Eurovision (ESC) Thursday - ESC22 Then & Now - Part 2

I figured that I would do a comparison of what I thought about the songs when they were first released and what I think about the songs now since we are about 1.5 weeks away from the big day. Keep in mind for my “now”, I’m factoring in several things – preparty performances, general personality, and of course the song.

Since there are 40 countries competing in this year’s Eurovision Song Contest, I’m breaking this topic down into two parts. Here’s the second half of the list in alphabetical order by country.

LATVIA – CITI ZENI – “EAT YOUR SALAD”

 
 

The guys from Citi Zeni pretty much have stayed the same for me throughout this crazy ESC2022 season.

LITHUANIA – MONIKA LIU – “SENTIMENTAI

 
 

I gotta say that Monika is an entire vibe, and I’m such a huge fan of her song and her personality.

MALTA – EMMA MUSCAT – “OUT OF SIGHT” “I AM WHAT I AM”

 
 

Malta did a little switcheroo on us. They released one song but decided to change its entry later in the national selection season. While that’s not against the rules, it did rub some folks the wrong way. If it is part of the rules, I cannot fault Malta for taking advantage of this loophole. Although this song isn’t a huge improvement compared to the first one originally submitted, I do like this song a bit more than the first one.

MOLDOVAZDOB ȘI ZDUB & FRAȚII ADVAHOV – “TRENULEŢUL

 
 

Looking back, I may have given Moldova too low of a score – that’s why this entry is Then and Now. While I’m not a huge fan of the revamp, this song still puts a smile on my face. Oh, I’m not too huge of a fan of the revamp because I think they made it too “rocky” at the expense of the folk sound.

MONTENEGRO – VLADANA – “BREATHE”

 
 

Throughout this season, Vladana has been delivering the fashions. Seeing what she was going to wear to the preparties was one of the reasons why I followed the preparties. Unfortunately, the vocal did not really match all of the fashions that she was delivering.

NETHERLANDS – S10 – “DE DIEPTE”

 
 

I will be honest that I pretty much skipped this song early in the season, but it really grew on me. For instance, as I type this, I’m singing “OOOOOHHHH oOOOHHHH AAAAH AAAHH something, something, something in Dutch” in my head. The unexpected is one of the things that I like about Eurovision. A song in a language besides English or Spanish that I would normally ignore has become one of my top songs for the year. In addition to a strong song, I have to give S10 so many props (or as the kids say her flowers) for overcoming so many obstacles just to get this to this point.

NORTH MACEDONIA – ANDREA – “CIRCLES”

 
 

Andrea’s song started off really strong for me, but it lost that spark over the season. Compared to other artists this year, I feel that she lacks a certain stage presence when performing this particular song. However, I am a bit conflicted because I LOVE the personality that she has displayed during interviews.

NORWAY – SUBWOOLFER – “GIVE THAT WOLF A BANANA”

 
 

The jump from three stars to five stars is primarily based on the group’s personality. For example, the group has made parodies (in a good, friendly way) of most of the other songs/videos for this year’s contest. Honestly, I look forward to seeing what randomness they are going to post on Instagram. They seem like the type of folks whom you want on your party’s or brunch’s guest list. While the group has not revealed their identities, I (as well as others in the fandom) think they are Ylvis. The duo that had that somewhat popular “Fox” song from a few years ago. A few reasons for this assumption:

  • They are both from Norway and on the same record label

  • The costumes imitating animals

  • Dancers wearing ties

  • Special choreography

  • Since Subwoolfer is from the Moon (for ESC2022 at least), they do not speak and have a “translator” do their interviews. I think this is clearly a decoy to throw off folks who might recognize their speaking voices.

POLAND – KRYSTIAN OCHMAN – “RIVER”

 
 

This song pretty much has stayed in my top 5 through this Eurovision season.

PORTUGAL – MARO – “SAUDADE SAUDADE”

 
 

I really tried, but I just could not get into this song even after multiple listens. My one-star does not mean the song is bad; it just means (for whatever reason) the song just doesn’t resonate with me.

ROMANIA – WRS – “LLÁMAME”

 
 

Boy oh boy. This song is such an earworm. Like I’m actually singing Hola, mi be-bé-bé. {HEY} Hola, mi be-bé-bé. {HEY} Llámame, llámame. I dunno why, but this song always seems to put a smile or a smirk on my face. For me, the huge jump in stars is less about the song and more about the artist, Wrs. While he seems quite eccentric, he also seems to be quite down to earth with a super chill vibe. If Eurovision gave out a Mr. Congeniality award, Wrs would be my top candidate for ESC2022. Although Wrs is going to be in a tough semifinal round, I really hope that he qualifies to the grand final.

SAN MARINO – ACHILLE LAURO – “STRIPPER”

 
 

I might have unfairly judged this one. No, I take that back. I think that I judged it fairly based on Achille’s performance during San Marino’s national selection. However, over time the artist and the song really grew on me. Also, I kind of like the mystery behind Achille. With his too cool-for-school demeanor, I’m like does he even want to be in Eurovision. I guess that’s the mystery behind him. You know, do not give them too much so they will always want more. Oh, I do think he wants to participate in Eurovision because he would not have competed in two separate national selections for the contest. After placing in the bottom half of Italy’s Sanremo festival, he decided to compete in San Marino’s national selection.

SERBIA – KONSTRAKTA – “IN CORPORE SANO”

 
 

This has been one of my favorite songs and performers throughout ESC2022 season. No one had better say anything bad about Konstrakta.

SLOVENIA – LPS – “DISKO”

 
 

Last Pizza Slice (or LPS) gained a little power with me. While I am a fan of disco music, the song never resonated with me. However, there is one part of the song when the lead singer (I think his name is Philip) and the band really slows down the groove. I don’t know why but I absolutely love that part of the song. In fact, I mainly listen to the song because of that transition. Random LOL. Doesn’t the group look like bunch of high schoolers set up a band with their music teacher?

 

Photo courtesy of RTV SLOVENIA

 

SPAIN – CHANEL – “SLOMO”

 
 

What an amazing talent. While Chanel does not have the strongest vocals of the female performers in this year’s contest, her dancing and stage presence are undeniable. If she plays her cards right and has a good team, I’m sure that we will hear a lot from her in the future.

SWEDEN – CORNELIA JAKOBS – “HOLD ME CLOSER”

 
 

I have no words that reflect how much I enjoy listening to this song.

SWITZERLAND – MARIUS BEAR – “BOYS DO CRY”

 
 

Sorry Switzerland, but I just could not get into the singer or the song.

UKRAINE – KALUSH ORCHESTRA – “STEFANIA”

 
 

This is complicated because Ukraine originally was sending Alina Pash as its representative. However, she had to withdraw after it was discovered that she illegally traveled to Crimea, which is a no no for Ukrainian citizens. Since Kalush Orchestra came in second place for the national selection, they became the Ukrainian candidates for ESC2022. I’m sorry but the song does not really work for me. Actually, I take that back. The rapper does not really work for me. Since anything related to Ukraine is clearly a touchy subject, I’ll just leave my comments there.

THE UK – SAM RYDER – “SPACE MAN”

 
 

While Poland is my favorite to win, I think Sam is going to bring the Eurovision microphone trophy back to the UK after many, Many, MANY years. My only concern with his song during my original review was with hitting those high notes live. At the time of the review, I only commented on the music video. I gotta say that he delivered those high notes at every single preparty. Also, I have seen some clips of his rehearsals for Eurovision and the staging is probably one of the best stagings that I have seen in the few years of watching Eurovision. The BBC really invested quite a bit of pounds in this artist, and I think the UK will be extremely pleased with his results. I’m going to say this right now, but you know there is some geopolitical crap going on if Sam does not finish in the top 10 overall and in the top five for the national juries vote.

My Complete Rankings

 
 






Eurovision Song Contest (ESC) – My Growers

Preface:

Now, that we are ramping up to ESC2022 (I believe that we are less than 30 days away), I figure that I could quickly mention a few songs that have grown on me over the past few months (actually over the past few days/weeks). This is the first time that I’ve experienced growers before ESC because it is my first year following ESC during national selection season. In the past, I pretty much only listened to the songs during the semifinals and final rounds so my growers would happen after ESC. It’s kind of funny that I’m beginning to love the songs that I originally hated (or rather, that I did not care for) and vice versa. So here are my top growers.

Andromache – Ela – Cyprus 🇨🇾

I do not know; this song is just a vibe for me.

Cornelia Jakobs – Hold Me Closer – Sweden 🇸🇪

I will be honest that I did not like this song because it seems like everyone automatically falls in love with anything (good or bad) that Sweden sends to Eurovision. After forcing myself to listen to this one, it definitely reminds me of a time when I was in a relationship that my a** had no business being in. It’s a sappy song without being too sappy.

Krystian Ochman – River - Poland 🇵🇱

This song always has been in my top 10. After hearing his live vocals at a few of the pre-Eurovision parties/concerts, this song is firmly cemented in my #1 spot. At these parties/concerts, he did an amazing job with very limited staging and sound, so I’m sure he will kill it on the big stage in Turin.

S10 – De Diepte – the Netherlands 🇳🇱

This is a very recent grower for me. By very recent, I mean that I really started getting into De Diepte this past Tuesday. This song had me texting family in the Netherlands for some help in translating. Yes, I could have looked up the Dutch to English translation on my own, but it gave me an excuse to say hello on my Ghanaian family’s Whatsapp group chat . . . even if I sent the message at 9 pm (NYC time), which is 3 am in Amsterdam.

 
 
 

Sam Ryder – Space Man – United Kingdom 🇬🇧

No words about how much I really enjoy this song. Word on the street is that he is going to some amazing staging for ESC2022.

Amanda Tenfjord – Die Together – Greece 🇬🇷

There’s just something about her voice that keeps this song in my head. Also, the song is kind of different because there is no music for the first part of the song. I do worry that my opinion might change once I hear a live version of this song. Also, I wonder how she is going to do the audio modulation with her voice at ESC2022 since performers cannot use special vocal effects in the contest.

Eurovision Song Contest (ESC) – the UK 🇬🇧

Sam Ryder – Space Man

 
 
 

Final Thoughts:

 
 

I think that the UK, which has had a very rough history in Eurovision, may crack the top ten with this one. Sam pretty much has a lot of the qualities that will (well, should) do well in Eurovision – charisma, a nice song in English, pretty strong vocals, and an interesting look. Overall, I really enjoy the message and some of the vocal acrobatics in this song. However, I am a bit worried about how he will pull off his higher octaves during his live performances.

If Sam has a flawless (or near flawless) performance in ESC2022, I think this will prove whether or not politics (or geopolitical voting) has a significant role in Eurovision voting. What do I mean by politics in Eurovision? It’s no secret that many countries tend to vote in geographical/culture/political blocks. For example ex-Soviet, Scandanavian, Western European countries (eg Spain, Portugal, and France), Greece <-> Cyprus, etc tend to vote for each other. If the UK does not receive a decent amount of points from the national juries (ie the professionals), then we’ll know that some political BS is happening behind the scenes. AKA: Europe is still pissed over Brexit.

Some have mentioned that the UK’s bad performance is partially due to the BBC not giving a damn about the contest and really promoting their ESC candidates. Also, the talent pool of available ESC singers might be weak. If your country consistently performed poorly in a song contest, would you want to sign up to represent it? Probably not. This year, I think the BBC was pretty smart with selecting Sam because he has close 12M followers on TikTok and over 95M likes for his videos. Even popular singers such as Adele, Sia, Rihanna, and Lady Gaga have given him props for his covers of their songs. In this case, the BBC really does not have to do anything (besides providing money for decent staging in the contest) to promote Sam.

Let’s see if Sam has what it takes to put the UK in the top 10 in this year’s contest. FYI: The last time the UK was in the top 10 was back in 2009 with Jade Ewen coming in 5th. Hell, she did a good job even after accidentally getting hit by one of the violinists (@1:06). Random question: I wonder if Jade has a background in musical theater? The way she projects gives me Broadway vibes (I guess that should be West End vibes since I’m talking about the UK).

 
 

The UK in last year’s Eurovision

JAMES NEWMAN – EMBERS

  • Semi-final results: Since the UK is part of the Big 5, they automatically advance to the final.

  • Final results: 26th place out of 26 performances (0 total points – 0 national juries and 0 public votes)

Video from an ESC21 attendee

 
 

What a rough ESC for James Newman. Receiving no points from the national juries and the public had to sting a little bit. However, I think James did a great job in putting up a nice front especially when the public votes were announced. To be perfectly honest, I probably would have flipped over a table. Actually, all of the artists who received 0 points (the UK, Germany, Spain, and the Netherlands) from the televote did a great job hiding their disappointment.

 
 

Ok, while receiving 0 points does not mean that no one in Europe, Australia, or Israel voted for him. It just means that he was not in the national juries’ top ten in the countries’ rankings (I hope that I have this correct). While I can understand the public’s low ranking because of Brexit, I would hope that members of the national juries are not doing the same thing. Since this is my first year following the entire cycle of ESC, I have noticed that the ESC fandom is quite toxic. Hell, I think that fans of the contests are more competitive than the artists that actually compete in the contest. Essentially, members of the national juries are music industry professionals individuals (eg songwriters, producers, singers, DJs, etc) that are supposed to judge the vocals, performance, and composition of the ESC entrants. I did not find anything saying that the juries must vote based on a country’s politics or actions.

Keeping it real:

Ok, so James Newman’s performance and staging were not the strongest, but they definitely were not the worst (IMO). I kinda feel the same way about Spain in ESC2021 – another country that typically performs poorly with moderate talent. While it was not the worst performance for ESC2021, I also think ESC2021 was an exceptional year because the pool of performers in the final was very strong and competitive. Some countries/artists really took advantage of ESC2020 being canceled and really upped their game for ESC2021.