ready for the ceremony to begin, great. If not, too bad – it’s (finally) happening. Today/tonight, I’m presenting second-rate statuettes in the categories of The Artists, The Songs and The Singing, including many of the People’s Choice Awards voted on by you fabulous people last week. Get excited!
*Academy Award-worthy intro music plays* Välkommen till…
Winner Freddie Honourable Mention/s Amir, Douwe Bob
It’s award number one (my number oooonnne) and the EBJ Express has already arrived at Objectification Station – and I’m not sorry, no. There was an array of dashing dudes on display at this year’s contest, and as I was actually there (!) I can attest to the true, in-the-flesh attractiveness of each and every one. So, to those of you who thought Serhat was SerHOT, I say this: not even he could compare to the heartthrob ex-basketball player from Hungary. I mean, even in a one-on-one battle between Freddie and Måns Zelmerlöw, Hungary would quite possibly have the edge over Sweden. They’d definitely have a height advantage.
Winner Samra Honourable Mention/s Iveta Mukuchyan
Beauty is in the eye of the beholder, rather than the ear – which is how Samra came to be awarded this trophy by yours truly. She may have suffered from some vocal issues in Stockholm (several of her rehearsals would have had Jemini reaching for earplugs) but she is a stunner, and the cameras would have had zero complaints about focusing on her for three minutes…except that perhaps, three minutes wasn’t long enough to have her in their sights. If I sound lecherous here, it’s because I have a girl crush on Samra the size of Siberia, with symptoms that include a slack jaw and plans to write a dissertation on how someone can look that incredible in a skintight metallic onesie.
Winner Amir Honourable Mention/s Sergey Lazarev
Well, you guys are off to a good start with your picks. I couldn’t have voted better myself! He may not have won Eurovision (although 6th is a win by recent French standards) but Amir absolutely won our hearts – cheesy, but true – with his general adorableness and charm, on and off stage. If there’s one act from ESC history that would be ideal to take home to meet the parents, it’s this guy. My parents are available, Mr. Haddad, if you’re interested…
Winner Poli Genova Honourable Mention/s Zoë, Laura Tesoro, Sanja Vučić
Not unpredictably, Poli out-polled a force-field of girl power to take home the Miss Congeniality trophy. Anyone who wouldn’t jump at the chance to hang out with her, and help her search for any dress of hers that might be missing at the time (Junior Eurovision in-joke alert) is not a person I’d like to associate with. That may sound harsh, but COME ON!!! Poli’s personality and pizzazz is so strong, I’m pretty sure it was responsible for powering her light-up ILWAC costume. Isn’t that what everyone looks for in an amigo?
Winner Laura Tesoro Honourable Mention/s Poli Genova
This award goes to the artist whose onstage charisma and energy eclipsed that of their competition, and who should never give up their career in showbiz because that would be an absolute waste. Belgium’s Laura may still be a teenager, but she performs like a pro from way back. She lit up the Globen stage every time she stepped on it (seriously, I don’t even think the tech guys had anything plugged in during her performances, á la Poli), and was so effervescent I would have blamed it on an illicit substance if she wasn’t so darn innocent. This girl was THE one to watch this year, and she’ll be one to watch for a long time to come.
Winner Ira Losco Honourable Mention/s Dami Im
A Eurovision runner-up returning to the contest will always be a talking point – especially when that runner-up remains the rightful winner in the minds of many fans. But add in the rehearsal week revelation that Ira Losco had a kanelbulle in her oven – and a costume change that, among other things, elegantly emphasised that – and you have a walking water-cooler moment on your hands (and a Walk On Water moment). This was a case of Conchita-itis, in which a country’s artist is a more prominent part of their package than their song.
Winner Laura Tesoro/Zoë Honourable Mention/s Frans
It’s a tie! A tie I could have broken if I’d been bothered. But I think both Laura and Zoë – practically senior citizens compared to runner-up Frans – deserve this award for dealing with the media, performance and competition aspects of the contest like pros. Zoë, in particular, should receive a high five for managing to sing in tune at all times when she probably couldn’t even hear herself over the screaming that followed her wherever she went.
Winner Belgium Honourable Mention/s Bulgaria
Belgium snapped up this award last year too – and yet, white outfits aside, Loïc’s backing brigade couldn’t have been more different from Laura’s. The latter helped elevate the energy of What’s The Pressure in a live context, meaning that what would still have been a brilliant show if Laura had been by herself on stage became THA BOMB, DOT COM. Interacting with her and with the audience, they sang and danced their way straight into the #squadgoals hall of fame.
THE SONGS AND THE SINGING
Winner If I Were Sorry Honourable Mention/s Alter Ego
Songs that sound the same as other songs have not (necessarily) been plagiarized. I’m a firm believer in a grey area existing where musical resemblances are concerned. As such, I’m not saying that Sweden’s 2016 ESC entry was partly stolen from some other random song I never knew existed until someone decided IIWS was a rip-off of it. But there is some aural twinning going on here, and I don’t think that can be denied. Here’s proof.
Winner Hear Them Calling Honourable Mention/s Loin D’ici, Say Yay!
Everyone’s definition of a ‘fanwank’ is probably different – which explains why my decision not to include Italy as a nominee here was met with a little criticism. I do agree with this winner though, on the basis of a fanwank being a song that is drooled over and put up on a pedestal by the Eurovision community, only to crash and burn once it emerges from the pre-show bubble and enters the competition. Austria may have had a happy ending, but Iceland? Not so much.
Winner Sound of Silence Honourable Mention/s Ghost, Play
2016 was a strong year for lyrics that weren’t…well, crap. For lyrics that could actually be enjoyed by a former English major who adores symbolism and detests clichés. The best set of words put to song in my opinion was Australia’s. And no, I’m not letting nationality overtake objectivity right now. There was something simple yet so inventive about the Sound of Silence lyrics, particularly in the verses. My favourite line of the lot would have to be ‘Tidal waves of tears are crashing, no one here to save me drowning.’ The imagery! The metaphors! The non-cheesy rhyme! SO MUCH YES. And, okay…maybe a little bit of bias.
Winner I Didn’t Know Honourable Mention/s Soldiers of Love
Now we travel from the good to the gouda – by which I mean check out the cheese! Not to mention the inconsistencies in tense and a distinct lack of sanity. San Marino/Turkey, what were you thinking allowing lines like ‘I got to be inside your mind and hide into your arms’ (ouch) to represent you on a global platform, in 2016?
Winner If Love Was A Crime Honourable Mention/s What’s The Pressure
Poli’s performance of ILWAC at the Euroclub on Opening Party night (though technically, it was the morning after Opening Party night) was one of my ESC trip highlights, so I’m thrilled to be able to metaphorically present her with this award on behalf of all of y’all. I can confirm that the dancefloor couldn’t have been fuller during her three minutes that evening/morning – though I probably don’t have to, because even if you were in Antarctica at the time, you’d have heard the chants of ‘Oh, day mi lyubovta!’. Epic times. Prepare yourself, future fiancé, because the DJ will be playing this on repeat at our wedding.
Winner Loin D’ici Honourable Mention/s Color of Your Life
In terms of the songs that grew on me ‘more and more each day’ as Serhat would croak from the window of his favourite hangout Sleaze Palace: The Disco, Austria made the most impressive transition. The throwback to a time long gone by that is Loin D’ici irritated the strudel out of me initially, especially when I compared it to the contemporary offerings from Armenia, Latvia and Ukraine. But I was won over by a) its charm as an homage to twee French pop, b) Zoë’s general loveliness, and c) the reaction both she and the song received in the Euroclub and in Globen (it was too cute to resist).
Winner Made of Stars Honourable Mention/s What’s The Pressure
As much as Eurovision these days is about presenting audiences with a live music video rather than a live, concert-style performance (if you want to succeed, that is), there are some songs that feed off a flesh-and-blood crowd and come to life as a result. Made of Stars is one of them. There is a passion in the delivery of the song via Hovi that is lacking when you listen to the studio version, or when you watch the official, drone-dominated video. Those are my thoughts, anyhow. Perhaps it’s the theatricality of song and artist that needs to be seen and heard outside of a box to be appreciated.
Winner Ghost Honourable Mention/s The Last of Our Kind
And then, there’s the other end of the Swarovski-encrusted microphone stand. I personally believe that Germany’s Ghost was one of the best songs in the competition this year, but the mismatched live performance destroyed and detracted from it. Listening to it in studio, without the distraction of Jamie-Lee’s Halloween costume test-run (I think she was supposed to be a cocktail umbrella) is a totally different experience – for the better.
Winner No Degree of Separation Honourable Mention/s You Are The Only One
What is the significance of Francesca’s music video happenings? Who knows. Does anyone care? Nope. It’s beautifully shot and interesting to watch, and there was actual effort put into the making of it. Much better than a budget video or *gasp* no video bar a national final performance. Not that I’m demanding or anything…
Winner Bulgaria Honourable Mention/s Australia, Norway
If I had a gripe about anything to do with Eurovision 2016, it’s the postcards – not because they sucked (they didn’t), but because they just weren’t very memorable. They were beautifully shot, but none of the artists were handcrafting their country’s flag out of foodstuffs, or participating in risky extra-curricular activities in the host city. I’m bestowing the trophy for best of the bunch to Bulgaria though, because watching Poli Genova go about her daily business (albeit a glossy version that includes getting ink done) could never fail to be fascinating.
Winner Michał Szpak Honourable Mention/s Hovi Star, Sergey Lazarev
What do you get when you cross Captain Hook with someone who can carry a song single-handedly without the support of any detectable backing vocalists? Michał Szpak, that’s who. Hovi Star had the emotion and Sergey Lazarev had the singing/dancing combo down pat, but Michał powered through each of his performances of Color of Your Life with ease – and, as I said, without any contribution (as far as I could hear and see) from another singer who’d been stuffed in the wings. The Jedward syndrome-suffering Azerbaijani delegation must have been very jealous indeed.
Winner Dami Im Honourable Mention/s Jamala
There were two ladies who stood head and shoulders above the rest when it came to singing the pants off their respective songs (though not the pants off themselves. That would have been unfortunate for Jamala). Honestly, my vote would have headed in a Ukrainian direction, but Australia topping this poll is obviously reason for a happy dance from me. You can’t argue that Dami is an incredible vocalist, and she managed to give her all for the entire Eurovision fortnight without dropping a single note. You keep doing you, Dami, ‘cause it’s awesome to witness.
Winner Nika Kocharov & Young Georgian Lolitaz
Honourable Mention/s Joe & Jake, Minus One
This one’s a bit of a surprise to me, even though there were no Il Volos to speak of in 2016 and so the bar was set a little lower. Don’t get me wrong – I’m totally pro-Georgia, and Nika and his Lolitaz sounded more or less studio-perfect during their performances. I’m just shocked that the majority of you guys thought so too.
And now, some good news for those of you with numb bums: this evening’s (if it isn’t night time where you are, just pretend) ceremony has reached its conclusion! The EBJEEs will continue in a few days as I present my personal – as well as the remaining People’s Choice – awards in the categories of The Performances, The Costumes and The Results. So don’t return those fancy outfits you undoubtedly hired for the occasion just yet. There’s still a whole lot of Eurovision 2016 left to talk about!
Hello! Or, if you don’t mind me greeting you in the languages of the countries being reviewed today: zdravo, bonjour, xαίρετε, cześć, buna and Привет!
Don’t worry…I won’t do that every time.
Yes, it’s finally ESC 2016 review time here on EBJ (they’ve arrived just as unfashionably late as I do to all professional and social events). If you haven’t met the jury members who will be joining me on the quest to critique and compile a full ranking of all 43 entries, head to the ‘Välkommen Aboard!’ page above, or click here if you’re too lazy to look for it. You may as well get to know the people about to rip your favourite songs to shreds a little better.
Although all of the jurors will be scoring all of the entries this year, only three of us will actually be reviewing each time (if you’re hopping off the train at Complication Station right now, I apologise). And so…
In this first installment of reviews, Rory, Wolfgang and I will be taking a look at/listen to Croatia, France, Greece, Poland, Romania and Russia – a.k.a. Nina, Amir, Argo, Michał, Ovidiu and Sergey. There are some hyperbolic highs and some low, low lows among the songs of these countries and artists – but which is which, and according to whom? Well, you’ll have to read on to find out.
Let’s get started!
Rory Croatia, you’ve sent some beautiful acts to Eurovision – Doris Dragović and Daniela to name but a couple – but in recent years, you’ve given us some of the most…”interesting” songs around, with a rapping granddad, ‘SALIBRAYYYYY’, and Nina Badrić dressed in an assortment of bin bags! So where have you been hiding potential like this? I am so smitten with Lighthouse, it’s unbelievable. Nina is a proven live singer, what with her experience on The Voice of Croatia, and although her look doesn’t exactly fit the typical Eurovision style, the song is easily going to make up for that. When I listen to the song, I can immediately think of the staging and how it’s going to look, with the cameras and everything. It’s a strong, Balkan song that for once didn’t come from the nostril of Željko Joksimović! This should easily sail through to the final (get it? I’m keeping up with the nautical theme!) and make it into the top 10 – and maybe it’ll give HRT the incentive to make The Voice into a national selection, so they can keep sending individual and adaptable artists to Eurovision.
Wolfgang I’m very happy that Croatia is back in Eurovision again this year, with an outstanding voice and a wonderful song. Nina’s voice is hauntingly brilliant, and the music reminds me of some of the good Irish entries of the 90s. It sounds original, a little Celtic and folky, and it is quite different to a lot of the other female electronic ballads we have this year. In addition to this, Lighthouse gives me the same vibes that some of Enya’s songs give me every time. Plus, it is a contemporary song in the likes of Faded by Alan Walker, which is a huge hit all over Europe this spring. I’m very excited about the staged “lighthouse” that we will hopefully see during her performance. Croatian ladies are the best at Eurovision…well, mostly (Severina not included). Great choice this year, Croatia, and lots of luck from Germany!
Jaz I’ve been through quite the thought process where this comeback track from Croatia is concerned. The first time I heard it, I detected traces of Emmelie de Forest, and that turned me right off (I’m not Only Teardrops’ biggest fan). On my second listen, I suddenly warmed to the Cranberries-meets-Corrs Celtic pop sound, because it’s a nostalgic throwback to the 90s while still feeling contemporary. The third time around, I realised just how much the chorus of Lighthouse mimics the chorus of Swedish superstar Zara Larsson’s Uncover (which I love) and mused to myself, ‘Is THAT what’s making this “now”?’. I won’t go on to tell you how I felt after every single subsequent play of the song, but I will tell you what I think of it at this point (since that’s the whole purpose of these reviews). As much as I’m irritated by the frail, ethereal sound of Nina’s voice, and as much as I detest songs that use lighthouses as metaphors in their lyrics (all the talk about light guiding people safely home and whatnot makes me want to deliberately steer my metaphorical ship into a cliff face so I don’t have to hear it any more), I do like this. The lyrics aren’t as lame as they could be; the pounding beat is hypnotic; the key change is impressive; and Nina does have the kind of vocal chops that suit a song of this genre. So, while Croatia may not be fielding my favourite song of the year (why they’re so high in the betting odds is a mystery to me) I am quite keen on Lighthouse.
The EBJ Jury says…
- Ali 12
- Fraser 4
- James 10
- Jaz 7
- Martin 7
- Nick 4
- Penny 12
- Rory 12
- Wolfgang 10
Croatia’s EBJ Jury score is…8.67
Rory I’ve enjoyed the majority of French songs from the past few years (the exception being Sognu – what was that utter mess?!?) and this year is no different! Unhappy with their constant string of undeservedly low results, France has finally sent something that can actually be seen as radio-friendly! I enjoy the indie tones of J’ai Cherché, and the bilingual aspect of it means it will be a lot easier for the song to make a connection with a wider audience. However, this could end up being a double-edged sword, as the wrong sort of staging could ruin their chances. It’s been done before (Anggun, I’m looking at you…why GYMNASTS, of all things?). I’m not sure how it’s going to be on stage, as previous performances have been very bare and stripped back, but I’m open to being surprised. As long as Amir gives a strong performance, France will definitely be out of the bottom five!
Wolfgang I am a big fan of la France and their musical genre Variété Francaise-loving artists, like Patrick Fiori, Garou and Mickaël Miro. The French Eurovision artist for 2016, a.k.a. Amir, belongs in this category too, and he has got an excellent song in his luggage for Stockholm. J’ai Cherché is very catchy and contemporary, and it could be THE Eurovision summer hit of this year (at least I would love to hear it more often). As with Croatia, I am really happy that France has come again with a great song after four years of suffering over a ‘lowlight’ vocal performance, a horrible alternative song, a crazy fun entry and a boring lame lady ballad last year. But this year, France is back in the game, and it could become their Eurovision year. No other city in Europe can use such a big event like the ESC than Paris at the moment. Hopefully they go all the way with Amir – that would make me happy. Douze points d’Allemagne!
Jaz If there’s a Team ‘France Has Totally Been Robbed of Higher Rankings in Recent Eurovision Years’, then I’m on it. L’Amour Á La Française, Divine, Allez Ola Olé and Moustache all should have had more success than they did in my opinion (although in some cases, I get why they didn’t). I don’t want that same fate to befall J’ai Cherché, because I truly believe that if it doesn’t hit the heights of the top 10 in Stockholm, there will officially be something very wrong with the world (or some possible irregularities in the jury and/or televoting figures). Amir’s ESC effort is everything I appreciate about French pop wrapped up securely in a three-minute package, without being stereotypical (though that doesn’t give him the space to appear onstage sporting a Breton t-shirt and beret). It’s folk-inspired, but not stale like an old baguette; it’s fun, but takes itself seriously at the same time; it blends French and English seamlessly, making it the poster song for bilingual success at this year’s contest; and it’s irresistibly catchy (karaoke, anyone?). And then there’s Amir’s rugged French handsomeness, which is far removed from my beloved Måns Zelmerlöw’s clean-cut and beautifully buff exterior, but is somehow (almost) equally appealing. Basically, what hasn’t this entry got going for it? C’est magnifique, Mesdames et Messieurs…just don’t eff up the staging, France.
The EBJ Jury says…
- Ali 10
- Fraser 10
- James 8
- Jaz 12
- Martin 10
- Nick 8
- Penny 10
- Rory 10
- Wolfgang 12
France’s EBJ Jury score is…10
Rory Believe it or not, this is first Greek Eurovision entry since Secret Combination that I’ve actually enjoyed *braces for the onslaught of ‘WHY DIDN’T YOU LIKE OPA?!’ comments*. Of course, I’m definitely partial to a bit of ethnicity, but if there’s a lack of authenticity, then you’re just as well to be Rodolfo Chikilicuatre! Argo has created a song that on first listen is quite…odd, but as it goes on, you start to get drawn into it, and by the end, you do feel yourself swaying with the off-beat rhythms. When I listen to Utopian Land, I get echoes of Björk’s Náttúra, which in itself is four minutes of off-beat rhythms and headbanging. I love the ethnicity of this song, and I think it’s a perfect way of describing Greek traditional-pop music. However, with the negative reception the song has received, I feel like people might not get on board with it, and Argo’s Utopian Land may become a DYStopia! I really hope not though.
Wolfgang Now we come to the “Land of Utopia” a.k.a. this year’s Greek entry. I am really biased about this song. On the one hand, I like the instruments used, and the sound is quite catchy, ethnic and original. But on the other hand, I don’t like the rap/spoken parts in the verses much, and the chorus is too repetitive for my ears. The next thing that strikes me is the terrible English the entry is sung in. Why don’t the artists sing in Greek instead of bad English? I’m absolutely not sure if Greece is able to qualify this year in their semi, since the quality of the songs is generally much higher compared to Vienna. I still like Argo’s artful video clip that reminds me a bit of Run, Boy, Run by Woodkid, which is amazing. And the song’s obviously better than the Dion-esque LLB from last year!
Jaz The last time Greece sent a group to Eurovision, everything about it was epic (and that’s if we’re talking about Koza Mostra, OR if you’d define Freaky Fortune feat. Riskykidd as a group). But the standard of their songs and their success on the scoreboard have both taken a hit lately, and I have to admit, I’m very ‘hmm…’ about Utopian Land. As with a whole bunch of 2016 songs, there are things I like and dislike about this one. I don’t mind the rap, since it tends to sound particularly badass in Greek; the chorus is somewhat catchy; and the ethnicity Argo is bringing to the table is appealing, given how little national identity can be heard among their fellow competitors. But overall, it’s a non-dynamic, non-event kind of entry, with lame English lyrics and far too much repetition. So I’m leaning towards a thumbs-down more than a thumbs-up, and I really think Greece will struggle to qualify with it (i.e. they’ll probably squeeze through in 10th place). You never know – it could be staged in such a way that it stuns us all into silence (and then we’d hear that sound that Dami Im’s on about). But I don’t think Greece can afford the amount of trampolines, confetti cannons and state-of-the-art projections required to make THAT happen.
The EBJ Jury says…
- Ali 6
- Fraser 3
- James 3
- Jaz 5
- Martin 7
- Nick 8
- Penny 5
- Rory 10
- Wolfgang 4
Greece’s EBJ Jury score is…5.67
Rory SHOCK HORROR! MARGARET’S NOT GOING TO EUROVISION! It came as a shock to most Eurovision fans that Conchita’s Polish second-cousin-twice-removed Michał Szpak managed to triumph over Margaret – and Edyta Górniak – to win Krajowe Eliminacje. I have to say, I was expecting Margaret to win as she CLEARLY had the best song of the nine. But with Michał going instead, I’m not as disappointed as I thought I would be. His live vocals have shown that he can actually sing, and his look will easily make him stand out from the crowd. My one problem is that Color of Your Life is a ballad. A ballad in the first half of a semi that’s filled with other ballads. If it was more like Cool Me Down, it would help him be more individual and outstanding. I feel like this will bomb on the night, because it’ll get lost. If it does end up qualifying, we’ll probably see it in the same realms as Monika the year before. Poland, you should have sent Margaret.
Wolfgang To be honest, I wanted Poland’s greatest living singer – Edyta Górniak – for Eurovision 2016, and Margaret was my number two from the Polish national final. And it looked like there was a fight between those two female artists. But in the end, Michał Szpak won the ticket to Stockholm, to my surprise I must admit! But after just a few listens I am now totally won over by this song. It is a beautiful and timeless classic entry that easily could have been in any other ESC in the past. Every time I listen to Color of Your Life it grows on me and gives me goosebumps. The only thing I would change is Michał’s jacket – he looks like a circus ringmaster in it. He needs something cooler for his stage performance, but everything else is awesome, including his HAIR! I love it! I hope Poland will qualify. BTW, the “color(s) of my life” are midnight blue and orange. Man, I feel so Dutch this year.
Jaz Honestly, I’m more upset that Poland didn’t bring us My Słowianie the sequel for 2016 than upset that Margaret didn’t win their national final. Michał and his majestic mane can’t be compared to Cleo and Donatan (well, mainly just Cleo), but that’s not necessarily a bad thing. Instead of butter-churning and heaving bosoms, he’s wearing his heart on his sleeve by offering us the sentimental (but not sickly-sweet), sing-along friendly semi-power ballad that is Color of Your Life. I’d say the same thing about this song’s lyrics as I did about Greece’s – they’re cringingly cliché at times (‘…ask your heart who you really are’…seriously? No originality points for you, Mr. Szpak). But that’s where I stop complaining on this one. I actually like it a lot, when I’m listening to it (when I’m not, I forget how much I enjoy it). There’s something about the chorus that speaks to me, saying ‘DAYUM, girl, that melody is super-smooth!’. And I take those words on board. I am concerned that Michał only gives us two choices when it comes to informing him what color/colour our lives are (neither of which are technically colours anyway), but I guess going through every hue in the Pantone range would have taken far longer than three minutes. So, will he bomb or be THE bomb in Stockholm? Fail or succeed, black or white? Given that I assumed Poland wouldn’t qualify last year, I’ll wait for the ESC version of his live performance prior to predicting that. But I’d happily see the country make their third consecutive final with this.
The EBJ Jury says…
- Ali 8
- Fraser 7
- James 3
- Jaz 7
- Martin 8
- Nick 2
- Penny 6
- Rory 5
- Wolfgang 10
Poland’s EBJ Jury score is…6.22
Rory And so, from the songs I love/don’t mind to one I loathe. I didn’t really pay attention to the Romanian national selection, but what I gathered from it was two things: that Mihai will never do Eurovision again, and that Ovidiu Anton won…and I have to say, why this? It’s rock for starters, which is something I don’t listen to in the first place. Secondly, in the chorus, when he shouts ‘take a moment of SIIIILEEENCE’, he goes so off-key that dogs could probably hear his screams! I’m sorry Romania, but in the last few years you’ve given me no joy whatsoever in the songs you’ve picked. It’s just…..bleugh, for me. I’m sure it’ll qualify, just because it’s Romania and they have that 100% qualification record, but it’s gonna be like Miracle and finish nowhere near where people expect it to. Sorry! Maybe you should have a Moment of Silence for the places that Romania will never reach with this.
Wolfgang To get straight to the point with Romania in one word: HORRIBLE! Just horrible! I hate everything about the song and its stage performance. And I’m still not over Florena or Mihai not winning the Romanian national final. There was such a great line-up in Selecția Națională. I liked 6 of the 12 entries from their semi final much, and two others were quite good. But Romania took the decision out of the remaining entries I did not like. To me, that was the ‘supergau’ of this year’s national final season, even worse than Denmark. The song sounds completely dated to me like something that Belarus, Georgia or Russia would have sent in the early 2000s. And that theatrical performance à la ‘Lord of the Rings’ joined by a “Lord of the Dance” is so awful, I did not enjoy watching it. And why did they call it Moment of Silence? It’s so loud, there won’t be a single moment of silence for the whole three minutes (unless you push the mute button). To me, it looks and sounds like a formulaic Meat Loaf tribute. Normally I like Romanian entries at Eurovision much, but this year they belong to my bottom five songs, and I instantly hope they won’t qualify with this terrible song. For me, it’s one of the clear non-qualifiers of 2016 and a BIG ZERO from me. That’s absolutely not what I want to see on Eurovision stage.
Jaz The minute I discovered Moment of Silence was representing Romania, I asked myself ‘Would I like this if it was the closing song of the first act of a Phantom of the Opera-type musical with a residency on the West End?’. The answer is no, but at least it would belong in that environment. As a Eurovision entry, I like it even less. Pompous, melodramatic and dated dirge performed by a gaggle of Game of Thrones extras is not the kind of thing I wave a flag for. I adored De La Capăt, so this is a real step south for Romania as far as I’m concerned. I’d even rather have Paula and Ovi (plus cameo from computer-generated Paula) back for a third try than sit through Ovidiu’s “moment of silence” (as Wolfgang pointed out, that’s hardly am accurate description of the song). In spite of all of the above, I’m a generous judge and I wouldn’t give Romania nothing, points-wise. But if we were handing out fruit baskets or gift vouchers, it’d be a different story.
The EBJ Jury says…
- Ali 5
- Fraser 2
- James 0
- Jaz 2
- Martin 7
- Nick 3
- Penny 7
- Rory 3
- Wolfgang 0
Romania’s EBJ Jury score is…3.22
Rory *BRACE YOURSELVES FOR A RANT!!* And so we come to the worst one of the lot for me (though not in the whole group of songs – that’s reserved for Rykka and Serhat!). I feel incredibly let down by Sergey Lazarev’s Eurovision effort. In the teaser he published a couple of days before the public release of You Are The Only One, I was impressed by the video production, the high-tech studio, and most of all, the intro to the song, which hinted at it being an alternative, emphatic, atmospheric song (which is right up my alley). Then the song was released…and it was schlager. SCHLAGER. WHY SCHLAGER!?!?! I was left cringing for three minutes, and at the end, I was like ‘Ehh…just eh…I don’t…WHAT!?”. I loathe this sort of 90s Eurodance beat; it’s so outdated, and though people can hate me for all eternity, I’m going to agree with Christer Björkman and say that schlager should be left in the 90s/00s where it belongs. Music has changed, Russia. So should you. And yes, Sergey is very good-looking, but that doesn’t make up for the song, OKAY?! *sigh…rant over*.
Wolfgang I can’t say that I’m disappointed with the Russian entry this year, because Russia meets my expectations exactly with Sergey Lazarev, sending one of their biggest national stars again. Of course, it all smells like the (formulaic) ‘Dima Bilan’ winning package from 2008. The ingredients here are almost the same: you take a big national star, some internationally-recognised songwriters and producers, a hit-like song that sounds so Swedish (more than any song from Melodifestivalen this year) and a performance that almost looks like a Måns Production (but isn’t!). And ready is the Eurovision soup! Let’s face it: Russia are trying very hard this year. They want to win again, under all circumstances and no matter what the cost. But do I want them to win? The answer is ‘No’! The good thing about Russia’s entry this year is that they don’t annoy me again with another ‘love, peace and understanding’ message song (lesson learned?) and Sergey’s video clip is really stunning to watch. If he manages to stage only about 30% of what we see in his video with his acting and live singing abilities, then it can easily be the winning performance of the grand final. On the other hand, the song lacks any kind of emotion for me. It’s formulaic, radio-friendly, sterile and very stereotypical, and it does not touch me at all. Obviously it will be a clear qualifier and yet another top five placement, but here I would go for 3rd or 4th place and hopefully not the no. 1! And another last thing that strikes me: the running gag in Germany about the Russian entry is that the performance will be “sehr gay” this year, and I would add “faux gay” to it. Well, that is what Russians are probably known for at the Eurovision, but it always means a lack of authenticity, and that’s not win-worthy in my opinion.
Jaz If you’d asked me to review You Are The Only One right after my first listen, I would have let rip (kind of like Rory did). After all, I had been expecting something that sounded as cutting-edge as Sergey’s video clip looks, rather than a stale throwback to Eurovision circa 2006 (and let me remind you that a man with a mullet, also from Russia, managed to come second that year). Meanwhile, everyone else was drooling over the song and/or Sergey’s various shirtless shots, which made me wonder whether there was something wrong with me, or with them. The solution? Taking another listen to the song – a.k.a. giving it an andra chansen. And, well…I suddenly saw the light. Or at least, why the bookies universally had and still have Russia in their top spot. I’m not denying that YATOO is dated, and that the songwriters could have written it more into 2016 if they wanted to keep up with the Latvias of the contest. But damn, did they know what they were doing anyway. This is precisely thought-out, clinical and slickly-produced schlager dance, and it is dangerous. If Sergey’s vocals are shipshape, and his staging is as eye-catching as that video (and we know that Russia always have their staging under control), he will certainly be the ‘only one’ to beat. There’s a power in the unrelenting energy and instant chorus of the song that makes it memorable, even in studio – and when paired with visuals that give it a perfectly-packaged kind of feel (á la Heroes) it becomes one step of a winning recipe. Oh, and thank the Lordi it’s not another preachy peace ballad!
The EBJ Jury says…
- Ali 7
- Fraser 12
- James 6
- Jaz 10
- Martin 8
- Nick 6
- Penny 7
- Rory 4
- Wolfgang 7
Russia’s EBJ Jury score is…7.44
And just like that – after several hours of feverish reading on your part – we’re done for the day. And, with all of the above said and done, the leaderboard currently looks like this:
- France (10)
- Croatia (8.67)
- Russia (7.44)
- Poland (6.22)
- Greece (5.67)
- Romania (3.22)
That makes France the très convincing champion of this round…but it’s early days. Can Amir hold on to the top spot? Only time, plus 37 more reviews, will tell!
What do you think of the Part 1 reviews and rankings? Who took the words right out of your mouth, and who should wash theirs out with soap for daring to defile an amazing song? Which of today’s six countries deserves douze points in your opinion? Let us know below.
In the next episode of EBJ Jury judgments, a trio of Aussies (#accident) – including none other than my mother – will have their say on Belarus, Cyprus, Georgia, Italy, Sweden and Switzerland. It’s going to be interesting, to say the least! Come together and join us because we are one?