Not enough people celebrate the 13th anniversary of anything. It’s the lace anniversary, you know.
Tempted though we are to dress our site up in frilly lingerie, we are going to mark our website’s 13th anniversary with a series introducing you to the songs that we have awarded the Eurovision Lemurs Seal of Approval. It’s our chance to finally revamp our old Legitimately Good Songs page and to figure out what it is about our favorite Eurovision songs that tickle our aortas the way they do.
Our main criteria for stamping a song with our Seal of Approval is that it has to be one that the entire Lemurs household agrees is awesome. We realize that we’re giving veto power to an 11-year-old, but these are the hazards when you raise a kid on Eurovision.
First up, let’s talk about the song that sparked this whole idea in the first place: Francesco Gabbani’s “Occidentali’s Karma.”
We were three of the many Eurovision fans who latched onto “Occidentali’s Karma” after its first performance at Sanremo 2017. Initial attention was of course paid to the dancer in the gorilla suit. But underlying the silly stage picture and the accompanying goofy dance was a song satirizing both the need for humans to feel like we have a higher purpose and our tendency to appropriate other cultures to feel like we have achieved that purpose.
Despite the seemingly cynical subject matter, “Occidentali’s Karma” radiates joy. It may be poking fun at an annoying side of human nature, but it does so with a playful elbow to the ribs and a pat on the back. The staccato plunking at the start sets the tone for the subject matter, but the effervescent chorus gives “Occidentali’s Karma” a grand scope and a ridiculously catchy hook.
Although it was the odds leader almost as soon as Francesco won Sanremo, it ultimately finished six at Eurovision. Why did it falter? Well, there is no better case for bringing back the live orchestra than “Occidentali’s Karma.” Compare the Eurovision performance with the Sanremo performance. They aren’t that different from each other. But having the Sanremo orchestra interact with the song brought an additional level of energy and playfulness for Francesco to feast upon. Even though the hot crowd in Kyiv gave him a big “alé” on cue, Francesco spent most of his time at the Song Contest trying to generate his own energy. This led to a more frenetic, less confident performance.
Fortunately, we don’t have to rely on the Grand Prix performance (or even the awkward edited version on the official Eurovision album) to achieve maximum enjoyment. We bought the single the second it became available, and we still listen to it on a regular basis.