Tobson's Big ESC 2019 review, part 6

A few years into the new system of semi finals, the fandom established a number of "truths" - one of these being that there are a number of countries that can't possibly fail in a semi final.

In some cases because they have a large cultural sphere with neighbours voting for them, in some cases because they have a large and active diaspora voting for them, in some cases because they have loads of money and no morals and gladly pay their way into a better result. In some cases, all three of the above combined.

The first major blow to this theory came in 2011 as both Armenia and Turkey bombed in the same semi in Düsseldorf and last year in Lisbon was a major event as three of the "eternal qualifiers" - Azerbaijan, Romania and Russia - all missed the grand final.

The only countries never to have lost out in a semi final are Ukraine (not participating this year) and Australia. Nobody's safe anymore.

This blog post includes the final six semi finalists of 2019. If you want to read about the other songs competing in the 2019 semi finals you will find them here in part one, two, three, four and five.


13 RUSSIA
Sergey Lazarev / Scream

I was both surprised and a bit puzzled when I heard Sergey's comeback entry for the first time. Far from the kitsch fest I had feared and expected, this is a mature if somewhat overly bombastic entry that suits his voice well. Good but in no way a potential winner, not even for Russia. Only now all reports suggests that the big wallet has been hoisted up and that the stage show could be even more over the top than the last time around and suddenly I just feel exhausted and slightly nauseated. All that high-tech hocus pocus wrecks more than it adds and I wonder when people will learn?

Qualifier:
Yes, of course. Russia is back in the game and when they are motivated, nothing can stop them in the semi.

My grade: 3/5


14 ALBANIA
Jonida Maliqi / Ktheju tokës

Writing songs about topical themes is a difficult path to tread. There is always a serious risk that you will end up giving the impression you are trying to profit from the misfortune of others rather than being a voice of empathy and reason. Albania manages this balance act rather brilliantly and by singing about refugees of their own - people who left their country during the Kosovo war - they also manage to make their package inclusive and relevant to everyone.

Qualifier:
Yes, I think and hope so. It has a sound that is different enough to set it apart from other songs in the lineup and Jonida is an excellent performer too.

My grade: 3/5


15 NORWAY
KEiiNO / Spirit In The Sky

This happy trio is blending almost every ingredient in the kitchen into a big bowl and the ESC fans love it. There is a bit of joik and a bit of drumming and a chorus we've heard before somewhere (not sure this is the song Saara Aalto will televote for), all of which delivered with far bigger smiles than the lyrics call for. Right out of Melodifestivalen 2005 or so. Add a performance like the one in the national final which was frankly all over the place and you'll see why I'm having doubts.

Qualifier:
I'm not so sure. I personally like it - at least in its studio version - but is "Vrag naj vzame" meets "Sámiid ædnan" really what will get the masses going? I'm leaning towards a no here.

My grade: 3/5


16 THE NETHERLANDS
Duncan Laurence / Arcade

The Netherlands scored four victories in the first twenty years of the ESC and then their well ran dry. Now the big question is whether this is the time when their fortunes get reversed? It could very well be. Suddenly they find themselves with a shining little pop pearl with a big emotional chorus and a very sensitive and attractive performer. Something that could very well ride high in the charts. The only thing that stops me from thinking this is an outright winner is that it doesn't feel like the sort of song that would win the Eurovision Song Contest. Does it?

Qualifier:
Yes, absolutely. One of perhaps four or five potential winners. Sometimes I'm wrong too.

My grade: 4/5


17 NORTH MACEDONIA
Tamara / Proud

Ten years after the juries let her down in Belgrade, Tamara is back to clear her name. It is not entirely out of the question. Through the years, North Macedonia has emerged as one of the countries - perhaps the country - most likely to ruin their own chance by awful choice regarding styling, outfits, staging and so on. This very stripped-down song doesn't really allow any outrageous behaviour on stage and puts full focus on the singing.

Qualifier:
Borderline. The song is a brave attempt but possibly not interesting enough in its own right. If Tamara sings her heart out while hitting the right notes, it could go all the way but I suspect North Macedonia will be out. For the seventh consecutive year.

My grade: 2/5


18 AZERBAIJAN
Chingiz / Truth

My first reaction to the Azerbaijani entry was that it didn't have a single drop of personality. Nicely produced, well sung, sounded right but totally anonymous. I have warmed to it since, mainly thanks to the enchanting Chingiz who manages to fill it up with presence and, I suppose, sex appeal. He is the asset carrying this entry on his broad shoulders but lately personalities have not done Azerbaijan a lot of good.

Qualifier:
Yes. Last year was a hiccup. Chingiz will sail into the final on charm alone and will end up somewhere around 14th place there.

My grade: 3/5


If you want to agree or disagree with me, please leave a comment or send me a tweet. All the preview clips can be seen here.

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ESC 2018: The mystery that is Russia

For the first time ever since the introduction of the semi finals - unless you count the weird, low-profile, non-broadcast semi final of 1996, which you don't - Russia missed out on a spot in the final. That should spell game over. And yet I can't stop thinking about it. There are so many things I don't understand here.

Like the singer. I see why she was selected last year as Russia clearly had no intention of taking part anyway. Her job then was simple: she needed a performing gig in Crimea on her CV, she had to trigger sympathy in people and she needed to be someone that could be easily thrown under the bus as Russian tv pulled out.

But why did they insist on picking her a second time? She is in no way an outstanding singer and she has very little stage presence. She is not a very big name. What was the deal?

Then she was set up with a really weak song that she was unable to sing properly. Why would anyone do that to a performer? It seems so cruel and tactless.

Was Russia trying to fail on purpose? Why would they do that? What would be the gain? What is the narrative this would fit in? I no longer believe anything like this happens without there being a point to it.

Russia also still has an entry in the running, let's not forget that. All the usual Russian know-how has gone into the Moldovan entry, which could go on to collect a large number of points tonight.

Is this a test as to whether Russia could have more success under another flag?

Tobson's Big ESC 2018 review, part 3

Portugal has shown a great deal of bravery in their choices as host nation for the 2018 Eurovision Song Contest. Mainly they have gone for a more organic and less technological approach in the stage design, leaving out the almost compulsory LED screens that have been popular but not always used in the best possible way.

These decisions go very well with the Portuguese winner of last year and it seems that very entry has inspired quite a few of this year's entries. There are much more songs with some sort of message or conviction and fewer of the professional but generic songs we had a few too many of lately. Hopefully the songs and the stage will come together beautifully come May.

Semi 2 is admittedly weaker but also harder to predict. Which is fun in a way. On to the first nine songs in the lineup:

01. NORWAY
Alexander Rybak / That's How You Write A Song

You can say a lot of things about Alexander Rybak but he sure is no coward. No former winner has taken part in the international final since Dana International failed to progress from the semi final in 2011 and even before that it was hard times for former champions. Alexander also has the guts to enter a song that large portions of the ESC fandom absolutely abhor. Many people would like to see him fail, that is the worst kept secret of the year.

Qualifier:
But of course. Yes. This will be bang in the final and get a very good position there as well. What are people thinking? Rybak has many fans and this is also a fun and playful song. A potential winner, even.

My grade: 4/5

02. ROMANIA
The Humans / Goodbye

Romania has never failed to reach the final. This running order suggests there will be a first time for everything. This is a pretty solid soft rock effort - Heart meets a young Bonnie Tyler - with a neat chorus and a bit of a too long build-up for its own good. The sequenced running order is supposed to put every competing song in the best possible light and position but it feels more like the producer decided to throw Romania under the bus here.

Qualifier:
Borderline. Romania qualified with weaker songs than this in the past.

My grade: 2/5

03. SERBIA
Sanja Ilić & Balkanika / Nova deca

Serbia is trying to turn back the clock to a time where the Balkan countries happily mixed folk music with more contemporary pop rhythms to great effect. It's nice to meet up with this genre again but it is a shame the actual song is not stronger than this. The performance is unfocused and confusing and the song never takes off properly.

Qualifier:

No, unless they manage to reinvent themselves properly and better the performance a great deal. And then the song is still pretty weak.

My grade: 2/5

04. SAN MARINO

Jessika feat Jenifer Brening / Who We Are

San Marino seemed to possibly be on some sort of right way with their messy national final until the whole process turned out to be about who could put in more money than the others. Music had very little to do with anything in the end, which the entry itself demonstrates in a very efficient way. It stays bland until the moment Jenifer brings her messy rap into the picture and makes the whole package implode.

Qualifier:

No. Not in a reasonable world anyway. But this is a semi where almost any song could emerge as a surprise qualifier.

My grade: 1/5

05. DENMARK

Rasmussen / Higher Ground

Ten years ago Latvia somehow managed to make it into the final with a group of people ridiculously dresses up as pirates. Perhaps as a tribute to the Pirates of the Sea, Denmark selected another piece of masquerade attributes and sent in a troupe of various vikings in desperate need of credibility as well as hair conditioner. There's a decent little chorus in here somewhere but not enough to find mercy in my book.

Qualifier:

Borderline. People often tend to like Danish entries even when I find them lacklustre, so I wouldn't be surprised if it is a yes for this one.

My grade: 1/5

06. RUSSIA

Julia Samoylova / I Won't Break

Same suspense scenario as with Romania: would it actually be possible for Russia not to qualify? What we have is a decent but not spectacular entry with a good hook but a singer that seems to be totally incapable of delivering any of the singing required. This will be three very interesting minutes come Lisbon.

Qualifier:

Borderline. Strong support from a number of friendly countries but most other countries would have been discounted at once with an entry like this.

My grade: 1/5

07. MOLDOVA

DoReDos / My Lucky Day

After a bunch of slower mid tempo entries with little sparkle or nerve, Moldova rolls onto the stage like a hysterical avalanche with their bouncy and aggressively positive sunshine of a song. How could you not love this? How could anyone resist? So much kitsch forced into a confined space you expect the whole thing to blow up at some point.

Qualifier:

Yes. People will laugh and love this. But I would never had guessed these lyrics were written by a native English speaker.

My grade: 3/5

08. NETHERLANDS

Waylon / Outlaw in 'em

Just like Alexander Rybak is Eurovision Royalty after his second place as part of The Common Linnets in 2014. It is pretty cool of him to enter something so different from his former entry as well. Possibly he bit off a bit more than he can chew as the song really aspires to have way broader shoulders than Waylon himself can pull off. 

Qualifier:

Yes, most probably. Not sure how well it will fare in the final but at least it will be there.

My grade: 2/5

09. AUSTRALIA

Jessica Mauboy / We Got Love

One of the big reasons for Australia to be present in the contest is supposedly to show the UK how easy it could be to send in really convincing and powerful entries if you just make an effort. That's nice - if a bit patronising - but Australia is not really living up to that if so. Whatever sort of edge I expected them to have is more and more absent for every year. Jessica is a good performer but this pop song is surprisingly unspectacular. Good but tame. If Australia is to stay put I expect quite a lot more from them.

Qualifier:

Yes. Juries love Australia. We noticed that extra clearly last year.

My grade: 3/5

This is the third part of my 2018 review, why not check out part one and part two as well?

Tobson's Big ESC 2017 Review, part 5

For the second year running we had a very late change in the lineup of the second semi. Last year Romania was kicked out due to a smaller mountain of unpaid bills. This year the EBU basically folded themselves double in order to keep Russia in the running, despite all sensible indications pointing towards them never fully intending to take part in Kyiv. For my review, I kept Russia in its place, just for comparison and to ponder what could have been.

01. SERBIA
Tijana Bogićević / In Too Deep

The second semi starts pretty much like the first semi ended: with a perfectly fine and perfectly contemporary pop number. It is slick, it sounds good, it is well sung - by one of Nina's crazy background singers from Düsseldorf 2011. It has pretty much everything anyone could ask for, except for any kind of profile or anything that would set it apart from anything else. Good and credible but too generic. Will need some really extraordinary and explosive staging in order to stand out.

Qualifier:

Borderline. There are so many of these radio-friendly, tailor-made for the commercial airwaves-type of songs in the lineup. Why would anyone remember this one in particular?

My grade: 3/5

Tijana Bogićević / In Too Deep (Serbia 2017 preview)

02. AUSTRIA

Nathan Trent / Running On Air

Ever since their last comeback in 2011 - and especially since Conchita's impressive victory - it seems like Austria would actually have a pop scene where quality stuff is being made. Quality stuff that could compete on an international level. Nathan Trent is surely the most charming male performer in the running but while his song sounds bang-up-to-date, it takes a disappointing turn in the chorus which is far from as strong as it should be.

Qualifier:

Borderline. Nathan will really need to knock Europe over in order to make up for the slightly weaker chorus. Far from impossible.

My grade: 3/5

Nathan Trent / Running On Air (Austria 2017 preview)

RUSSIA - not participating
Yulia Samoylova / Flame Is Burning

After many weeks of plot twists, Russian tv decided not to broadcast the 2017 ESC, rendering themselves ineligible for participation. This entry has been most revealing in many ways. It has showcased how naïve the EBU as well as many fans are in these times of information wars and propaganda machinery. It has also shown an alarming degree of ableism among ESC fans, quickly concluding how anyone confined to the use of a wheel chair could not possibly knowingly be part of a political scheme. Like Yulia was some poor vegetable, unable to understand the world around her. Instead of performing in Kyiv, she will headline a concert in Crimea on the day of the final. Oh well.

Would this have qualified?
Borderline. The song is really weak - as is the performance - and it's highly debatable whether it would have been enough. But that's also a highly hypothetical question. Russian tv never intended to compete with this entry. It was designed to be shark feed and nothing else.

My grade: 1/5



Yulia Samoylova / Flame Is Burning (Russia 2017 preview)

03. FYR MACEDONIA
Jana Burčeska / Dance Alone

After four consecutive semi final failures, FYR Macedonia has internally selected one of their best entries ever. Swedish Joacim Persson has co-written no fewer than three entries in this semi, which must be a record. What really set me on fire here was the fantastic video clip, which is captivating and heartbreakingly sad. If the same amount of emotion can be communicated in the live version, then this could be the republic's best showing to date. But on the other hand - no other country has been so consistently effective in ruining their songs on stage.

Qualifier:

Borderline. It all comes down to Jana's vocal performance and the staging of this number. Also, the single edit lacks some of the emotional depth of the version used in the video clip. But it is my own personal second favourite of the lot this year.

My grade: 4/5

Jana Burčeska / Dance Alone (FYR Macedonia 2017 preview)

04. MALTA

Claudia Faniello / Breathlessly

The Maltese clearly have determination. This is the kind of ballad they have failed with multiple times in the last ten years or so and yet they plunge headlong into competition with yet another version. Claudia tends to over perform more than a bit but is otherwise a good singer and through no fault of my own, this entry has grown on me. Just like Poland it has some really clunky and unfortunate lyrics here and there but the chorus is lush and luxurious. I fear it won't help much in the end.

Qualifier:

No. A better starting position could have helped but this one is very unlikely to pass. It's pleasant for as long as it goes on but will be forgotten as soon as it is over.

My grade: 2/5

Claudia Faniello / Breathlessly (Malta 2017 preview)

ESC 2017: some songs and a big fat scandal

The 2017 Eurovision Song Contest in Kyiv is one month away and there are still so many things to look forward to. And yet I think I already know what this edition will be remembered for. Sadly, it is not the songs.

Many people could smell trouble already when the EBU allowed Ukraine to compete with the highly political "1944" last year. I don't necessarily agree with that. We always had political messages in the ESC - Greece 1976 och Portugal 1977 spring to mind - and where does one draw the line what kind of political message is acceptable or not? Singing about world peace is also a political statement, mind you.

It was a tense moment as the 2016 final turned out to be a duel between Russia and Ukraine, the latter having already stated they would not take part in a final hosted by the former. 

The run-up for ESC 2017 suggested Russia was not too keen on being seen in Kyiv either as they failed to participate in several meetings prior to the contest and never booked any accommodation. Suddenly they presented an entry anyway, set to participate.

The Russian entrant was carefully selected: a former talent show participant suffering from a muscle disease that confined her to a wheelchair. She was armed with a ballad about peace and hope and - perhaps most importantly - she had had concerts in Crimea. 

Ukraine has very clear laws on this matter: anyone entering Crimea from Russia is violating Ukrainian territory and is seen as a criminal. Russia's singer was slapped with a travel ban to prevent her from coming to Kyiv at all instead of being arrested upon arrival.

This is where the EBU lost their marbles altogether and did everything they could to ensure Russian participation. They suggested Russia could perform via a satellite link - a suggestion so silly and against the spirit of the contest I can hardly phrase it in words - and once this idea was discarded went on to try to bully Ukraine into lifting the travel ban and a letter from the EBU sent to the Ukrainian prime minister contained a number of pretty vague threats.

1) Ukraine's international reputation will be damaged if the Russian singer is not allowed to enter. 

I somehow think neither NATO nor the EU will care an awful lot about a song contest as they make their strategic decisions.

2) Other countries will withdraw if the Russian performer is not allowed to enter. 

So let them withdraw. There are rules how to handle late withdrawals: the broadcasters in question must pay their full participation fees and could be slapped with extensive fines for pulling out at a late stage for no valid reason.

3) Ukraine's future participation in the ESC could be in danger if the Russian performer is not allowed to enter. 

Dear EBU - Ukraine is a country at war. This law was made for a reason. You can agree or disagree with it but it is in no way controversial that a country reserves the right to deny entry to people for various reasons. If the government has to choose between standing their ground or participate in a song contest, I think you are not on the winning side.

The very thought that the EBU - not a political organisation - would have a mandate to force a member state to give up their own legislation for the sake of an entertainment show is absurd and very damaging for the idea that the ESC is not a political event.

There - I got it off my chest. Let's move on to the songs instead. My big ESC 2017 review is about to begin.

ESC 2016: Russia vs Ukraine

It's a shame the aftermath of the ESC is so political. It is hard to discuss music when the general tone is harsh and unforgiving.

I am happy that Ukraine won. It is a daring and demanding piece of music and ot your usual happy little pop song. While I would have hoped for something slightly more commercial, I'm happy that experimental and alternative sounds stand a chance in the contest.

Several times when I tried to make this point I was met by the question if I was happy now as LGBT rights in Ukraine are almost as bad as the ones in Russia. I beg your pardon?

This was the year I really tried to keep politics out of this. Russia ditched the hypocritical peace anthems that made me see red in the past so I decided to follow suit and judge them on musical merit.

In my humble opinion the Russian song was good but not excellent while the performance was state of the art, partially very impressive, partially very cold and technical. Add all these things together and I think a third place is a really fair outcome. A result most countries would be really happy with.

Then of course the relationship between Russia and Ukraine is not an easy one. Especially not at the moment. Had a look at the Ukrainian tv news that seemed happier about being Russia than actually winning. And the tone of the many articles declaring Eurovision dead and hopeless, published by Russian "news outlet" RT, is nothing but ridiculous. At least it was nice to see Ukraine scoring highly in the Russian televote and vice versa.

Time to take a deep breath and remind ourselves this is just a song contest?

ESC 2016: three reasons why Russia won't win

I'm so sorry for this post, Russia. It isn't really about you at all. I think your song is a catchy little number and I think Sergey is a great pop star. I even predicted Russian victory earlier today.

And yet it doesn't feel right. I am not convinced Russia will win. I don't feel it in my glittery little Eurovision-shaped heart.

My prediction is more about me giving in to what seems likely and me not being able to find one single standout song that the rest of the world would agree on. There are strong candidates but none of them seem like a more likely winner.

So let me just list three reasons why Russia is not going to win tonight. Just to explore my own conflicting emotions here.

1) This shouldn't be a televote winner.
Last year the viewers around Europe wanted an old-fashioned, stylish, well-executed power ballad with operatic undertones instead of the slick, hit-friendly song with the cool projection. Why would they want this overblown stage show all of a sudden?

2) This shouldn't be a jury winner.
The song sounds very much like a couple of songs that did really well back in 2008-2009, something. Not even then - when they were flavour of the month - did the juries back them. In 2009, Sakis Rouvas was a favourite to win with almost the same song until the juries stopped him from doing so.

3) People will want to go somewhere else.
I'm not a fan of this point but let's be honest about it. Quite a few people will be reluctant to vote for Russia because it is Russia. Quite a few of the juries will have been told - although it's really against the rules to do so - that it would be nicer if Russia didn't win. Ukraine already stated they will withdraw next year if the contest is held in Russia. This contest is not supposed to be political but you know what? It is. And because of point 1 and 2, also this will have a bit of an impact tonight.

If I am totally wrong here - and totally right earlier today - I hope the victory can be a springboard for the excellent Sergey Lazarev to conquer the international market as well.

Or maybe we will all be surprised, with our jaws hanging down, as Petra and Måns congratulate Georgia and the EBU start looking for suitable venues in Tbilisi.

Either way, enjoy your evening. May the best song win, regardless of politics. Good luck Russia, and everyone else.

ESC 2016: And the winner is...

The running order for the grand final got to sink in during the day and tomorrow I will give my final word on how Saturday's show will end. Right now I have no idea. I doubt I will tomorrow either.

But I boiled the whole thing down to six countries that could win tomorrow. Six countries that I'd see as the only realistic contenders for victory. (And one potential super surprise in the making.)

But our winner tomorrow will be one of these:

RUSSIA
Ridiculous to say anything else than Russia being the big hot favourite, the most likely winner tomorrow. And yet my gut feeling tells me Russia is more likely to confirm their position as the new United Kingdom, aka the eternal runner-up. The show is impressive, but not outstanding. Sergey sings well but not perfectly. Critical judges should see through the technical trickery and identify that the song is good but not terrific. However, Russia winning would show once and for all that nobody is doomed on politics alone.

ITALY
I don't give up until I'm defeated. The best song in the running must have a chance of winning, even with a surprisingly bad spot in the running order. On the jury final the people who already liked the song loved Francesca's performance, the people who are not convinced thought it lacked something. Business as usual. If there is any point to having juries at all, they should recognise what a fantastic song this is and reward it heavily.

FRANCE
Not giving up on France either. If Amir turns on that charm he has stashed away somewhere he could collect an impressive number of televotes. It is not juries alone who decide the winner even if Europe will get the idea at first in the final.

UKRAINE
Smashing performance of a difficult but engaging song. It would hardly be the big summer hit of 2016 if it won but at least it would take the focus back to songs, performers and singing skills instead of projections and holograms.

AUSTRALIA
Another stunning vocal and a more hit friendly song. The only letdown is the ridiculous special effect during the second verse that only distracts and doesn't even properly work.

SWEDEN
The last time a country won on home ground was Ireland back in 1994. Wouldn't it be most fitting if Sweden repeated the feat and won their own competition at the same time as going into the lead of countries winning Eurovision?

AUSTRIA (Potential super surprise in the making)
Pink and fluffy and sweet, it dances in on stage not being anything else than what meets the eye. Old-fashioned, likeable, understandable. Normal, if I dare say so, coming after Georgia. It's unlikely but once in a blue moon the sky falls down on our heads.

Watch this space for a more detailed prediction tomorrow. Sleep well, if you can.

ESC 2016: how much high-tech is too much?

We already established that I'm not in Stockholm and that I won't be there at all this year. Fourth consecutive year covering the contest from the sofa. Not too bad, it has its advantages.

I do keep an eye on rehearsals through reports and short clips from Globen and the distance really gives you a more sober idea of what works and what doesn't. On location it is so easy to get swept away by the general enthusiasm surrounding a certain rehearsal and lose a little bit of your judgment. In all fairness I do miss getting swept away. Next year I hope to be.

What stands out to me while keeping up with the first two days of rehearsals is that the inevitable happened. Suddenly this year everyone is using technology to enhance their performances. Screens, projections, 3D effects, you name it.

High-tech is suddenly what drums were ten years ago. Omnipresent and not always needed. When what felt like the seventeenth country pulled some sort of animated hocus pocus out of the bag I felt I had had it with it already.

I loved Moldova's dress thingy in Malmö 2013. I love Måns' sweet routine with his Mini-Me last year. Both were done with warmth and intelligence and in both cases the technology added to the performance instead of taking over. From what little I can tell from available footage, some of this year's performers seem reduced to mere props in their own entries.

I know what you may be thinking at this point. This is not aimed at Russia. They are attempting to take the whole thing to next level, which is interesting. But when more people project stuff on dresses than not, it will diminish also the Russian effect.

I understand everyone's wish to impress and to make more of their three minutes on stage than just plain old-fashioned singing. But at some point all of this extravagance could become too much and make people long for something simple. Just because you enjoy the occasional slice of heavy Schwarzwald cake doesn't mean you want it at every meal.

If the second semi turns out to be as tech-heavy as the first one, my strongest feeling about the final is that something simple, straight-forward and intimate will have strong chances of winning.

Semi 1: 09 Russia / You Are The Only One

In case you hadn't noticed, it looks like Russian television is pretty eager to win this old competition again. Possibly to show who's the boss. Possibly to show everyone they can actually host the thing.

I will totally ignore any political dimension here and just conclude that Russia could very well pull it off this time. Sergey is a smashing pop star and he's been fixed up with just the kind of song fans and the grand public all expect and demand at the ESC.

Is it a bit too expected, though? My major objection here is that is sounds like a winner in 2008. Did time move on, away from this style? My second biggest concern is that they overload the performance with far too much distracting hocus pocus instead of focusing on the strong chorus. Until I see what they come up with I keep my grade down a bit.

Qualifier:
Yes. Totally yes. All my objections concern whether Russia will have a shot at winning or not. Qualifying is a walk in the park. The most obvious qualifier of the year.

My grade: 4/5



Sergey Lazarev / You Are The Only One (Russia 2016 preview clip)

ESC 2015: booing and censorship

Let me say it like it is: now and then during the voting sequence of the final in Vienna I didn't really understand what was going on. I didn't get why the presenters and Conchita suddenly looked so stern, even less why the Russian singer was reduced to tears every time we saw her in the green room.

The next day it all fell into place as I understood the audience had been booing heavily from the moment Russia took the lead and on. On the request of Russian television, apparently, EBU and ORF had foreseen this, muted the sound of the audience and added pre-recorded cheering and applause instead.

I can agree with the live audience on one thing. Russia wouldn't be my dream choice of host under the current circumstances. I'm not convinced it would even be possible to combine this event with the present Russian legislation. But that's another thing.

Polina Gagarina had spoken up for equality, vaguely but still. She had told her social media feeds what an admirable and exceptional performer Conchita is, and defended her when people wrote nasty comments. For a singer representing Russia abroad today, this is about as far you can go. Polina Gagarina was not playing it safe and yet the audience would boo her.

Could anything she said or did have made a difference? I doubt it. She could probably have wrapped a rainbow flag around her and ended her career and still get booing in return.

I'm no big fan of booing but I enjoy censorship even less. I don't know what is the official EBU line on this, but at least SVT - next year's host - often pride themselves with being "free television" and underline the importance of trustworthy public service broadcasting.

Muting booing on political grounds, replacing it with cheerful applause, is definitely crossing a line. Altering an event, pretending that what you show is the real thing, is propaganda. It doesn't matter that this is just an entertainment show. If you start airbrushing reality in entertainment it won't be long until you change things in other areas too. To please somebody. To make somebody look better.

If public service is going to mean anything to anyone, I sincerely hope we will have more backbone and a whole lot less fake applause in the future.

Victory for Sweden! (It's nice to be right)

I felt it in my bones ever since I heard the first snippet of "Heroes" in early spring - and now it happened. Måns Zelmerlöw wins the Eurovision Song Contest and Sweden grabs its 6th victory.

The voting was the most exciting for many years - even better than the one last year in Copenhagen. Tight and with many twists and turns until Sweden finally headed out ahead of the others.

My prediction from earlier today worked out quite well too. I had predicted Sweden, Italy and Belgium as the top three. Russia ended in second place and pushed the others down on step, but that's all.

Russian Polina Gagarina was really taken by the whole situation which resulted in a very emotional but not totally perfect performance. She deserved her second place, but I guess the EBU heaved a sigh of relief.

The big break of the night is the fourth place of lovely Loïc Nottet from Belgium. What a fantastic talent, what a star. If he lands on the right people who give him the right tools and enough space to grow, he will turn into something sensational.

I am also very happy for the success of Latvia, Estonia and Norway. Most deserved. I had hoped for more love for Slovenia, but you can't have it all.

Austria became the first host country in Eurovision history not to score a single point. I had predicted a possible triple nul-pointer - instead we had a double. Neither Austria nor Germany deserved it but didn't manage to sneak into any country's top ten. Some other countries got more anticipated support from neighbours and friends, while Germany and Austria seem to have none.

The sea of ballads in the last half really took its toll on quite a few contestants. Out of the last thirteen songs, only Italy, Latvia and Russia managed to distinguish themselves, while everyone else failed.

More analysis tomorrow, these were just a few thoughts at once. I'll go to bed very happy and content and think to myself that it's nice to be right.

ESC 2015: maybe our winner is Russia

Tonight is Judgment Night when Europe will finally decide which one of the twenty-seven finalists will be the winner. One of the most likely winners is Russia, given a performance slot close to the end, in theory one of the best places you could get in this running order.

I have been critical of this entry but mainly due to the horribly cheesy lyrics. A load of clichés stacked onto one another in a way I hoped we had left behind somewhere in the early 1990's.

But the song itself has a very strong chorus, which is enhanced even further by the terrific performance by the glimmering Polina Garagina. She is clearly one of the best singers in the running and makes her song come alive. I even almost forget the horrid lyrics because she is so good. Warm and likeable.

If Russia wins, it will be a real headache for the EBU in the coming year. Is it even possible to host this event in Russia under the current circumstances? And if they decide that it's not: what rule in the rule book could be used to explain why Russia wouldn't be offered the right to host? Expect a lot of nervous tip-toeing around a number of questions if Polina wins tonight.

I hope none of this would matter tonight. Russia is not my dream winner for a number of reasons but if they don't win at least I hope it won't be for political reasons. Judge the songs, judge the performances and then we deal with the rest later.

Dream result:
somewhere between 3rd and 5th place, a dignified result not too close to the top



Polina Gagarina - A Million Voices (Russia 2015)

Semi 1: 12 Russia

It's a sad sign of the times that you will have to start a review in 2015 by stating the seemingly obvious, but what won't you do in order not to be misunderstood.

I have pretty strong views on things like politics. Human rights. Democracy. Minority rights. That sort of thing. That in turn means I disagree with a number of policies held by a number of countries taking part in the ESC.

I am really trying not to let that affect my views on the entries from these countries. And already last year I wrote a post on what I think about booing at Eurovision. That opinion still stands.

Russia isn't making it particularly easy for me, though. For the third year running, they enter a little song about how they don't wish anything but peace on earth. How they wish we could all see and accept that people are different and should be allowed to be so. The first verse is nothing short of dreadful. Unbearable. It feels like it is poking my eye with a dirty finger as it goes on.

After that it does improve. The chorus builds into something more personable, more interesting, less offensive. And Polina Gagarina has a magnificent presence. Imagine what she could have achieved on a Eurovision stage has she been given a real song instead of a cliché-ridden propaganda piece.

Qualifier:
Yes. This will hit home in the right places and score consistent points without getting anywhere near a victory. Probably exactly what it was designed to do.

Grade: 2/5



Polina Gagarina - A Million Voices (Russia 2015)

Runner-up: Russia 2012

You can say a lot of things about the Russian entries through the years, but they have been anything but square and boring. Recently they have, but they didn't use to be.

Russia bent the rules and pushed the limits and often added a rock star element as well as a general feeling that you never knew what to expect from them.

And when we thought we had seen it all, they enter a bunch of grandmothers singing happily about throwing a party for all their children and grand-children where the cat is happy and the dog is happy too. And everybody sing boom boom together.

The outcome could well be the happiest piece of televisual genius we have seen for years. The women of Buranovo smiled and sang slightly off-tune while baking bread in the huge oven they had brought along for the occasion. Irresistible and the last Russian entry to feel warm and inclusive and really mean it. Maybe the song isn't all that but these are three minutes you won't forget. I for one love every second of it.

A deserved 2nd place?
In a song contest where songs are given points because they are great songs - no. At this very time and place - yes. Babushki for everybody!



Buranovskiye Babushki - Party For Everybody (Russia 2012)

Runner-up: Russia 2000

The 90's weren't really a golden age for Russia at Eurovision. Not because their entries were bad - Youddiph and Alla Pugacheva were brilliant - but because nobody took them really seriously and they didn't seem to be able to play the game.

Especially not when in 1999, reportedly, Russia had to sit out since none of the two broadcasters taking turns to provide the entry had read the rule than any country wishing to take part in one year had to carry a live broadcast of the contest before. None of the channels had shown the 1998 contest and Russia found itself ineligible.

It was time for Russia to step up and show they could be modern, relevant, accessible, hip and a real contender in pop culture. They decide the right person to do this would be an emerging starlet named Alsou. She was only 16, but very up-and-coming and was given a song by international songwriters.

Not only did Alsou go down a storm in Stockholm, her presence would also mean a lot for the future of Eurovision in Russia. Her entry soon became the best selling single of all time in Russia, later knocked off its throne by another Alsou track where she sang in duet with Enrique Iglesias.

Nine years later, Alsou would make a dignified comeback to the ESC spotlight as a warm, charming and most competent host of the 2009 final hosted in Moscow.

A deserved 2nd place?
Absolutely. Pushing things forward in a most positive way, it also helped establishing a much more positive idea about Russia among the people watching the contest. A positive image that unfortunately has been largely shattered in recent times.



Alsou - Solo (Russia 2000)

Runner-up: Russia 2006

Russia really wanted to win and sent in an excellently written and impeccably produced little pop song, well sung by a hot young rising star.

The slow-motion drum loop alone is pure brilliance and worthy of victory all by itself, but not leaving anything to chance it was decided to build also an impressive visual image around the entry.

So we have ballerinas, millions of rose petals and - to top it off - a ghost emerging from a grand piano. That might sound a tiny bit over the top but somehow they managed not only to make it work but also to look elegant and tasteful.

You can say many things about the average Russian eurovision entry, but elegant and tasteful hasn't always been among their most typical traits.

Any other year this could have been a runaway winner but in Athens a bunch of monsters were standing in the way of victory and Dima Bilan would have to wait another two years before winning with a song far inferior to this one.

A deserved 2nd place?
Absolutely yes. Three minutes of perfection that I never grow tired of.



Dima Bilan - Never Let You Go (Russia 2006)

ESC 2014: And the audience went boo

Just like I wrote yesterday, the Russian delegation feared the Copenhagen audience would boo their performance and that is exactly what happened. When the hosts read out Russia as one of ten finalists the audience in the hall gave a very vocal sign of not being pleased.

My personal point of view is unchanged. You do not boo people at Eurovision. It is not civilised behaviour. But I'd like to develop my thoughts a bit further anyway.

One common argument in defence of the Tolmachevy Sisters is that they are very young girls and hardly responsible for anything the Russian leaders would do or not do. A wild guess is they have not harassed many minorities or acted particularly hostile towards any neighbours countries. Why would they deserve this treatment?

Unfortunately you cannot disassociate yourself from the country you represent. If you agree to represent Belarus in a competition, you are also giving your silent approval to the dictator in question. If you sing for Azerbaijan you are signalling that their poor human rights record doesn't really bother you. And these twins have to bear the burden of representing the most controversial country in Europe right now.

Ironically enough, the audience reaction is counter-productive in many ways as it suits the Russian narrative perfectly. The Tolmachevys are clearly selected to represent the pure Russian youth and sound Russian values and when they get booed by the depraved and immoral west it just underlines that the ESC-critical voices were right the whole time.

It is a strange situation that Russia take part in a contest they themselves heavily criticise - calling it a sodomy contest and so on - and then send in innocent young singers to take a beating for the team.

Of course the ESC is open for all active EBU members, but what do you do with a country that seems to participate against their own wishes only to use the contest as a domestic propaganda tool? No doubt that there will be more booing in the final and nobody gains anything from that. The Tomalchevy Sisters least of all.

ESC 2014: Boo for Russia?

According to an article in PinkNews the Russian delegation in Copenhagen fears that they will be subject to hostility when they appear in Eurovision this year. There are fears that the audience will boo or otherwise show their discontent with Russia's current politics.

There is the situation in Ukraine as well as recent anti-gay legislation, but there have also been numerous cases of Russian officials slandering the contest, calling it a sodomy contest and other less appealing things.

For me personally, this is a hard nut to crack. At this very moment I am strongly opposed to many things that go on in Russian politics for obvious reasons. I think the Russian delegation is very right to be worried - people are not happy with the situation and are likely to be vocal about it.

But how do you make it clear you are protesting against Russian politics and not against Russia as a nation or against the Russian people?

It is unfair towards the Tomalchevy Sisters who are unlikely to be any driving force behind neither Russian minority treatment nor Russian foreign policies. But a song in a song contest like this doesn't just represent itself but also the country it is connected to.

I'd like to question Russia's foreign songwriters more than the singers: are you comfortable representing Russia under the present circumstances?

But I also insist that songs should be judged on musical merit alone. If a song is good, then it is good. If a performance is brilliant, then it is. At some point you have to disconnect these two things.

And I really hope the Russian entry won't get booed in Copenhagen. For the simple reason that booing is never an OK thing to do. Booing is for fools. If you dislike something or disagree, you can remain silent. Don't clap, don't cheer, don't boo.

Cows go moo. Fools go boo. And that's what I have to say on this matter.

Well, isn't that a lovely outfit?

Ever since I was a very young Tobson, I've been totally fascinated by this Eurovision Song Contest in so many different ways. It seems I'm never running out of new angles that make me love this show even more.

I like it for the uniting factor - one of few things that brings all of Europe together for a mutual activity. I like it for the music, obviously. Few things cheer me up like a good eurovision entry. And I love it for the positive political dimension, how it brings people closer and showcases new ideas and thoughts even to corners of the world where the governments would prefer as little enlightenment as possible.

But I also love the show elements, of course. And I'm never averse to a great outfit. So here - for your entertainment as you wait for this year's extravaganza to take off - I collected a non-exhaustive list of favourite outfits through the years.



Anne Karine Strøm - Mata Hari (Norway 1976)

What could be better than a little bit of gold? The correct answer must be: a whole lot of gold, preferably from head to toe. If you can match it with the biggest sunglasses you could possibly wear before your neck goes snap, then it's all for the better. Wonderful Anne Karine entered eurovision history as the only solo performer to end in last place twice - a complete disgrace.



Linda - No goodbyes (Netherlands 2000)

Must be so awkward when you check your calendar and realised you double booked and have to perform at Eurovision that very day you promised to go camping with your dancers? Linda went for a creative solution and decided to hit two birds with one stone and do both things at the same time. The best "look-what-I-hid-under-my-dress"-effect ever.



Youddiph - Vechni strannik (Russia 1994)

I love this creative red dress that allows the singer to change her appearance completely several times throughout her performance only by making some simple, tasteful movements. Understated, elegant and sophisticated.



Rita - Shara barechovot (Israel 1990)

I must admit to being a lover of colour and I think the smart black dress is just about the most boring option anyone could come up with on a eurovision stage. Black is safe and uncreative and I think the large audience watching you deserve more of an effort than that. But then there are the little black numbers you just can't refuse. Rita looks absolutely stunning and captivating. Mind you, she could probably wrap a towel or an old circus tent around her and still look stunning, but she really works this one to perfection. 18th place? Well done, juries.



Salomé - Vivo cantando (Spain 1969)

I never had the chance to ask her in person, but I am assuming that Salomé shares my point of view that  a stage outfit is something you design and craft specifically, not something you go out and buy in a shop. I'd like to see the shop selling this particular piece. Full of tassels and tiny stones - to weigh the tassels down and give them a life of their own - it weighs five kilos and would probably not qualify as a comfortable garment on any occasion. And that sort of makes it perfect for the stage.