2020 marked the 60th anniversary of Norway’s participation in the Eurovision Song Contest, so NRK decided to expand their usual one night Melodi Grand Prix extravaganza into a multi-week selection process. They gathered up 25 songs, selected five to go straight to the MGP final, then pitted the remaining songs in a series of head-to-head battles during five heats.
This would have been fine, except that it was clear from the outset that the songs in the competition were just not up to snuff. We wondered if NRK committed to the format before they put out their call for entries.
You would think that we, as a couple of camp connoisseurs, would eat up stuff like Tore Petterson’s “The Start of Something New,” Jenny Jennsen’s “Mr. Hello,” Nordic Tenors’ “In a Special Place,” or Liza Vassilieva’s “I Am Gay.” They all played like book numbers from flop Broadway musicals, and we love book numbers from flop Broadway musicals.
But instead of relishing these tacky moments, all we wondered was how the producers thought these were viable Eurovision songs. Into what era of the Song Contest would any of these numbers fit? “I Am Gay” was a particular lowlight, a calculated attempt to be provocative that was utterly joyless in its execution and pointlessly juvenile to boot.
Fortunately, there were a few numbers that gave us some kitsch we could luxuriate in. First off, there’s Alexandru’s “Pink Jacket,” in which Norway’s answer to Eric Saade sings an ode to his pink jacket. That’s it. That’s all the song is about. We need Charles Dance to do a dramatic reading of this one: “And look at how I own it/And you say it’s dope like I didn’t know it.”
“How About Mars?” is an interesting song and Anna Jæger is a charismatic performer. Unfortunately, the staging managed to be both too sparse and needlessly complex. Paired with Jæger’s raw vocal, the whole package seemed a bit scattershot. A few back-up performers on stage and less camera tricks could have helped. We liked “How About Mars” a lot, which is probably why we keep finding ourselves analyzing it.
Towering majestically over the competition was Rein Alexander. Now, “One Last Time” is not much of a song, but who cares when it is staged as if Brian Blessed is a viking fending off zombie breakdancers? We were team Ulrikke all the way, but we had strong suspicions Rein was going to take the whole thing, even if NRK didn’t rate “One Last Time” enough to put it directly through to the final.
Going back to the format of this year’s MGP, each of the five heats were made up of randomly drawn head to head matchups. The four competitors would come out and hosts Ronny Brede Aase, Kåre Magnus Bergh, and Ingrid Gjessing Linhave would draw names out of a bowl to determine which pairs were facing off. Then the winner of each matchup would face off against the other to determine who went to the final.
Viewers would vote exclusively using NRK’s app, which was nice because you got instant results. On the other hand, you had to wonder if NRK had a back-up plan in case there was some sort of technical glitch with the app. It’s Norway, one of the most technologically savvy countries in the world, so there was probably nothing to worry about.
Anyway, the app crashed during the first round of the Melodi Grand Prix final. Of course it did. The back-up plan turned out to be a pre-selected jury of 30 members of the public. This seemed reasonable: get a representative sample of Norwegians experiencing the final along with the country as whole. If MGP was staged like Eurovision, we’d expect that this jury would have watched a dress rehearsal and logged their votes then.
Instead, it turned out that they voted on the songs the day before the final without seeing any of the performances. Although this was explained in the rules before MGP started, some of the artists were unhappy that this was how their fates were determined.
We can understand why. A lot of effort goes into staging a song for a competition like this, and to have the result of the final’s initial round be determined without even taking the staging into consideration devalues much of that work. In a way, they wasted a lot of their time. The fact that their live performances aren’t available on NRK’s stagnant YouTube channel adds insult to injury.
NRK has already announced it will hold Melodi Grand Prix next year instead of just giving Ulrikke Brandstorp the opportunity she earned to perform at Eurovision. So in the end, they managed to screw over the winner of the show too. WTF.