We need a hero! We’re holding out for a hero til the end of the night of the Grand Prix Final! She’s got to be strong and she’s got to be Dutch and Greek and she’s got to be fresh from today’s pop charts!
(We also need to hone our skills as lyricists.)
Stefania Liberakakis is a Dutch-Greek singer who represented The Netherlands in the 2016 Junior Eurovision Song Contest as part of the group Kisses. In addition to her music career, she has acted on the Dutch series Brugklas and voice-acted in the Dutch dubs of the movies Wonder Park and Doolittle. We hope she’s also available to voice Haley Dunphy in the Dutch dub of Modern Family too.
“SUPERG!RL” is a blast, chock full of infectious melodies and interesting flourishes. The orchestration is very Just Dance. Even though the popular Ubisoft video game draws from current singles on pop charts in each year, they will obviously be biased towards certain melodies and rhythms that lend themselves towards cute animated videos and easy choreography. “SUPERG!RL” fits right in and we’d love to see it on the 2021 edition.
We have high hopes for Stefania and “SUPERG!RL.” There is a lot of potential here for a fun, vibrant performance. With any luck, she and her team can pull out all the stops and give us a VMA-worthy staging that can make “SUPERG!RL” pop live. Granted, it’s been a few years since Greece has given us a truly inspired full-on Greece staging, but if there is any year to regain that form, this is that year.
The past five years have not been kind to Greece at Eurovision. Three entries finished towards the bottom of the table on Saturday nights, and two songs didn’t even qualify for the Grand Prix Final. Can “Better Love” deliver better results?
Katerine Duska is a Greek-Canadian singer born in Montreal but living and working in Greece. She co-wrote “Better Love” with singer-songwriter Leon of Athens and Fame Academy winner David Sneddon, who had a U.K. number one hit with “Stop Living the Lie.”
We love Katerine’s voice. It is rich and velvety and she uses her full range judiciously to propel her song. “Better Love” is a good entry made great by its singer. We also dig the sparkling, ethereal arrangement.
2019 has turned out to be a strong year for Eurovision, with songs that are either awesome or really unique. “Better Love” is probably the most straightforward potential contender on offer. That could be either an asset or a demerit, but we think it’s the former. Katerine has created a properly big Eurovision anthem and we hope she will snag a top 10 finish with it.
Talk to us, Greece. Here’s Yianna Terzi with “Oniro Mou.”
Yianna Terzi is the daughter of platinum-selling singer Paschalis Terzis. She has lived in the United States and worked as a talent scout for Interscope Records. She co-wrote “Oneiro mou” with Aris Kalimeris (who co-wrote “Hora Din Moldova”), Dimitris Stamatiou, and Mihalis Papathanasiou from the Greek hip-hop duo Goin’ Through. “Oneiro mou” was originally going to be one of five songs in a Greek national final, but all the other songs were disqualified. Yianna and Saara Aalto should become friends.
According to Panik Record’s YouTube page for the lyric video, “Oneiro mou” is meant to be a bittersweet, yet hopeful dialogue between Greece and its people. With that in mind, the song is suitably atmospheric and melancholic. It feels like a good fit for Eurovision, but we’re struggling to get excited about it.
We think our issue is that “Oneiro mou” doesn’t really have any levels. It starts off slow, then moderately picks up the pace to a trot, then stays at that trot to the end. It’s like a gentle walk around a large pond.
That said, this could be one of those songs that really pops with a good staging. The song’s chorus is moving and the backing vocal arrangement is sophisticated. There’s also about 25 seconds, starting at the 2:10 mark, that are without any vocals. Assuming Yianna can belt live, the vocals are in tune, and the Greek delegation can punctuate her performance with some strong moments a la “Watch My Dance,” it could really come alive. Fingers crossed.
Demy will be representing Greece at the Eurovision Song Contest in May with the song “This Is Love.”
Greece wants to redeem itself for failing to qualify for the Grand Prix Final for the first time, so they have brought in some heavy hitters. Demy is a top selling singer in Greece. Her first album #1 topped the Greek charts and she has won the MTV Europe Music Award for Best Greek Artist and 10 MAD Video Music Awards. Her song “This Is Love” is written by the esteemed Dimitris Kontopoulos, the songwriter behind six Eurovision songs that finished in the top 10, including “Shady Lady,” “This Is Our Night,” and “You Are the Only One.” The lyrics are by Romy Papadea and John Ballard, the latter being one of Kontopoulos’ co-writers on “Shine,” “Hold Me,” and “You Are the Only One.”
As usual, Kontopoulos has supplied a catchy number that easily gets stuck in your head. Demy is a good singer and by all accounts a dynamic live performer. The arrangement is bouncy and vibrant and has some fun flourishes to it. So it looks like mission accomplished for the Greek delegation.
So why aren’t we excited by “This Is Love?” We’re not sure. It kind of reminds us of Ira Losco’s “Walk On Water” at last year’s Song Contest. Our initial reaction was decidedly blasé, but Losco’s performance and Malta’s staging of it won us over. So maybe we need to see how Greece stages “This Is Love” for it to catch fire with us. You can usually rely on Greece to do this properly. Last year notwithstanding.
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?
Maria-Elena Kyriakou will represent Greece in Vienna this year with “One Last Breath”:
Maria-Elena is a Greek-Cypriot singer who won the first season of The Voice of Greece last year. She co-wrote the music to her Eurosong 2015-winning song. However, someone else wrote the horrible, desperately co-dependent lyrics:
You killed me and I’m done, without a gun
I’m begging you, take me wherever you have gone/Come back and save me, don’t want to be alone
I’m begging you, take me out of this fiery hell
Of course, Maria-Elena is heaving and gasping so much as she sings “One Last Breath” that I don’t believe she has just the one last breath. Way to betray the character of your song, Maria-Elena!
The music is suitably melodramatic. The big swell of strings, the back-up vocals ripped from Carmina Burana, and the accelerated tempo as the song climaxes gives the effect of increased desperation, which fits the lyrical theme of the song. That being said, I find the whole package an absolute slog to listen to.
But it’s hard to make a prognosis at this point. Usually Greece pulls it together in the end, even when they send something seemingly unpromising. Here’s hoping they have some magic up their sleeves for this one.
Greece is betting a Freaky Fortune on “Rise Up” as its Eurovision entry this year (see what we did there, you Riskykidds?):
As you might expect, Greece has done this properly with a poppy dance track with dashes of traditional Greek music sampled throughout. It’s far from perfect: Riskykidd is not the most dynamic rapper in the business, though he’s no Professor Stereo Mike either. Also, the lyrics can be summed up thusly: “Come on and rise up.”
But why quibble about a lack of depth in a good old bouncing dance anthem? “Rise Up” is catchy and fun, and we’re really looking forward to see how Greece stages this in Copenhagen. Yay, fun things!
Yay, a properly Greek Eurovision entry from Greece!
Koza Mostra and Agathonas Iakovides have been chosen to represent Greece with “Alcohol is free.” It’s a delightful little ska-influenced pseudo-traditional number that livened up a selection show that desperately needed a pulse. As always with Greece, count on the stage production to heighten this for the big show. It might be a little too insular to capture a huge number of votes, but no matter what, this promises to bring a lot of fun to Malmö.
By the way, that second half of the second Semi is shaping up to be a doozy. You’ve got “Alcohol is free,” “I Feed You My Love” from Norway, “You and me” from Switzerland, “Identiet” from Albania, the return of Armenia, Georgia’s latest Sopho, and whatever delights Israel and Romania conjure up. And Hungary. With a first half that’s not too shabby (yet), I’m definitely looking forward to May 16 now.
Before getting to the contestants, Greece’s selection show had four former Eurovision winners (Ruslana, Alexander Rybak, Marija Šerifović, and Dima Bilan) duet with Greek pop stars on their Eurovision-winning numbers. Generally, it went well. Except for “Believe”…
The man is in his own private hell. He is soooooooo done with that song.
Okay, let’s get the jokes out of the way: Greece’s new austerity measures are striking all levels of Greek society. Why else would today’s national final be held in a mall? Why else would all the performers, including guests Sofi Marinova, Ivi Adamou, and Anggun, be lip synching rather than singing live? (On second thought, don’t answer that.) Why else would the back-up dancers for winner Eleftheria Eleftheriou show up in outfits they just picked up at H&M?
That was “Aphrodisiac,” which at first glance does not qualify as one of Greece’s more memorable entries. It’s catchy in an annoying way, and it’s as substantial as cotton candy. Eleftheriou is lovely, but she has a thin, reedy voice. Since she wasn’t performing live, it’s hard to tell just how good a performer she really is.
But, of course, there is that caveat you get with any Greek entry: don’t judge it till you see how they stage it. We absolutely hated last year’s entry from Lukas Yiorkas and Professor Stereo Mike. Then we saw what they did with it in Dusseldorf and gosh darn it if it wasn’t one of our favorite performances of the Final. As Jen said, “Note to self: if I’m ever involved with Eurovision I want the Greek organizers on my team.”
So, the only time you can really judge a Greek entry is after seeing what they do in the rehearsals. They always seem to pull it off. Goodness knows, given the sparseness of Elftheriou’s performance tonight, they have pretty much a blank canvas to start with.
This year’s Greek entry may possibly turn out to be the most confusing song of the ESC. Lukas Yiorkas ft Stereo Mike will be representing Greece with “Watch My Dance.” Just follow that instruction, because the performance has good street dance choreography and is pretty well staged. What you sure as heck shouldn’t do is “Listen to My Song.” The number alternates between a dirge of a rap from Stereo Mike whose English is so poor they need to flash the words on a screen behind him and a flat downtempo vocal from Lukas Yiorkas that bores you to tears. All this from Greece. Greece, with such a proud Eurovision history and so much good will from Eurovision voters. Yiorkas is a Cypriot, so they’ll still get their 12 points from Cyprus this year, but it’s like they’re daring the rest of Europe to vote for them.
It didn’t have to be this way. Listening to the songs ahead of time, Nikki Ponte stood out with the great disco number “I Don’t Wanna Dance.” But at the national final she choked. She pushed the vocal, frequently went out of tune, and her gaggle of male backup dancers wore extremely strange cut-out costumes that were both jarring and a distraction. So Greek jurors probably made the right choice. If she couldn’t perform to a studio audience of 50, how was she going to play on the big Eurovision stage? Too bad.