The final of this year’s Eurovision Song Contest in Basel, Switzerland, was once again a vibrant mix of dance anthems, powerful ballads, and a quirky assortment of novelty pop from across Europe. As we approached the 2025 competition, I found myself without a clear favourite, which was a change from previous years. The final felt like an open playing field, where I sensed the strongest performance of the night would ultimately take home the prize. Thus eclipsing all the pre-event hype and betting odds. No matter how the results played out, I always look forward to sharing my personal highlights from this incredible annual international televised song competition.

“Lighter” by Kyle Alessandro (Norway)

Photo by Thor Håkan Ulstad

What an intense experience for a nineteen-year-old! Kyle Alessandro, representing Norway, stepped onto the stage as the opening act of the ESC grand final—making history as the youngest artist ever to represent the country. His song, “Lighter,” is an electrifying, anthemic electro-pop gem. Though sung with impressive confidence, the track itself lacked distinct originality and memorability. Yet, the extraordinary staging more than compensated for these shortcomings. A solitary flickering flame ignited into a breathtaking display, engulfing the stage in a fiery ring, simulating a wildfire that rapidly spread around Kyle and his talented dancers. This dramatic visual made for a truly spectacular kickoff to the show.

Early performance slots are notoriously tough when it comes to leaving a lasting impact on voters and the audience, and it’s a real disappointment that “Lighter” didn’t receive the recognition it deserved in the voting. Still, Kyle executed his performance with skill and charisma, and I’m genuinely excited to see where his post-Eurovision journey takes him.

“Serving” by Miriana Conte (Malta)

From the very beginning, Maltese artist Miriana Conte made her intentions unmistakably clear: she came to Eurovision to slay! With audacity and flair, she unleashed her cheeky anthem, the irresistibly iconic “Serving“. Throughout the Eurovision journey, this track quickly captured the hearts of fans, emerging as a standout favourite. Miriana’s strategy of pushing boundaries and leaving little to the imagination was almost flawless—until the EBU intervened, insisting on a minor but significant lyric change. But this diva was unshaken. Her boundless charisma teamed with striking visual elements ensured that the essence of “Serving” remained intact. Without a doubt, Miriana has caught the attention of the RuPaul Drag Race fandom. (Possibly part of a grander scheme she envisaged). Miriana for Mighty Hoopla 2026? It’s not just a possibility; it’s a foregone inevitability, I feel!

“Wasted Love” by JJ (Austria)

Photo by Pavla Hartmanová

On sheer vocal mastery alone, the Austrian singer-songwriter JJ (aka Johannes Pietsch) clearly stood out among the Eurovision competitors.

His popopera style is not only powerful but also refreshingly unique. Seamlessly transitioning between pop and opera, JJ makes it appear effortless. His performance of “Wasted Love” was nothing short of breathtaking. The striking contrast and his accomplished falsetto truly take your breath away; it’s a masterclass in vocal excellence. This was only heightened by the dramatic monochrome staging, which added an extra layer of impact. In my view, no one can rival the extraordinary vocal prowess that JJ displays. I found my winner in this performance, and it seems Europe agreed, voting JJ as the champion of Eurovision 2025. Even after the victory was sealed, his winners performance remained astonishing. Deeply emotional, JJ delivered yet another spellbinding show, featuring his mesmerising falsetto. This was definitive proof that Europe made the right choice.

“Hallucination” by Sissal (Denmark)

Denmark truly brought their A-game by sending Sissal to Eurovision in Basel, and I believe she was undeniably the standout female vocalist of the event. It’s utterly perplexing why the Eurovision audience overlooked “Hallucination.” I simply cannot fathom the public’s judgment of this incredible track and performance. The striking similarities to Loreen‘s music were impossible to miss. And you would think that the Eurovision audience would rally behind Sissal’s banger because of that. But for reasons I can’t understand, Europe didn’t embrace the idea of someone delivering such a fantastic homage to Loreen (perhaps they just have a preference for the original). This sentiment was painfully clear in the lack of support for this uplifting pop anthem, as Sissal’s mesmerising performance was shamefully ignored. It’s disheartening to see Eurovision be so harsh to you, Sissal. Just know that EQ Music Blog stands by you. You are an absolute pop queen!

“Survivor” by PARG (Armenia)

This year’s Eurovision Song Contest in Basel, Switzerland, overflowed with powerful anthems, but none captured attention quite like the Armenian representative, PARG. This remarkable track “Survivor” is a stirring declaration of strength and resilience, seamlessly blending with PARG’s unique pop-rock vocal style. From the very first note, this commanding performance pierced through the dazzling display of vibrant lights and swirling smoke, ensuring PARG remained the centre of attention. It was a mesmerising journey from start to finish, solidifying PARG’s status as a standout contender in this competition. For anyone seeking an artist who embodies the same magnetic charisma as Måneskin’s Damiano David, look no further than PARG—an unforgettable musical force destined for greatness.

This was an absolute blast! Be sure to mark your calendars for the middle of May 2026. Let’s come together again to dive into another exciting Eurovision recap from the Grand Final in Austria next year.

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The 2024 Eurovision Song Contest is sure to be remembered as evoking strong feelings among participants and viewers alike. Similarly, I feel there was a slight injustice to the acts taking part and their creative artistry and that the work/performances become overshadowed by divisive world politics. Eurovision for me is always about celebrating the artists, their songs and performances. Therefore, my post-coverage of the event is on that basis only. 

In 2003, Swedish pop queen Loreen won the competition in Liverpool (hosting on behalf of Ukraine) with her phenomenal entry “Tattoo.” And that ultimately took Eurovision back to Sweden, for the seventh time with Malmo the host destination for 2024. No expense was spared for Eurovision this year laying on a colourful spectacle of lights, stage performance and most importantly…phenomenal pop songs. As always the night of the Grand Final presented some earworm tracks of the like where I can’t get them out of my head. The remedy to this earworm invasion is blogging them right here.

“Unforgettable” by Marcus & Martinus (Sweden)

As you would expect, Sweden knew the assignment when it came submitting a memorable, catchy track. “Unforgettable” performed by twins Marcus & Martinus Gunnarsen, is a very typical entry for Sweden. A profusely upbeat, electro-pop track replete with an instant sing-along chorus.

Performance-wise the Swedish team laid on a light effects spectacle based on a Matrix-like theme. In all honesty, if the track wasn’t already dazzling enough, the use of copious LED lights most certainly was made the overall performance blazingly brilliant.

“Luktelk” by Silvester Belt (Lithuania)

Lithuania sent their first LGBTQ+ artist to Eurovision this year. The country’s hopes were with Silvester Belt and his Latvian-spoken entry “Luktelk” (translated, “Wait“). This is a banger that the crowd had no hesitation in getting behind. They joined in clapping to the track’s punchy rhythmic beat. Looks wise, Silvester shares a noticeable resemblance to Troye Sivan. The stage performance was flanked by four hooded dancers with Silvester holding his own with the dynamic offering. “Luktelk” deserved a higher final placing than 14th in the competition. However, the song is a suitable introduction to his brand of electronic pop and the tracks he is currently working on. A definite, one-to-watch for me. 

“Liar” by Silia Kapsis (Cyprus)

Australia didn’t make it through the semi-final heat process this year. The country was however, not entirely left out of the Grand Final proceedings. Seventeen-year-old Silia Kapsis, the youngest participant in the contest and of Greek-Cypriot and Australian descent, represented Cyprus with the ebullient offering “Liar.” On the grand final night it was good to witness Silia prove the critics wrong as there had been some opinions that she was too young to take on the task of competing. However, Silia’s supremely confident performance. Her nailed Britney-esque dance routine was outstanding leaving the ill-founded critics left eating their words. 

“Rim Tim Tagi Dim” by Baby Lasagna (Croatia)

Baby Lasagna, the Croatian entrant, has cast a spell over me for weeks with the arresting pop-rock of “Rim Tim Tagi Dim.” The massively hypnotic track had a way of sneaking up on me when I least expected it. Too many times, I found myself spontaneously humming or drumming out the tracks pounding rhythm on my coffee table. (Incidentally, of which has taken some battering from my tapping fingers these past few weeks).

In contrast to most Eurovision entries this year, Baby Lasagna penned “Rim Tim Tagi Dim” all by himself. Although the lyrics might appear somewhat rudimentary – “I’m a big boy now, I’m going away and I’ve sold my cow“, there is a sense of poignancy behind the narrative. The track is inspired by his fellow Balkan friends, of which fled the country in search of a better life. So, there’s no air of silliness at all in this song, except for the surprising yet memorable name choice – Baby Lasagna.

“Doomsday Blue” by Bambie Thug (Ireland)

Realising they needed to make their presence felt this year, Ireland chose the divisive, goth witch Bambie Thug as their representative. Having missed out on snatching a grand final place for quite a few years, Ireland played the wild card with the dynamic “Doomsday Blue” being well received. Screamo, grunge, spell-casting, and a soft, endearing singing voice, “Doomsday Blue” has it all going on. An insane, hedonistic brew for sure if you get my point! The staging of this one was a thing of dramatic wonderment and epic proportions. Notably, though, like Lordi and Verka Serduchka. Bambie Thug is Eurovision royalty now and will be remembered for years to come.

“We Will Rave” by Kaleen (Austria)

No Eurovision grand final is complete without a potent dance banger and 2024 was no exception. Following in the recent footsteps of “Fuego” by Eleni Foureira and “Replay” by Tamta, Austria’s Kaleen stepped up to the table with the infectious, trance offering “We Will Rave.” The incredibly catchy song bears a striking musical resemblance to Snap! “Rhythm Is A Dancer,” owing to the song’s fast-paced energy. Sometimes it is good to have a track that is just for the purpose of pure enjoyment. What “We Will Rave” offers is an escape that moreover, shimmers with extreme danceability and catchiness.

The Code by Nemo (Switzerland)

I am happy about Switzerland’s landslide victory at Eurovision this year and felt it was their time to pick up the winner’s trophy again. As In recent years Swiss representatives Luca Hänni and Gjon’s Tears both paved the way putting Switzerland back on the Eurovision map with their respective entries “She Got Me,” and “Tout L’univers.” However, this year Swiss participant Nemo brought something completely different in both aesthetics and sound. I feel “The Code” was well received because its authentic lyrics got people invested in it. As Nemo themselves said it’s a song about their story, about coming out as a non-binary individual and finding paradise in that honesty.

Not forgetting the compelling stage performance Nemo gave, singing from the heart while balancing and jumping on and off a tilted spinning disc. The stunt could have ended in disaster, but thankfully I observed no slip-ups (except when he won and broke their thumb and the Eurovision trophy). I think they must have had some magnets in their trainers to help them stay rooted to the spot. Everyone loves a story with a happy outcome, and ultimately “The Code” is now an anthemic beacon of light, instantly taken to the hearts of the LGBTQ+ community and discerning pop music fans alike.

Lastly, I cannot rightfully conclude my Eurovision 2024 sum up without mentioning the reuniting of Alcazar and their stunning performance of the mega-hit “Crying At The Discoteque.” Eurovision is affectionately known as Gay Christmas and with Alcazar and the ABBAtars also making an appearance, the Swedes gave us Christmas in pop music their way. 

The post EUROVISION 2024: The Grand Final appeared first on EQ Music Blog.

Margaret Berger is an exceptionally talented electro-pop artist from Norway. Although, despite her success at Eurovision 2013, (where she came 4th with entry “I Feed You My Love“). Astonishingly, she appeared just once on EQ Music Blog, which is somewhat unforgiveable considering her stature. However, Margaret is back in the spotlight, thanks to her participation in the Melodi Grand Prix selection process for this year’s competition in Malmo Sweden. Her latest single “Oblivion” has already garnered a significant response. If you haven’t given her music a listen before, now is the perfect time to do so. Margaret’s unique sound is sure to captivate you and leave you wanting more.

It’s intriguing to ponder whether the Norwegians perceive Margaret’s involvement in the Melodi Grand Prix selection process in the same manner as the Swedes did with Scandipop queen Loreen‘s return last year. One could speculate that they are hoping for a victory that follows a similar formula to Loreen’s success. However, with KEiiNO also in the running with another supremely catchy offering in “Damdiggida“, the outcome is uncertain. Only time will reveal whether Margaret’s impressive track record and electrifying new song “Oblivion” will place her in the winner’s circle.

It’s early that I get swept up in the Eurovision excitement! What has me enthused about the track “Oblivion” in particular, is that it’s written by an incredible team of songwriters. An ensemble of songwriting minds that Includes Moyka – one of the most talented Norwegian electronic-pop acts around – alongside Anders Kjaer and Sivert Hagtvet Hjeltenes. With that kind of talent behind it. This is definitely one preliminary Eurovision entry you won’t want to miss!

Are you curious to find out if Margaret will represent Norway at Eurovision 2024? Don’t miss out on the action! The heats in the national final process start on Saturday 13th of January, with Margaret performing in semi-final one. You can join in with the excitement by watching the official NRK TV streaming link HERE from 21:00 CET.

Connect with Margaret Berger
Facebook: https://www.facebook.com/margaretbergerofficial/
Twitter: https://twitter.com/margaretberger
Instagram: https://www.instagram.com/margaretbergerofficial/

The post Listen to “Oblivion” by Margaret Berger appeared first on EQ Music Blog.

Hey there! I am sure that some of our readers might be curious about the Eurovision coverage on the blog this year. Particularly when the event was hosted in Liverpool, UK, on behalf of Ukraine, the 2022 ESC winners. I must confess, I couldn’t resist catching the Eurovision fever that had swept the nation in the weeks leading up to the semis and final of the competition. Honestly, it was exciting to quietly soak up every bit of the extensive media coverage from my homeland for once. I mean, it’s been 25 years since we’ve had a chance to host, so why not savour it, right?

My focus for blog coverage is instead on the grand final itself. As in all realness, with Loreen as Sweden’s representative, it seemed like a foregone conclusion that she would win anyways. The lead-up to the final generated hype around a few frontrunners. Some songs, unfortunately, didn’t receive the attention they deserved. As a Eurovision fan, I couldn’t help but notice a few overlooked gems from the night.

Let’s recap and take a look at some other highlights of Eurovision 2023. These picks are based on outstanding vocals, as I see them in the 2023 competition.

“Break A Broken Heart” by Andrew Lambrou (Cyprus)

I was a slightly disappointed that the Cyprus entry “Break A Broken Heart” by Andrew Lambrou was drawn third on the show line-up. Even though the Australian singer chosen to represent Cyprus gave a stunning performance. The goosebump-raising ballad was forgotten, with everyone eagerly anticipating the battle between Sweden and Finland. Personally, I really enjoyed Andrew’s powerful vocal range and stellar performance. I would have liked to see Cyprus earn more points. The runs into the falsetto notes gave me chills!

“Watergun” by Remo Forrer (Switzerland)

What a travesty that “Watergun,” the moving song sung by Remo Forrer for Switzerland, didn’t score higher on Saturday. Despite his young age, the 21-year-old singer delivered an utterly powerful performance that showcased his distinctive deep soulful vocals. The song lyrics were especially poignant in light of the ongoing conflict in Ukraine. Unfortunately, however, some of the comments I witnessed circulating online made it seem like the song’s true meaning had been lost in translation. To make matters worse, Switzerland was also placed near the Cyprus entry, another ballad, making it even harder for them to stand out.

“Because of You” by Gustaph (Belgium)

Belgium, one hundred per cent understood the assignment with their track “Because of You” by Gustaph. It was amazing seeing them go all out with the disco vibes. Watching from home, I certainly, had the sense that the energy the track created in the arena felt incredible. I loved the song’s message of empowerment and inclusivity, and Gustaph’s performance was just fantastic. The staging was super cool also, with the black and white visuals contrasting against Gustaph’s pink outfit. It was clear that he was so grateful to be a part of the Eurovision experience, and I’m glad he got this moment in the spotlight. I think he deserves recognition as an iconic Eurovision performance for sure.

“Due Vite” by Marco Mengoni (Italy)

(Photo by Andrea Bianchera)

Going into the competition final, I wasn’t familiar with the Italian entry “Due Vite” by Marco Mengoni. However, when he began to sing, I soon realized what I had missed out on. Marco’s performance was incredibly moving, and the way he carried his vocals was noticeably spine-tingling. Using light and shade, he expertly created flawless vocals that seemingly spoke directly to the audience. It was almost as if he had read the room and knew just what the arena needed at that moment. The music was a masterclass, with shimmering synths that I never expected. Overall, it was clear that Marco’s talent and passion won over the hearts of the Eurovision crowd. His performance was simply in a class of its own.

“Tattoo” by Loreen (Sweden)

(Photo by Geoff Spicer)

No Eurovision round-up is complete this year without a few words about the winning song, in this instance, “Tattoo” by Loreen. Having already won the competition in 2012 with “Euphoria,” she is now regarded as a legend in this arena. It’s fair to say that there was no higher level for her to reach, but she still managed to bring Sweden’s strongest entry in the last few years to the competition this year. The build in “Tattoo” was simply amazing, and while, there were a few other strong contenders, namely Alessandra and Noa Kirel, Loreen’s powerful vocals ultimately clinched the victory for her. She brought softness and drama to her performance, and it’s no wonder she took home the winner’s trophy for Sweden.

The post Eurovision 2023: The Grand Final appeared first on EQ Music Blog.

Never has a Eurovision grand final been more hotly anticipated than the culmination of the 2021 competition. There was no way I was going to forego watching the world-famous music extravaganza, despite spending most of the day travelling, after taking a few days away on holiday. Besides, the field was unbelievably strong this year. I really felt no, one country had an obvious win in the bag before going into the grand final. There was so much to play for and the range of entries was vast to choose from. Before leaving for my holiday, I shared my thoughts about (who I considered the strongest entries) going into semi-final heats 1 and 2. Eight out of ten choices through, made for pretty decent tastemaking, I feel. Success however all comes down to the performance on the night. Who upped the game? Who fell short of expectations? Where did the shock of the night come from? Let’s tie up some ends. As I share some of my favourite bits of the grand final night of Eurovision 2021.

“Set Me Free” by Eden Alene (Israel)

I haven’t written about the Israel entry “Set Me Free” by Eden Alene before, but I have been interested in the track with notable Dua Lipa vibes. This was song three of the night and the point where the competition got started for me. The competition this year contained a healthy proportion of entries geared around retro and nostalgic aesthetics. (To be honest, they all sounded very outdated efforts to me and I’m glad voters ensured these never made it through to the final.) “Set Me Free” didn’t adhere to that format. Being instead, a modern pop song, befitting of the modern age. Yes, the Israeli entry sounded like 2/3 Dua Lipa, 1/3 Ariana Grande, but makes strides in introducing Eden Alene to the international stage. I feel like, this isn’t the last time we’ll be hearing from her.

“Je Me Casse” by Destiny (Malta)

Photo by Carlton Agius

I also had not written about “Je Me Casse” performed by Destiny for Malta before. As I expected the comparisons to Lizzo were flying around the Websphere. I wasn’t an instant adopter, this song had grown on me massively. Destiny’s powerhouse vocals deserved more than her final seventh placing. The performance of “Je Me Casse” was sassy, fun and my kind of girl power anthem. Plus she genuinely seemed to have the most fun of all of the contestants who preceded her performance. Her enthusiasm and energy were infectious. I felt “Je Me Casse” in a big way. An undisputed highlight of Eurovision 2021. LOVED it.

“Tout l’Univers” by Gjon’s Tears (Switzerland)

The pressure was on for Switzerland’s Gjon’s Tears, “Tout l’Univers” emerged as an early forerunner for the Eurovision crown, during the initial stages of the competition. The song is both breathtaking and spectacular. I have long since admired Gjon’s outstanding vocal control and good command of dynamics. I felt the intensity, the empowerment. Gjon’s unwavering, emotion-fuelled performances became the most endearing of all. But all along, something had been nagging away at me. With The Netherlands triumph 2019 win with Arcade,” would the public get behind another slow-paced ballad? They did, and so did I. You cannot fail to acknowledge it, support and get behind it when you are hearing it and seeing before your own eyes and ears. Gjon never once fell short of the mark. The staging also being on point. Hmm, perhaps it is a nudge that I should pay closer attention to the Swiss music scene in the future. If they keep producing artists of Gjon’s calibre, I will.

“Discoteque” The Roop (Lithuania)

Photo by E.Blaževič / LRT

It is confirmed. Europe loves The Roop. They finished up a respectable eighth position with their buzzy EDM banger “Discoteque.” I voiced my approval of the quirky stylings and even quirkier dance moves of this entry pre-semi-final heat 1. I know I’m never going to master the finger dance and resign myself too excited waving instead in that part of the choreography. That said, this track is so joyous with an element of crazy. Yet falls on the good side of wacky. Pure Eurovision for me. The UK’s 12 points from the public televote agreed with me as well. The Roop will be remembered whereas the likes of Serbia’s fake-a-like Pussycat Dolls (Hurricane with “Loco Loco”) will not so much.

“Fallen Angel” by TIX (Norway)

I won’t lie, I deliberated this year on the Norway entry “Fallen Angel” by TIX. I never saw the song as a serious contender for the winner’s trophy. Nonetheless, it is an unequivocal pop song, albeit a bit of a slow-burner. Imparts an endearing message about inclusivity and overcoming demons. As the competition progressed, I steadily, warmed to it. Granted, the choice of angel costume was kinda cheesy, (and has been done at Eurovision many times, so considered fashion overkill) although fits in with the lyrics of the song. In the end, it was a no-brainer, I just had to get behind a song, as deeply heartfelt as “Fallen Angel.” The performance was the best I had seen from TIX and undisputably sincere. No other words except, I heart u TIX.

These were my picks from the grand final at Eurovision 2021. A year when four of the top five placements were sung in their native languages. (A tick in the box for celebrating diversity and culture) It wasn’t enough to enter a vacuous glossy pop song or bring out Flo Rida onto the stage. Emotionally, powerful performances and a strong message in the lyrics ruled above all else. In 2019 I would have placed a bet on Italy winning Eurovision that year, (with “Soldi” by Mahmood,) they didn’t but in 2021 they were victorious sending glam rock group Måneskin and the track “Zitti E Buoni.” A song that translates as shut up and behave. Sending the positive message of embracing our authenticy, individualism and celebrating our identities and uniqueness. I admit I didn’t really take a close look at the track because of being a hard-rock offering. Although strong, the classic rock styled riffs are memorable. I can’t argue with the sentiment voiced. Now with insight “Zitti E Buoni” probably was the strongest, resonating message in the contest. Just not my cup of tea in the music stakes.

Arrivederci Rotterdam, The Netherlands, Eurovision 2021. Almost four hours of TV coverage was over in a flash this year. I personally loved experiencing the drama, tension and suspense of the split vote results announcements. To everyone who helped make Eurovision happen, you are stars. Looking forward to more normalcy in 2022 when Italy host.

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The Grand Final of the 65th edition of the beloved Eurovision Song Contest takes place on Saturday 22nd May 2021, at the Ahoy Arena in Rotterdam, The Netherlands. Although this year it is without a doubt, more of a highlight on the music calendar than ever before. Also, because of being starved of travelling, visiting the Countries that we love and exploring new ones. At the moment tuning into Eurovision seems as close as we are going to get to experience the sense of adventure associated with that. Having digested what acts to look out for in Heat 1 of the semi-finals, It is time to move on to Heat 2 which takes place on 20th May. It is an interesting smorgasbord, see more below.

“The Lucky One” by Uku Suviste (Estonia)

Uku Suviste is our Eurovision eye candy this year, he is also the performer representing Estonia. But is he any good? That depends on how you look at it. “What Is Love” was the track he was lined up to perform in 2020, at its best part it was kinda unmemorable. Noticing if they were to stand a chance at winning, Estonia realised the need to up their game. They have put their faith in heartthrob Uku again but this time the song “The Lucky One” is miles better. A powerful song. When people have watched the music video they have been quick to leave comments about noticing similarities to 2019 winner Duncan Laurence, “Arcade” music video. Only because both artists are seen submerged in water. A similarity to Duncan Laurence wasn’t among the first thoughts that flashed across my mind. Upon checking out the video for “The Lucky One“, for the first time, there are more obvious comparisons that can be made with Azerbaijan 2019 entry “Truth” by Chingiz. I like this one and hope it does start to pick up some support. Either way, I feel inclined to keep an eye on what Uku does in the future. There is promise here way beyond Eurovision.

“Tout L’univers” by Gjon’s Tears (Switzerland)

So it appears the Swiss are a nation of mood changers. In 2019 they brought out model turned singer Luca Hänni who lit up Eurovision and came in a respectable fourth position with dance-pop offering “She Got Me.” Since, Switzerland’s fate at Eurovision has been handed over to Gjon’s Tears, who is a very affecting balladeer. Evidently, the Swiss have closely paid attention to the recent winners of the contest. Because of Netta’s 2018 win, the following year they went with infectious fun vibes of “She Got Me.” On the strength of The Netherlands recent victory with Duncan Laurence’s “Arcade,” seems to have got the Swiss thinking by sending in a poignant, powerful, ballad they will have a really good shot at retaining high rankings in the competition. Gjon’s Tears entry “Tout L’univers” is sung in French. Every live, I have listened to of this entry has equated to a show-stopping performance. The official music video is just as spectacular. Gjon’s competed in a lot of reality TV singing competitions. Most recently making the semi-final of France’s The Voice: la plus belle voix. He was snapped up by team Mika and mentored by the platinum-selling artist. I sense the Mika supporters will come out in force for this. Detect, Massive Attack meets London Grammar vibes.

“10 years” by Daði og Gagnamagnið (Daði Freyr) (Iceland)

I hardly feel it necessary to explain who Daði og Gagnamagnið are. The quirky Icelandic competitors created such a buzz for Eurovision 2020 with their funky earworm offering “Think About Things” replete with a de-groovy dance routine. They have earned Eurovision cult-like status without even appearing at Eurovision. The hard-core fans of Eurovision love them already. Although I wasn’t so sure they would garner the same effect a second time around when being required to enter a new song. Expectations were especially high for entry, “10 Years.” All is good, it is on par with “Think About Things.” Although I Daði og Gagnamagnið will definitely, be a highlight on Saturday’s final. Yes, I said, final. They are the most certain entry to be put through from semi-final heat 2, in fact, in the whole competition.

“Last Dance” by Stefania (Greece)

Photo by: Haris Farsarakis

In recent years, the Greek entries have had a notable contemporary pop slant. Like in 2019 “Better Love” performed by Katerine Duska had the definite markings of a Jess Glynne track. Representing Greece this year is the Greek/Dutch singer Stefania with the track “Last Dance.” And it seems she and the writers of the track have borrowed some inspiration from Dua Lipa. This is a big 80s flavoured widescreen pop song. A huge number with an element of theatrics and drama seeping through the brilliantly orchestrated melody. I can see this doing well. The Eurovision crowd do love a dramatic powerhouse entry “Last Dance” is just that. Well, now the little lady Stefania has certainly moved on from when I wrote about her debut track “Stupid Reasons” on the blog in 2018. Might she collect the winner’s medal this year? She stands a very good chance.

“Growing Up Is Getting Old” by VICTORIA (Bulgaria)

Bulgaria entrant VICTORIA has been doing very well for herself. She emerged as the favourite to win Eurovision 2020 with her track “Tears Getting Sober.” Her vocal style draws comparisons to Billie Eilish. So as far as trends in pop go, VICTORIA is, hot on-trend. To be fair, Bulgaria has a reasonable track record at Eurovision, when they’ve qualified they’ve totted up respectable placements in the final top 15. With “Growing Up Is Getting Old” Victoria tugs at the heartstrings, with enormous, yet captivatingly beautiful pulling power. VICTORIA’s singing capabilities are not in doubt, although the mood of the track worries me. Will the voters want a melodic but melancholy winner or opt for one of the upbeat entries? If the former applies, VICTORIA is the likeliest winner.

Worthy of a mention… well San Marino entrant Senhit. The track “Adrenalina” has a feature from American rapper Flo Rida. I am more curious to see whether he turns up than the fate of the song, to be honest.

Of course, it is going to be immensely interesting to see how both semi-final heats play out. The final however is likely to be something else like it always is, whoop! whoop!. Come back to EQ Music Blog soon, for more of my thoughts about it.

The post EUROVISION 2021: SEMI-FINAL 2 – WHO TO LOOK OUT FOR… appeared first on EQ Music Blog.

How interesting. The slogan used at the last Eurovision Song Contest in 2019 was “Dare To Dream.” While inspirational when used in its original context when the competition was hosted in Tel Aviv. I can’t help but look at it now as being more than a little prophetic at what has since transpired. (Like, dare to dream Eurovision will even happen in 2021.) Twelve months on, from the cancellation of the 2020 contest. Eurovision hosts The Netherlands are encouraging that we instead “Open Up” in ways of our own, choosing. Admittedly they had, opening up to others, to different opinions, each other’s stories and of course to each other’s music, in mind. All the same, the slogan couldn’t be more apt at the time when the world is slowly making steps to opening up again after being tightly gripped by the COVID-19 pandemic.

The hosting and coverage of the Eurovision Song Contest this year is more important than ever. A pivotal step forward in regaining some normalcy, getting back on track for the music industry. It feels so good for me, even being able to type Eurovision 2021 is happening.

Let’s take a look at semi-final heat 1 which takes place on May, 18th, and who we should look out for. This draw is particularly strong, the potential winner has a good chance of coming from this batch of entries.

“Discoteque” by The Roop (Lithuania)

Photo by E.Blaževič / LRT

The Roop from Lithuania has the honour of opening up the proceedings. Looking at the rest of the Heat 1 line-up, the eccentric pop band stands out as the perfect opening act. With their quirky stylings and even quirkier dance routines, they have already amassed a lot of attention with their previous hit “On Fire.” There was a lot of heat on them before the 2020 competition got shelved. Yet they have come back stronger with ravey EDM banger “Discoteque.” Putting it out there, I rather love The Roop. The lyrics of the track says it is OK to dance alone. If I was in a club and “Discoteque” came on the sound system I would be dancing. How amazing they got picked out of the hat first in the draw allocation for places or was it? I’m sorry but there is definitely, the whiff of a strategy about this.

“Voices” by Tusse (Sweden)

I’m not sorry for selecting Sweden’s entry “Voices” performed by rising-star Tusse. If Sweden didn’t appear in my heat 1 round-up you would know that something was seriously amiss, wouldn’t you? As you’ll also be aware the Swede’s Melodifestivalen process has become as much part and parcel of their musical heritage. As such Sweden went ahead, began a new search for a song and performer for their 2021 entry into Eurovision. Out went The Mamas (2020 victorious). Tusse has been welcomed in instead. “Voices” is an empowering anthem and Tusse carries it off well. Although feel that I should mention, I have been left a little underwhelmed by the staging of Sweden’s entries during the past couple of years. While the songs are good, it doesn’t feel to me that they are putting enough effort into the visual elements. Pull your boots up Sweden, I fear you are practically allowing quite a lot of Europe to catch up with you.

“Technicolour” by Montaigne (Australia)

As with most competing Countries, Australia has kept with the same artist they had originally selected for their 2020 entry. Rising-Sydney singer Montaigne is their representative in the competition. I am glad she is returning with a different song because I wasn’t a fan of the proposed 2020 entry “Don’t Break Me” or of the styling and staging that was being put in place for it. Montaigne has racked up heaps of acclaim down-under. Without a doubt, she’s caused quite a stir. “Technicolour” is a much better thought-out Eurovision proposition. She throws us shades of MARINA in the vocals and the lyrics speak about embracing our differing identities and vulnerabilities which I am sure will be taken on board with Eurovision addicts. Australia is back on track with the vibe and theme of “Technicolour.”

“El Diablo” by Elena Tsagrinou (Cyprus)

The Cyprus entry is sung by Greek singer Elena Tsagrinou. A repeat offender when it comes to entering, reality TV, singing competitions. There is no messing when it comes to “El Diablo” they went straight for the chart friendliest pop vibes, so have taken a lot of inspiration and patched in more than a passing resemblance to “Bad Romance” by Lady Gaga in the chorus. The official music video blatantly appears to be Elena having her own, attempt at playing snatch-game. Unabashedly replicating “Love Me Land” by Zara Larsson. Elena actually, got called out publically by Zara over this. Not so original but will nonetheless go down a storm with the Eurovision crowd for sure.

“SHUM” by GO_A (Ukraine)

“SHUM” by the Ukrainian electro-folklore outfit GO_A will not win Eurovision. But it is massively hypnotic, the equivalent of musical crack and super catchy with it. This is the first time Ukraine has sent a track into the competition sung only in the native language. I am liking that they decided to stick by tradition instead because I am convinced it wouldn’t sound half as good translated into English anyway. Remember how tanked up we got in the 90s on hallucinogenic techno groove of Underworld’s “Born Slippy,” “SHUM” is somewhat strange, if not spellbindingly, comparable to that. You cannot listen to “SHUM” and not come away feeling euphorically uplifted. Those that do haven’t got a pulse.

I also want to throw in a mention of the Norway entry “Fallen Angel” by TIX as it might be considered a wild card. TIX derives his name from growing up with Tourette’s syndrome. He’s a big concern in Norwegian pop and a credited writer on the Ava Max mega-hit “Sweet but Psycho.” This entry relies on a lot of symbolism. While I am not keen on the track I expect people power to get behind it because of the above factors.

It worth noting the UK do NOT get to vote in this heat. Rules are rules, and alas there is no point in me throwing a hissy fit about it. I do hope those who have the opportunity do the responsible thing and see that The Roop go through to the final.

That’s your first taste of the ESC 2021. Stay tuned to EQ for more Eurovision coverage this week…

The post EUROVISION 2021: SEMI-FINAL 1 – WHO TO LOOK OUT FOR… appeared first on EQ Music Blog.

So, obviously, I think it is a little too early to bring up the topic of Eurovision as yet. That being said, I have been casting my eyes and ears over most of the song selection processes thus far. Although, Felix Sandman’s entry into the Sweden Melodifestivalen has gotten me into somewhat of a dilemma of whether to hold off from writing about it or lose out on it entirely. You know what, I love this track. Felix had plenty of heat on him even before Sweden’s annual song contest began. I am not entirely sure why favour has since plummeted on the song or what it is that has everyone switching over to “Bulletproof” from Dotter, but I remain convinced “Boys With Emotions” from Felix would be far a better choice.

Inside I am screaming because the gaze of Eurovision would do wonders for this track. The message it brings about, urging boys not to be scared to speak out and embrace their feelings is more of a widespread necessity than an issue being raised to just be kept close to home. I’ll be so mad if this year’s eventual winning song of the whole Eurovision competition turns out to be one with a less valid theme and importance than this song. There I said it!.

Regardless of whether Felix is honoured as a wild-card, by way of an eleventh-hour, lifeline during the closing stages of the Melodifestivalen. I am getting behind “Boys With Emotions” now, anyways. It would be such a waste to see this catchy pop track go underappreciated. Besides, the former FO&O boyband member has really undergone an evolution in his artistry of late, especially so with “Boys With Emotions.” He has had a taste of success before, but maybe this is the beginning of something much bigger for Felix. Whatever fate hands, I am hopeful that his stint in Eurovision will boost his international presence and we might have a very good new pop artist in our sights.

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