As always, the Eurovision Lemurs kicked off the holiday season with Festivali i Këngës. The 58th edition was a compelling event in part due to Albania’s continued recovery from the deadly earthquake on November 26. A touching dance routine during the Festivali final paid tribute to the earthquake’s victims.
Even if the mood in Albania is somber, the 2019 final was one of the more entertaining Festivalis we’ve watched. The 12 songs on offer were generally quite good, and guest performances by “Fuego” sensation Eleni Foureira and Italian pop star Giusy Ferreri kept the show moving.
At the end of the night, the jury (which included Sweden head of delegation and Song Contest producer Christer Björkman and Eurovision songwriting mainstay Dimitris Kontopoulos) gave Arilena Ara’s “Shaj” the win.
Arilena Ara won the second edition of Albania’s X Factor and followed up that win with the hit single “Aeroplan.” This was the start of her professional relationship with songwriter Darko Dimitrov, who has co-written a number of her other songs, including “Shaj.” Dimitrov also co-wrote last year’s actual winner of the actual jury vote, “Proud.”
As it stands right now, “Shaj” is a gripping ballad that earned the enthusiastic crowd response that it received. It’s full of haunting melodies that Ara can sell for all they are worth and has enough theatricality that it should practically stage itself.
My only problem with the song is that I have trouble sleeping when it gets stuck in my head. It’s not an insult to describe a song that is trying to win a music competition as an earworm. But I am concerned for my own sanity if “Shaj” is echoing around my brain from now until the next Eurovision entry is unveiled.
Okay, so let’s get ourselves contemplatively subdued with Jonida Maliqi with “Ktheju tokës.”
Jonida made her Festivali i Këngës at age 13 and has since competed nine times. She was the host of Festivali in 2010, the host of Dancing with the Stars Albania in 2014 and one of the coaches on The Voice of Albania in 2016. Her song was written by composer and violinist Eriona Rushiti.
So Albania picked its Eurovision entry on December 22 and we’re writing about it almost a month later. We haven’t been busy, we just haven’t been excited. “Ktheju tokës” combines traditional and modern music in a way that sounds a lot like other folk-influenced ballads that have competed at Eurovision. This could be the Albanian entry from 2006 for all we would know.
Both Jonida and Eriona have said they are working on a Eurovision staging, which points up the drawback to reviewing entries shortly after they are selected. There is always the chance a country’s delegation will rework their song ahead of the Song Contest. That said, our suspicion is that the version of “Ktheju tokës” that we will see in Tel Aviv won’t be that different from the version in Tirana. Given the song’s melodies and lyrical content, we can’t see Albania pulling a Toppers and turning this into a dance anthem.
We’re prepared to eat those words, of course, but for now, we’re already lining up for the next selection at the Eurovision buffet. January 26 can’t come fast enough.
There is always a point during the Eurovision doldrums where we wonder if we’re going to stick with this whole Song Contest blogging thing. There are days where it feels like work, especially when we have to write about songs we neither love nor hate, and the EBU has killed the Eurovision website by no longer hosting the national finals, and they’re still bloody geoblocking the performance videos on YouTube because they hate Americans and… wait, it’s time for Festivali i Këngës?
FIRE UP WORDPRESS.
Eugent Bushpepa won this year’s edition of Festivali i Këngës with his song “Mall.” He got his start as a house singer on a Top Channel talk show and won best male vocalist at Top Fest in 2008 and 2011. He performed a duet, S’jam baladë, with Rovena Dio at Festivali 47, where they finished an unremarkable 12th.
“Mall” starts off with a rousing string riff a bit like Rufus Wainwright’s “Beautiful Child” or Filter’s “Take a Picture.” Those opening moments are full of promise. Eugent sounds like Geddy Lee banging out a hair metal ballad. We mean that in a good way. His phrasing is beautiful and makes us both wish we could speak Albanian. We are happy to hear Eugent is going to keep “Mall” in Albanian, even if that does makes it look like Albania is noting that a non-English song won Eurovision last year.
Running currently at 4:30, “Mall” will need to be cut back significantly to conform to Eurovision’s 3:00 limit. Right now, you feel every second of that length. Success for Albania will be made or lost in the editing room, managing the tricky balance of setting the mood, letting Eugent’s voice soar, and getting to the damn point already.
Now, we just count down the days until the other national finals kick off. (Yes, we know Lithuania’s Eurovizijos series has started, but if the participants can’t be bothered with it, why should we?)
It’s the most wonderful time of the year, everyone: Eurovision is back! As usual, Albania brings us its good tidings for the season with its annual Festivali i Këngës competition. Lindita Halimi won this year’s edition with “Botë.”
Halimi was born in Kosovo and moved to the United States in 2013. She first competed at Festivali i Këngës in 2015 with “S’të fal,” finishing third. She won Albania’s Top Fest in 2009 and she also finished in the top 10 of Ethet (the Albanian version of Pop Idol) in 2007. Earlier this year, she appeared in the final season of American Idol, but did not make it to the top 24.
Her song “Botë” was written by Gerald “Big Basta” Xhari and Klodian Qafoku, both veteran songwriters who have participated in past Festivalis. Qafoku co-wrote Albania’s 2006 Eurovision Song Contest entry “Zjarr e ftohtë.”
Neither of us have been fond of the past three Albanian Eurovision entries, so we both think “Botë” is a delightful return to form. It’s as if all involved thought that “Feel the Passion” would have worked better with the arrangement for “Identitet.” “Botë” is not without its flaws: once it peaks, it gets a bit repetitive. But each additional instrumental flourish that gets thrown in propels it to a lavish finale.
The song as presented at Festivali brings a lot of grandeur, helped no doubt by the live orchestra and back-up singers. If you wanted to gather evidence that Eurovision lacks something without the live orchestra, here is your exhibit A. We’re hoping that Halimi and the Albanian delegation can replicate the drama within the constraints of the Eurovision rules.
We also hope they keep the song in Albanian. It just works.
Updated12/26/2016: Per wiwiblogs, Halimi has tweeted that she will sing “Botë” at least partially in English. Sigh.
Beware the Ides of March, but beware the Eurovision Song Contest entries from San Marino more.
San Marino: Serhat – “I Didn’t Know”
For those of us who first came to Eurovision for the campiness, the past decade has been relatively slim pickings. Sure, you sometimes get a countertenor on a plinth or an Albanian Gumby impersonator, but most countries are increasingly taking this seriously. Fortunately, San Marino and Serhat have teamed up to offer us a slice of old school hokum that has transported us to a magical land where that strap-on monocle is an actual thing that people actually wear. We want to vacation in Manfred T. Mugler’s artistic vision. With any luck, the staging of this least self-aware miracle will live up to the amazing video. San Marino, don’t fuck this up.
UPDATED 03/21/2016: They fucked this up. Since we posted this review, San Marino decided to use the disco remix of “I Didn’t Know” as their Eurovision entry. Sadly, the original video has been scrubbed from the Eurovision YouTube playlist. Why do you got to stick it to the Manfred, San Marino?
The state of Iowa has a law that requires its caucus to be held first during the election season. The Republican and Democratic parties traditionally penalize states that try to move their primaries or caucuses ahead of the Hawkeye State.
Now I’m not saying that Albania and the European Broadcasting Union should adopt similar laws and sanctions, but I do feel like all is right in the world when Albania is first out of the gate when the Eurovision Song Contest season begins.
So here is our first Eurovision 2016 entry. Eneda Tarifa won the 54th Festivali i Këngës with “Përrallë.”
Jen has imposed a moratorium on the phrase “so-and-so is no stranger to” on our website, so I will merely point out that Eneda has participated in two previous Festivalis (2002, where she finished 13th, and 2007, where she finished 10th). She also won the Albanian music competition show Top Fest in 2010.
“Përrallë” was written by Olsa Toqi, who is also not unfamiliar with Festivali participation: her song “S’muj” was performed by Marsela Çibukaj in last year’s contest and finished 5th.
Eneda has control and poise, which bodes well for her performance in Stockholm. Her smoky lower register – a fan of the Marlboros mayhap? – draws in the listener during the first verse, but she can also wail when needed. This isn’t an easy song to sing and she makes it look easy. Shpëtim Saraçi’s arrangement of “Përrallë” offers a fine example of what would have happened if Mr. Mister wrote a Bond theme. All in all, not a bad way to kick of the Eurovision season.
I don’t expect Albania to make too many changes before May, although they are rumored to be switching to English. If they do, they may want to avoid a literal translation: “Përrallë” translates to English as “Fairytale.” Not only does it seem a poor fit with the mood of the song, I don’t think they will want to invite any direct comparisons to a previous winner.
Elhaida Dani won the 53rd annual Festivali i Këngës back in December 2014. However, the song that she performed, “Diell,” was withdrawn by one of its writers in February. The Albanian delegation enlisted Kosovo music producers Zzap & Chriss to come up with a new song for Europe. Here is “I’m Alive”:
I am happy that Albania got away from a bland, old-fashioned ballad and went for something more contemporary. “I’m Alive” starts off sounding like a lost track by Les Nubians, which I like. And it has a lot of nice orchestral touches, such as the swirling strings as the song builds and a sweet drum fill at the 2:27 mark when Elhaida starts to bring the song home.
But it has no real chorus. What passes for the chorus sounds like an extended bridge. The short, simple drum beat ratchets up the tension as Elhaida sings, “I am alive cos you are my life,” but that tension is never released. It just jumps right back to the verse without resolving in a satisfactory way.
“I’m Alive” suits Elhaida’s voice much better than “Diell” did. However, I noticed during her Festivali performance that she can get a bit shouty when going for the big notes. The final third of “I’m Alive” gives her room to belt and I worry that if she oversells it, this could get messy.
UPDATED 24 FEBRUARY 2015: Elhaida Dani announced that “Diell” has been withdrawn as Albania’s Eurovision entry by its songwriters, Viola Trebicka and Sokol Marsi. She didn’t give an explanation of why the song was withdrawn, but Albania has recruited Kosovo Albanian songwriters Zzap & Chriss to write a new song, “I’m Alive.” To be honest, we’re pretty happy to hear this because, as you can read below, we thought “Diell” was pretty dreadful.
Elhaida Dani won the 53rd annual Festivali i Këngës and will represent Albania at Eurovision in May with “Diell.” Short review: pageant ballad.
Longer review: “Diell” is a Celine Dion-type ballad being sung by someone who is not Celine Dion. I don’t want to judge it too harshly, since Albania often re-stages its entries between selection and presentation at the Grand Prix. But I really hope they rethink the arrangement, which just clings to “Diell” like cobwebs on Miss Havisham’s wedding cake.
Also, I’m kind of bored with the guitar solos. Four of the last five Albanian entries had guitar solos, and only “Identitet” really called for one. You got three minutes to make an impression, so don’t waste precious seconds noodling on the guitar. Unless it shoots sparks. Obviously.
I wasn’t particularly impressed with Dani’s performance at the time of Festivali i Këngës and the more I listen to it, the less impressed I am. There is a difference between singing a big note and shouting a big note, and Dani errs on the side of shouting. (Granted, she won’t have to sing over a live string section in Vienna.)
“Diell” is a safe choice for Albania. Maybe it will get them into the Final, but it’s a mid-table entry at best.
Hersi Matmuja will represent Albania at Eurovision this May with “Zemërimi i një nate” (“One Night’s Anger”), the winner of the 52nd annual Festivali i Këngës.
“Zemërimi i një nate” requires some patience. As presented at Festivali, “Zemërimi i një nate” begins with an 18-second electric guitar solo and orchestral ornamentations. This confusing introduction serves no purpose except to completely mislead the listener about the musical character of the song.
Once the piano kicks in “Zemërimi i një nate” is a not-at-all unpleasant power ballad. Written with minor chords and waltz tempo, the song is reminiscent of “Kiss from a Rose.” Similarly, there’s something about the dark themes and weight of “Zemërimi i një nate” that lends itself to a dark-blockbuster movie soundtrack. The song’s lyrical mantra “think a little longer, forget this night” (perhaps not the best lyric choice for a song that wants to be remembered by voters, but I digress…) reflects feelings of anger, betrayal, and a desire to maintain friendship by strategic use of selective memory loss. Eternal Sunshine of the Spotless Mind reboot? Anyone? Anyone?
The song is penned by composer Genti Lako and lyricist Jorgo Papinji – who as a pair have had entries at the past three Albanian music festivals. At last year’s festival, the team, also fronted by Hersi, finished 3rd.
Like Belgium’s entry at this point last year, it feels like there might be something there, but it needs work. The song has some nice qualities if you can get past the introduction. There are striking melodic passages, and Hersi nails the phrasing when she’s in her lower register. This could be one of those years where Albania revamps their entry for the Eurovision audience. For starters Albania could eliminate that introduction, and perhaps they can also do something about Hersi’s styling. First impressions matter.
Albania held its 51st annual Festivali i Këngës on Saturday, and selected “Identiet” by Adrian Lulgjuraj & Bledar Sejko as its entry for the next Eurovision Song Contest in Malmö.
I had a feeling about “Identiet” during the second semi-final. The Albanian audience seemed to respond to it on Friday and responded to it again on Saturday. Reminiscent of concept album-era Styx, the prog-rock entry starts strong with “hey hey” and a distinctive guitar riff. At Festivali, “Identiet” was supported by an orchestral arrangement with horns, timpani, and backing singers, helping it go appropriately large. Rock guitarist Bledar Sejko, most known for his work with Thunder Way, plays a solo with this teeth. Lead singer Adrian Lulgjuraj has a tonality that reminds us of Dennis DeYoung, if Dennis DeYoung was a baritone.
Having a full orchestra in view on the stage gives Festivali a sense of history, a throwback to Song Contests with the live orchestras that we find charming. If Lulgjuraj and Sejko are wise, they keep as much of the orchestration as possible for their backing track in Sweden. The horns in particular add to the overall epic-ness of the song.
Festivali has grown on us over the years and now is one of our favorite national selections. Is it weird that, like for so many Albanians, it’s becoming part of our Christmas tradition?