What’s struck me too is the number of songs that have been lifted by their live performances. Latvia, Israel, Ukraine, Bulgaria and Australia, among others, have really come alive on the night. It’s also interesting to see the difference in reception between the hall – where the sound is huge – and the TV audience. So while I know what made an impression on the crowd last night, the voting audience at home, and the juries, may feel very differently.
That also means that, while I’ll refer you to my previous posts on the semi-finals to get an idea on the songs that have qualified, I’ve already changed my views on many of them. On top of those I’ve mentioned above, Georgia, Lithuania and Malta have all gone up in my estimation. Russia, on the other hand, feels trapped in its staging. For example, the projection screen Sergey is using doesn’t fill the TV – so when it’s giving him a white background, he doesn’t look like a man sprouting wings so much as a man standing in front of a PowerPoint. And he’s so engrossed in engaging with the video presentation that he sings to the audience less and feels a little disconnected.
The countries I highlighted above, on the other hand, have relatively simple staging that allows the songs – and the singing – to shine through. In the hall, at least. I suspect the juries will be attracted to that.
What then of the automatic qualifiers?
It’s a simple song well sung but in a high quality lineup, this is the first in the show I felt a little disappointed by. And I’m not convinced the late change into English helps.
This is simple and pared down compared to the rest of the songs and that will help it to stand out. Most people seem to either love it or hate it. It certainly wasn’t my favourite of the Melodifestivalen finalists. Look out for the most ridiculous lyric: “I’d rob a bank, and a post office too.”
This is a grower, which annual readers will know I don’t consider a positive attribute in a Eurovision entry. Her Manga costume just looks silly.
France brought along a lovely number that mixes English and French. It has a touch of Sebastian Tellier and works well on the CD. However, Amir doesn’t seem to do too good a job with it live, so despite being one of the favourites, this could end up anywhere.
Say Yay is a fun old party number, but it’s style over substance for me – Barei has better songs, which I saw her perform in the Eurovision Village alongside this one. And I also learnt from that performance that she has “vocal support” in the wings helping with the melody.
If Joe and Jake can pull it off tonight, this could do well with the phone voters. It’s one of our best songs in years and I’d love it to do well – not least to encourage the Beeb to stick with a public selection vote. But I’ve learnt the had way that we’re good at convincing ourselves that “this year we’ll make the top half of the table” or somesuch. I have no idea where we’ll come – but I have an inkling the juries will be distracted by the Big Sings and overlook this.
Here’s the full line up:
I genuinely think that in the right year, any one of those 26 songs could win. A dark horse like Armenia could benefit from going last. Ukraine’s not at all political passion could sweep them through. Israel or Australia’s big vocals could knock the other ballads out of their way. Or Russia’s video effects could steer them through. I can’t predict it.
What I do know is that we’re likely to see a new high score to knock Alexander Rybak off the top. That’s because the jury and phone votes are being reported separately this year, doubling the number of votes available.
I also know that the interval act is worth waiting for. And I don’t mean Justin Timberlake, although he’s part of it too. It’s almost like musical legitimacy has come to the Eurovision Song Contest. Who let that happen?