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Right, we're in deepest darkest winter which means occasionally I am liable to talk a bit about #Eurovision, which is definitely happening in 2021 even under lockdown. Apologies in advance to followers who couldn't care less. xD
This is the first 'big one' to stir the pot for the class of 2021.
I don't buy it. The band stumbled upon some magic recipe to win the 2019 televote and now they're trying to sound a bit more jury-friendly.
I don't buy it. The band stumbled upon some magic recipe to win the 2019 televote and now they're trying to sound a bit more jury-friendly.
They've got some of the way there but the joik interrupts the flow of the song and sounds shoehorned in - and introducing a new lyrical element at the start of the final chorus doesn't help, which ultimately makes the song hard to remember how it goes.
Not that that matters.
Not that that matters.
I wish they had filled in the joik sections with more lead vocals and lyrics so it flows like a more familiar pop song and kept the joik purely as a backing vocal. Still, if it does pull off a win, Tromsø 2022.
That'll do Finland. That'll do.
This made no impression on me when I first heard it. Up until tonight I just thought "France is France-ing again." But, I'm impressed how the staging utilises a cultural stereotype, film noir, by having that staggered frame rate. Best since Kaas.
There is room for improvement. Smoky Parisian backstreets behind her, film some of it in black and white and dial the framerate down to really give it the film noir vibe. The birds and stars are a bit OTT, but the ending is crying out for some high energy ballroom dancing.
Either way, Voila is touching on the reason Italy often does well, sometimes unexpectedly. Utilising cultural stereotypes to attract televotes while having enough quality and originality to attract juries. Most lesser-known eastern nations can't do that, not for a lack of trying.
The only reason Italy hasn't won yet (since 2011) is because they just haven't got the balance right. They've always either fallen short on Italian romance or looked like a complete self-parody.
That balance was perfectly struck by Salvador Sobral, however. It's a wonder Portugal didn't try something like that before. I've never stereotypically associated Portuguese with 20th century schmaltz but the lovestruck pauper shtick worked a treat.
