Sanna Nielsen has tried and tried and maybe this is her time lucky in Sweden. In Belgium, there is a candidate who has tried fewer times but for a longer period of time.
Petra gave it her all and was often best in show. But did Flanders vote for her? Nope.
Petra - Ga door (Belgium NF 1993)
A nifty choreography and ice-cream hairdos? Nah, Belgium preferred to send off a quiet little ballad that not only ended last in Millstreet but also will remain associated with a dubious sense of fashion forever.
Petra - Diep in mijn huid (Belgium NF 1999)
So Petra went all sophisticated and offered a smooth and catchy little pop song with a tasteful change of language in the end. Belgium turned a blind eye to the whole package and sent off a stylish but unspectacular little lullaby instead.
La Sakhra - Wonderland (Belgium NF 2006)
I'm not even going to pay attention to Petra's attempt to bring some life to an outright hopeless entry in the 2000 Walloon final by choreographing and providing backing vocals to a song that obviously would not make many people happy. Six years later, she reinvented herself as La Sakhra and came really close to winning the whole thing. Unfortunately a certain Kate Ryan would stand in her way and go to Athens to defend the Belgian banner (with moderate success).
I was very happy to see Petra back in business this year. In the audition shows where hopeful singers performed old eurovision entries in order to secure a spot in the final, Petra blew the judges away and won her heat.
We haven't heard her song yet, but wouldn't it be nice to finally see this talented woman in a Eurovision final? Her own version of All Kinds Of Everything - suitably dealing with the ordeal of entering over and over without winning - is certainly worthy of a gold star in the margin.
Petra - All Kinds Of Everything
Sunday, February 9, 2014
Malta is coming home
I am convinced the Maltese final would be better if they just selected ten songs but tried their best to find ten really strong ones, instead of filling up the program with too many safe MoR-songs.
So I didn't watch last night when my twitter feed suddenly exploded with (mainly negative) comments about the unexpected winner and what a shame it was that Malta would miss the final in Copenhagen.
Listened to the winner's reprise and thought it sounded a bit messy. Listened again today and was quite positively surprised. I don't know why, but if Australia ever entered Eurovision I wouldn't be surprised if their entry sounded a bit like this.
Organic and lively - perhaps the backing vocals are still a bit messy in parts, but that is fixable - the Maltese entry is likely to stand out from the crowd in Copenhagen. There is personality and hooks and plenty of time to do some serious nip and tuck before the final version should be presented.
I have said it before and it needs to be said again: given the size of Malta, it is impressive how strong and interesting contenders they manage to find in the end. Perhaps Firelight don't have the word winner written on their foreheads but I look forward to seeing how far this will carry come May.
Saturday, February 8, 2014
Sanna is turning into Céline
Alright alright, I couldn't help myself. I had to listen also to the 2'30 clip of Sanna Nielsen's Undo. I just had to hear if it built up so nicely that everyone keeps saying it does.
And yes, it is a good song. I understand it better now. It is still not the knockout I had hoped for, but maybe that last level of fabulous will be added in the live performance.
More than anything, it tells me that this could be the perfect moment for Sanna to reinvent herself as the Céline Dion of Sweden. The verse of Undo echoes of It's All Coming Back To Me Now and the chorus feels like a relative of Loved Me Back To Life.
Old and new Céline rolled into one, performed by lovely likeable Sanna. What could go wrong tonight?
Céline Dion - It's All Coming Back To Me Now
Céline Dion - Loved Me Back To Life
And yes, it is a good song. I understand it better now. It is still not the knockout I had hoped for, but maybe that last level of fabulous will be added in the live performance.
More than anything, it tells me that this could be the perfect moment for Sanna to reinvent herself as the Céline Dion of Sweden. The verse of Undo echoes of It's All Coming Back To Me Now and the chorus feels like a relative of Loved Me Back To Life.
Old and new Céline rolled into one, performed by lovely likeable Sanna. What could go wrong tonight?
Céline Dion - It's All Coming Back To Me Now
Céline Dion - Loved Me Back To Life
Melodifestivalen gem: Idag är det vår
I don't know about you but many of my personal favourites are songs that clearly should not have won. They are not distinct enough or they are simply not the kind of entry that would attract any substantial amount of points from anywhere.
This very entry is the complete definition of what I mean.
Pastellerna were a local dance orchestra that had scored a number of hits on the Svensktoppen chart and who were pretty much in demand in their own genre. Dance orchestras have always been a popular part of Swedish popular culture, but they peaked in the 70's when even pretty mediocre bands could sell quite a lot of records.
Pastellerna were not mediocre, they were talented and likeable and explained in their own sleeve notes that they didn't consider themselves a typical "dansband" at all. Given the reluctance Swedish television had against this kind of music, it was a small miracle they were selected at all to compete at Melodifestivalen 1978.
They bravely entered the stage as the first of ten candidates, dressed in what could kindly be described as a minor styling disaster, and sang their little song with gusto. Perhaps not all harmonies were exactly in their right places, but it was still a good opener.
Had this won, it would surely have bombed in Paris. Who would have understood this kind of entertainment outside of Scandinavia? Most provincial, not at all international. The Swedes would have been ashamed. The final 6th place seems quite generous in retrospect.
But the provincial interpretation of glamour and showmanship is just what appeals to me here. The group comes across as very sincere, the lyrics are sweet and the song is memorable in its own right.
Three of the members - Peter Wanngren, Kerstin Andeby and Bertil Engh - would team up with the outstanding lyricist Monica Forsberg and appear twice in Melodifestivalen using the group name Ritz.
They would also produce two albums with stories and songs about the Monchhichi dolls that I absolutely adored as a child.
Pastellerna - Idag är det vår (Sweden NF 1978)
This very entry is the complete definition of what I mean.
Pastellerna were a local dance orchestra that had scored a number of hits on the Svensktoppen chart and who were pretty much in demand in their own genre. Dance orchestras have always been a popular part of Swedish popular culture, but they peaked in the 70's when even pretty mediocre bands could sell quite a lot of records.
Pastellerna were not mediocre, they were talented and likeable and explained in their own sleeve notes that they didn't consider themselves a typical "dansband" at all. Given the reluctance Swedish television had against this kind of music, it was a small miracle they were selected at all to compete at Melodifestivalen 1978.
They bravely entered the stage as the first of ten candidates, dressed in what could kindly be described as a minor styling disaster, and sang their little song with gusto. Perhaps not all harmonies were exactly in their right places, but it was still a good opener.
Had this won, it would surely have bombed in Paris. Who would have understood this kind of entertainment outside of Scandinavia? Most provincial, not at all international. The Swedes would have been ashamed. The final 6th place seems quite generous in retrospect.
But the provincial interpretation of glamour and showmanship is just what appeals to me here. The group comes across as very sincere, the lyrics are sweet and the song is memorable in its own right.
Three of the members - Peter Wanngren, Kerstin Andeby and Bertil Engh - would team up with the outstanding lyricist Monica Forsberg and appear twice in Melodifestivalen using the group name Ritz.
They would also produce two albums with stories and songs about the Monchhichi dolls that I absolutely adored as a child.
Pastellerna - Idag är det vår (Sweden NF 1978)
Melodifestivalen: one minute is nothing
Last year, I took a really minimalist approach to Melodifestivalen for the first time in years. I didn't listen to any clips in advance and waited to hear the entries for the first time during the live show.
It was nice. It was a bit like in the old days when you waited and waited and were finally - hopefully - rewarded for your patience.
I'm keeping most of it this year. Don't expect any in-depth reviews from me, but I do allow myself to listen to the one-minute clips that appear online every Thursday.
One minute is absolutely nothing. It is impossible to say if a song is working or not after hearing these. It could be the strongest moment out of a weak entry, but a song that builds up to a grand finish will never benefit from this treatment.
Sanna Nielsen's clip, for instance. I hear a promising melody line and a promising chorus - I know the girl can sing - but one minute is not enough to make me shiver. Martin Stenmarck sounds good and modern but also a bit confusing. Is it possible to get a handle on this song? I can't tell after this clip. It is impossible to predict at this point.
It seems to be pretty hard to predict for the people on location too. The first semi was full of surprises and the live audience survey made after the dress rehearsal was way wrong.
Maybe the Swedish audience just decided to be unpredictable this year. And if that is what we think, then a predictable result would be the biggest surprise of them all.
All theory aside: this week I expect to totally adore Sanna's entry once I hear the full version and I found myself an unexpected personal favourite in Panetoz. I hope there is enough of a song going on in their case to keep it interesting for three minutes.
Tobson predicts: Sanna and Martin to the final, Panetoz and The Refreshments to Andra Chansen. There is a lot of talk about Little Great Things, but I think they will be fifth with JEM - and yet another of those songs that the audience at home fails to connect with - missing out. Manda or Pink Pistols? Not a chance.
It was nice. It was a bit like in the old days when you waited and waited and were finally - hopefully - rewarded for your patience.
I'm keeping most of it this year. Don't expect any in-depth reviews from me, but I do allow myself to listen to the one-minute clips that appear online every Thursday.
One minute is absolutely nothing. It is impossible to say if a song is working or not after hearing these. It could be the strongest moment out of a weak entry, but a song that builds up to a grand finish will never benefit from this treatment.
 |
| This is taken by Leif R Jansson and belongs to Scanpix. |
Sanna Nielsen's clip, for instance. I hear a promising melody line and a promising chorus - I know the girl can sing - but one minute is not enough to make me shiver. Martin Stenmarck sounds good and modern but also a bit confusing. Is it possible to get a handle on this song? I can't tell after this clip. It is impossible to predict at this point.
It seems to be pretty hard to predict for the people on location too. The first semi was full of surprises and the live audience survey made after the dress rehearsal was way wrong.
Maybe the Swedish audience just decided to be unpredictable this year. And if that is what we think, then a predictable result would be the biggest surprise of them all.
All theory aside: this week I expect to totally adore Sanna's entry once I hear the full version and I found myself an unexpected personal favourite in Panetoz. I hope there is enough of a song going on in their case to keep it interesting for three minutes.
Tobson predicts: Sanna and Martin to the final, Panetoz and The Refreshments to Andra Chansen. There is a lot of talk about Little Great Things, but I think they will be fifth with JEM - and yet another of those songs that the audience at home fails to connect with - missing out. Manda or Pink Pistols? Not a chance.
Thursday, February 6, 2014
Spain 1985: also a big star can fall
As the rehearsals are in full swing for the second semi of Melodifestivalen 2014 in my home region of Östergötland, it seems Sanna Nielsen now fully and completely emerged as the Big Favourite, hotly tipped by most to qualify for the final, win the final and possibly even take the crown in Copenhagen.
Big words, but Sanna is well loved by the Swedes, have an actively televoting fanbase and most people present in Linköping seem convinced she just can't lose.
A little bit like Paloma San Basilio in 1985.
The Spanish diva had conquered the world of latin music through her lead role in the Spanish version of "Evita" and was given a big ballad from the plume of Juan Carlos Calderón who had been a mere heartbeat away from winning the whole contest in 1973 with "Eres tú", a song that went on to become a major hit single all over the world.
Paloma had the passion, the conviction and the perfect song. She couldn't lose.
Until she did. Something must have gotten lost on the way from Scandinavium out to the juries around Europe and once all the votes were cast, Paloma were left with 36 points and a very modest 14th place shared with Turkey.
Not saying the same will happen to Sanna - I believe in her song as well. I'm just saying you have never won until you actually won.
Paloma San Basilio - La fiesta terminó (Spain 1985)
Big words, but Sanna is well loved by the Swedes, have an actively televoting fanbase and most people present in Linköping seem convinced she just can't lose.
A little bit like Paloma San Basilio in 1985.
The Spanish diva had conquered the world of latin music through her lead role in the Spanish version of "Evita" and was given a big ballad from the plume of Juan Carlos Calderón who had been a mere heartbeat away from winning the whole contest in 1973 with "Eres tú", a song that went on to become a major hit single all over the world.
Paloma had the passion, the conviction and the perfect song. She couldn't lose.
Until she did. Something must have gotten lost on the way from Scandinavium out to the juries around Europe and once all the votes were cast, Paloma were left with 36 points and a very modest 14th place shared with Turkey.
Not saying the same will happen to Sanna - I believe in her song as well. I'm just saying you have never won until you actually won.
Paloma San Basilio - La fiesta terminó (Spain 1985)
Wednesday, February 5, 2014
Finland: anybody watching?
This weekend, Sweden's national final started its long run while Finland's selection ended in the big UMK final. Yle pulled out all of their know-how and some of the best tricks in their magic box and presented a really nice show.
Finnish television doesn't do a lot of entertainment and out of everything on offer, the UMK final is state of the art. It looks good and ambitious and contains some really nice interval acts and pre-filmed material. A very nice package. And yet almost nobody is watching.
While Melodifestivalen managed to score an impressive 3 364 000 viewers with a good but not outstanding first semi, only 452 000 tuned in to see Softengine win in Finland.
UMK is a high profile project for Yle. Eurovision is much loved since forever among the Finnish audiences. 452 000 viewers is a disastrous outcome. Disastrous. How do you explain something like this?
For some reason, Yle insists on showing UMK on their second channel. Recent figures show that TV2 is a channel in free fall with generally very poor ratings. The Eurovision selection should be taken onto the first channel at once.
The current format of UMK is not attractive for the viewers. For three weeks, singers and songs are shown without any action taking place what-so-ever. Then there are a further three weeks of heats and semis where very few songs are voted off and where the same songs keep playing and playing without any major drama or excitement.
A selection process needs excitement and all these warm-up shows seem to turn the audience away instead of enthusing them. Yle needs to rethink.
Either you can do what Estonia does. Strip away everything that is surplus. Put the songs in the centre of attention and have two straight-forward semis where the number of songs is efficiently reduced in time for the final.
Or you do what Denmark did. When the semi finals are not good or interesting enough - you scrap them. Denmark went back to a one-night extravaganza and used up their entire budget on making one sensational show for the audience to love.
Given the state of things in Finland, I would suggest the latter. Get 12 songs - try to get a star or two to enter as well - and show them in a sassy, sexy, magnificent live show broadcast on TV1. The UMK final shows it can be done, so do it now.
Finnish television doesn't do a lot of entertainment and out of everything on offer, the UMK final is state of the art. It looks good and ambitious and contains some really nice interval acts and pre-filmed material. A very nice package. And yet almost nobody is watching.
While Melodifestivalen managed to score an impressive 3 364 000 viewers with a good but not outstanding first semi, only 452 000 tuned in to see Softengine win in Finland.
 |
| Copyright: Yle, photo by Tomi Mikola |
UMK is a high profile project for Yle. Eurovision is much loved since forever among the Finnish audiences. 452 000 viewers is a disastrous outcome. Disastrous. How do you explain something like this?
For some reason, Yle insists on showing UMK on their second channel. Recent figures show that TV2 is a channel in free fall with generally very poor ratings. The Eurovision selection should be taken onto the first channel at once.
The current format of UMK is not attractive for the viewers. For three weeks, singers and songs are shown without any action taking place what-so-ever. Then there are a further three weeks of heats and semis where very few songs are voted off and where the same songs keep playing and playing without any major drama or excitement.
A selection process needs excitement and all these warm-up shows seem to turn the audience away instead of enthusing them. Yle needs to rethink.
Either you can do what Estonia does. Strip away everything that is surplus. Put the songs in the centre of attention and have two straight-forward semis where the number of songs is efficiently reduced in time for the final.
Or you do what Denmark did. When the semi finals are not good or interesting enough - you scrap them. Denmark went back to a one-night extravaganza and used up their entire budget on making one sensational show for the audience to love.
Given the state of things in Finland, I would suggest the latter. Get 12 songs - try to get a star or two to enter as well - and show them in a sassy, sexy, magnificent live show broadcast on TV1. The UMK final shows it can be done, so do it now.
Correction: The figure I had seen was incorrect - the real rating is 423 000 viewers.
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