This has been a very different year thanks to the ongoing Coronavirus pandemic, however we have had plenty of Eurovision related music to enjoy. Here at Eurovision Ireland and our friends from the around the Eurovision Community, we have chosen just five tracks that have summed up our year – coming from the Eurovision National Finals, the cancelled 2020 Eurovision Song Contest, Eurovision: Europe Shine A Light, Eurovision: The Story Of Fire Saga, the Junior Song Contest 2020 and the Turkvision Song Contest 2020.
Next up is Roy Delaney, with tracks selected from Australia, Denmark, Finland, Italy and Sweden.
There were a lot of incredible songs and performances from all corners of the musical firmament in this year’s Eurovision That Never Was. From Bulgaria’s glacially beautiful Victoria to Russia’s pop anarchists Little Big, via Italy’s heart-melting Diodato and those crazy Icelandic Gagnamagnið kids – and loads more besides – it was fixing up to be one of the most interesting contests in years. But there were plenty of moments that were just as amazing that didn’t make it out of their local tournaments, and seeing as I do a BLOG about exactly those people I thought I’d celebrate them instead. Because there’s not a single performance our of the five below that wouldn’t have fitted perfectly into the big show.
It’s a testament to the professionalism of Jaguar Jonze in that she dislocated her shoulder in the early moments of her performance at Australia Decides, but still continued her fractious, jaggedy dance routine right through to the end, and none of we viewers were any the wiser until she let it slip in an interview afterwards. In fact, that knowledge only adds to this edgy guitar pop stomper, and I wouldn’t have been at all unhappy had this bagged the unused ticket to Rotterdam.
“Den Eneste Goth I Vejle”
A beautiful moment from the strangely atmosphere-free Dansk Melodi Grand Prix next, as veteran Danish indie kids Maja And The Delicate Souls sing a hymn to the only Goth in their village. The song is absolutely stuffed with both vocal and musical references to all their eighties musical heroes, and even harbours a sneaky passage from a Smiths song that only the band’s true fans would have noticed. And somehow performing it all on that weirdly Kubrickian stage in that massive empty area made it all the more delightful.
There’s many reasons to admire this glorious bit of Finnish fluff. From the timeless Christmas pop chords through to the weirdly innocent sleaze of Ms Vikman herself it was pure Eurovision in a tin for the full three minutes. But the section I’m most going to concentrate on here is the first fourteen seconds, which was possibly the greatest introduction to a song that I’ve ever seen at this contest. In the darkness a stylised red heart begins to glow. The house lights raise and we can see our Erika decked out in tight pink lycra from head to toe. She tips her head back cockily, as if to say “You just watch this!” and begins to march to the front of the stage like a high art catwalk model, waving her heart-topped staff to the skies with triumphant chords swilling in the air around her. As the camera pans back we can see that she’s flanked by two bears walking in pace. She stops, thrusts her hips as an angelic chorus begins to build, then thrusts her staff high firmly towards the ground, pouting sensually and energetically as she does. It is only then, when we’re already willing victims to her dangerous charms that she begins to sing. Absolute bloody perfection!
“Me Ne Frego”
I’m not sure anyone watching Sanremo was entirely prepared for Achille Lauro. Sure, he’d turned up the previous year as a scratty young rap kid punking it up with a song called Rolls Royce, but over the twelve months that had elapsed he’d seriously raised his game. Over four nights he left the whole of Italy dumbstruck and open-mouthed with his provocative costumes and performances, evoking as he went memories of St Francis, Mussolini, Renaissance Art and David Bowie, and each new night you wondered what the hell he was going to do next. The song might not be to your taste, but think of the context and soak up the glorious, prime time confrontational performances, and imagine a nation of nans and confused angry dads spitting their tea out and shouting at the telly night after night.
“Anis Don Demina”
My favourite song of the Eurovision year my a mile. You might not think that watching a plus-size Swedish rapper in an ill-fitting gold velour trackie is your thing, but stick with it, because this is probably the most joyful three minutes of the musical year. I can watch this ten times in a row, my cheeks sodden with happy tears of unbridled delight, and never get bored of it. And look how damned happy that crowd is. Crowds – remember them! Them Swedes have been getting more and more staid and serious over the last few years, and to diminishing returns. What they really need at this funny old contest of ours is a massive injection of good old-fashioned fun, and this would have been the perfect song to do it! Altogether now – Shu Shu!
Author: Richard Taylor
Source: Eurovision Ireland