We have been following news of which artists have agreed to come back to Eurovision next year after this year’s cancellation. We figure all of the internal selections will be asked to go again, but we feel for artists who qualified through national finals. Countries like Sweden, Estonia, and Denmark have their big selection shows, and the best this year’s winners can hope for is a chance to do it all over again next year.
So when Israel announced Eden Alene was coming back in 2021, we were relieved. HaKokhav HaBa is fun and all, but we really wanted Eden to have her chance.
Eden Alene is the Jerusalem-born daughter of Ethiopian immigrants. She won X Factor Israel in 2018. Her song “Feker Libi” was written by Doron Medalie and Idan Raichel. Doran wrote “Golden Boy,” “Made of Stars,” and the 2018 Eurovision winner “Toy.” Idan is a musician known for infusing electronica with Arabic, Ethiopian, Hebrew, and Amharic influences and lyrics.
“Feker Libi” is fun and energetic, but we didn’t get too excited about it. It comes down to the orchestration, which we found a bit hokey. We wanted something a bit edgier musically, and the music felt a bit too sunny.
Vocally, Eden has a lot to sink her teeth into and as good as she sounded, her artistic voice got lost in the staging. She seemed like she was still getting comfortable with the choreography during her HaKokhav HaBa performance, which muted her charisma a bit.
Looking ahead to next year, we hope Israel teams Eden up with the same songwriting team. Doran and Idan have a lot of potential together that we don’t think they fully tapped here. We want them to get a second chance to give us something special.
Eurovision rehearsals are about to begin and we weren’t able to complete full reviews of all of this year’s entries in time. So let’s take a deep breath and cover all the rest in one go!
Finland: Darude feat. Sebastian Rejman – “Look Away”
Darude had a global smash hit 19 years ago with “Sandstorm.” Now he’s representing Finland at Eurovision. We mock the United Kingdom when they do stuff like that and we see no reason to spare Finland our snark. Especially when the U.K. nostalgia acts send better songs.
Zena offers up a slightly generic, but still quite enjoyable pop song. We… well, you know… like it. Not sure if it’s going to do well for Belarus, but with the right staging, or at least the right Belorussian staging, maybe it could surprise us.
Nevena is a veteran of Moje 3, the Barbara Dex Award-winning act from 2013. She’s back with a bland ballad, but she made it soar at Beovizija 2019. We expect more vocal fireworks in Tel Aviv. And better costumes.
San Marino has sent disco songs for three of its last four entries because this one time, die hard Eurovision fans convinced them that’s what we want. Maybe we should tell them that we like other genres too.
“Limits” is a great song to listen to at 3 A.M. when it’s gently, but audibly raining outside and you’re feeling a little sad and need a good cry. That’s usually not the atmosphere Eurovision provides, which may hurt Austria’s chances.
Israel is in it to win it this year. Here’s Netta Barzilai with “Toy.”
Netta Barzilai is a 25-year old singer who, prior to appearing on Israel’s national selection show The Next Star for Eurovision 2018, was primarily in the performance arts space. Her signature style is improvisational singing and working with a looper. In 2016, she toured with Israel’s prestigious Batsheva Dance Company, which merged her improvisational vocals with dance.
There’s been speculation about whether the EBU will permit Netta to use her looper in a live performance, but our take is that if the EBU allowed Norway and JOWST to use synthesized vocals last year, then it seems unlikely this will be an issue.
“Toy” is co-written by Doron Medalie, Israel’s pop Svengali who was the creative force behind 2015’s “Golden Boy” and 2016’s “Made of Stars.” As a pop song, “Toy” is every bit as good as these successes that preceded it. The chorus “I’m not your toy/You stupid boy” hooks us, and the arrangement has that distinctive Tel Aviv sound.
Netta’s genius is that she has taken “Toy,” with all of Doron’s style and hallmarks, and made it uniquely her own. The outcome elevates Doron’s raw material and provides Netta with a vehicle that has commercial appeal.
Netta is the rare, desperately needed breed of pop musician who acts—with agency—rather than reacts. Her point of view feels feminine, empowered, and confident. Contrast “Toy” with “Beauty Never Lies” from Serbia’s Bojana Stamenov. Bojana’s song was also empowering, but it was more about the process of learning to love yourself. Listening to “Toy,” you get the sense Netta is already there and has been for some time.
At the same time, Netta expresses herself in a way that isn’t threatening, marginalizing, or off-putting. She is fun: she clucks like a chicken and we laugh along with the joke (and riff off of it). To win her ticket to Eurovision, she did a medley of Kesha’s Tik Tok and Psy’s Gangnam Style. You can’t help but applaud her badassity.
Netta isn’t just likable, she’s important. There are too few examples of confident, intelligent women who can navigate the difficult cultural terrain that comes with female success. She defies the one-dimensional stereotypes of femininity (diva, big girl, sex kitten, princess, bitch, etc.), and she does it playfully, without politics or anger. We hope that Netta can be to Eurovision what Spanx was to underwear. Strong, for females by a female, and wholly transformative. Go get ’em, tiger.
Have you ever asked yourself the question, “What could have made Lidia Isac’s ‘Falling Stars’ work?” Israel has the answer: let them show it Tel Aviv! Here’s IMRI with “I Feel Alive.”
Israel is on a good run of form right now, qualifying for the Grand Prix Final two years running with Hovi Star’s “Made of Stars” last year and Nadav Guedj’s glorious, glorious “Golden Boy” in 2015. As the video for “I Feel Alive” points out, IMRI was a back-up singer for both of those entries.
His song “I Feel Alive,” written by Dolev Ram and Penn Hazut, is loads of fun. If we have any concerns, it’s that high note that he barely makes in the recorded track. That could go off the rails live. Otherwise, we have high hopes that IMRI will keep Israel’s streak going this year.
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?
It’s Teacher’s Day in Albania, and what better way to celebrate than by doing an educational post about the latest news from the Eurovision Song Contest?
Armenia: Iveta Mukuchyan – “LoveWave”
Here is a question we like to ask: what’s worse – being memorably bad or just being unmemorable? Last year’s Eurovision entry from Armenia was terrible, but this year’s entry is mediocre at best. Unless there is a staging miracle in Stockholm, we will remember “Face the Shadow” long after our memories of “LoveWave” have faded.
The Netherlands: Douwe Bob – “Slow Down”
Who would have expected that the best tribute to the late Glenn Frey comes in the form of the Netherlands’ Eurovision entry? “Slow Down” dips into a well of country-inspired mellow gold, but we don’t think it will reach the heights Netherlands achieved the last time they went down the road to Nashville.
Russia: Sergey Lazarev – “You Are the Only One”
Listening to “You Are the Only One” feels like stepping into a time machine set to 2006. If Croatia or Slovenia sent this, you’d pay it no mind, but because it’s Russia we guess we have to take it seriously. The song sounds like a brainstorming session on a corporate retreat: everyone’s throwing ideas against the wall and none of them are sticking or holding together. On the bright side, at least it’s not another pandering plea for peace, love and unicorns.
Estonia: Jüri Pootsmann – “Play”
Stig Rästa has finally found the ticket to success at Eesti Laul: mod pastiches of ’60s pop. He followed up last year’s duet with Elina Born by penning “Play” for Estonian dreamboat Jüri Pootsmann. Jüri may look like Anthony Edwards’ hot son, but he also possesses a rich baritone that infuses “Play” with smoldering soul.
Montenegro: Highway – “The Real Thing”
Oh man, in a rock heavy year, Highway reigns supreme with a sweet Soundgarden-influenced riff. If Georgia’s rock act is a bit too impenetrable, Romania’s rock act is a bit too pretentious, and Cyprus’ rock act is a bit too slick, then Montenegro’s rock act is the total package. This is Chris’ favorite song of the competition so far.
Israel: Hovi Star – “Made of Stars”
Hovi Star won Israel’s Rising Star competition, but Israel’s delegation is apparently planning to rework the song. We’re going to hold off commenting on it until the official version is ready.
Macedonia: Kaliopi – “Dona”
Kaliopi returns to Eurovision to represent Macedonia with the big ballad “Dona.” It’s a better song than her previous effort “Crno i Belo,” although it lacks a certain something to make it memorable. Still, we’re happy she’s back, if only because she’s entertaining in the press center.
Poland: Michał Szpak – “Color of Your Life”
Everyone on the internet expected Margaret to win Poland’s Eurovision selection show with “Cool Me Down.” That was before Margaret gave an indifferent performance of her Rihanna knock-off on Krajowe Eliminacje do Eurowizji 2016. That was also before Michał Szpak stared straight into our eyes and peered deep into our soul. “Color of Your Life” is a forgettable show tune, but Michał sold it to the voting public, forcing thousands of Eurovision fans to tear up their Warsaw 2017 travel plans.
Romania: Ovidiu Anton – “Moment of Silence”
Sadly, Ovidiu’s chance to rock Stockholm was taken away from him when the EBU booted Romania from the Eurovision Song Contest because of unpaid debts.
The most epic result of the weekend had to be Ovidiu Anton’s triumph at Selecţia Naţionala. Neither Ovidiu or the presenters could stress enough how much he liked to rock, and boy does he, in the most prog-heavy way possible. “Moment of Silence” is utterly ridiculous and ridiculously entertaining.
For further reading, see Trans-Siberian Orchestra, Savatage, and Tenacious D. See also: Ovidiu’s entry from 2015, which made our annual WTF post.
Nadav Guedj will represent Israel in Vienna with “Golden Boy” and we could not be happier about it!
I cannot even begin to tell you how much this song delights us. It is catchy, a bit silly, and wildly entertaining. Plus, before Nadav leaves, he’s gonna show us Tel Aviv! It will be a short tour, though, because as he says, “OK we gotta go. Three minutes. Bye bye!”
“Golden Boy” starts off as a ballad, the way Donna Summer’s “Last Dance” does. Then it kicks in and becomes a pop R&B number. And then the chorus goes all Mediterreanean dance, which ties the intro and the verse together with a tidy golden bow. It is an absolute blast.
Doron Medalie is the creative force behind the song. He is a music insider who sat on last year’s Israeli jury and was previously involved with Israel’s 2008, 2010, and 2013 Eurovision efforts. (In other words, he let Moran Mazor wear that dress.) He wrote the song and lyrics to “Golden Boy” and did a lot of the press when Israel announced their choice. “Golden Boy” is Israel’s first entry to be sung entirely in English, and until we hear otherwise we’ll assume he had a hand in that decision.
Nadav is just 16 years old. I was a bit surprised to see how young he was, but watching the video, I can believe it. He performs with a youthful exuberance and without any sort of self-consciousness. He is incredibly green: he won הכוכב הבא (Rising Star), a talent show in the Idol vein, so there is a good chance the hugeness of Eurovision could overwhelm him. On the other hand, he does have some experienced support behind him thanks to Doron’s involvement. Hopefully Nadav just goes out there and shows as much joy as he does in the video for “Golden Boy.” Then he is going to earn that self-proclaimed title King of Fun.
Israel’s 2014 Song for Europe will be Mei Finegold and “Same Heart.” Finegold was picked by the Israeli broadcaster IBA, and the song received 55% of the public vote during Israel’s selection show.
There was some internal controversy about the song’s selection. Israel’s rules state that their Eurovision entry must have at least 50% Hebrew lyrics. “Same Heart” is a tad shy in that respect, and the writers of one of the losing songs called for its disqualification. Regardless, IBA has given “Same Heart” the pass. The language rule, in our opinion, does the song a disservice. The Hebrew middle section doesn’t feel internally motivated. It’s just there because it has to be. Frankly, “Same Heart” would work better if it was all in one language.
“Same Heart” is a tough song for us to critique: a two-and-a-half star song. We can praise good songs to the skies and tear bad songs to shreds. But competent songs don’t provoke any emotions in us. They’re not bad, per se, but they don’t wow us either. As technically good as “Same Heart” is, it lacks a visceral “it” factor to make it stand out from the pack.
Part of the problem may be the clinical treatment the song was given in the studio. We have been unable to find a live performance, so we’re relying on the recorded version of “Same Heart” for our assessment. While Finegold’s earthy alto is a good fit for this gritty rock song, her vocal is too deliberate. In a song that’s as emotional as this – “Same Heart” is an angry song – Finegold’s recording leaves us cold. We could chalk this up as an artifact of seeking the perfect vocal in a sterile studio setting. If Finegold brings some dynamism and abandon to her performance in Copenhagen, then “Same Heart” could come to life.
But we have a sneaking suspicion that Finegold is a cautious performer live. She finished third in Kochav Nolad, Isarel’s Pop Idol equivalent. Looking at clips of her performances on the show, we see that same inhibited approach to performing that we hear on “Same Heart.” Since her stint on Kochav Nolad, Finegold has been in the theater world. In 2012, she won the Israel Theater Prize for best supporting actress for a revival of the musical Kazablan. We’re not sure if that background will help her or hinder her. Will she bring theatricality, or will she come off as being a bit too self-conscious trying to sell a song with a rock edge?
Moran Mazor has won Israel’s Kdam Eurovision with “Rak Bishvilo” (Only For Him), despite forgetting to zip up the front of her dress!
As for the song itself, it’s another safe ballad that reminds me a little bit of “Milim,” only not as good. Mazor goes off the rails a bit at the end when she tries to vamp, but otherwise sounds fine. I hope they keep the song in Hebrew, because judging by the translation of the title, this won’t sound quite as dramatic in English.
I’m afraid that “Rak Bishvilo” is yet another entry this year that passes the time and then goes gently into that good night without leaving much of an impression. My concern is that a lot of the entries going to Malmö are like that, and in five years time, I’m going to remember very little about this year’s show.
IZABO, Israel’s Eurovision representative this year, has released their entry, “Time”:
I find “Time” fascinating. It reminds me a bit of the early work by Andreas Dorau, sort of a more lushly orchestrated “Fred von Jupiter.” There is something charmingly retro and off-kilter about “Time,” particularly with the slightly tinny, AM radio-like strings punctuating the song and the falsetto chorus. It has a playful quality to it that is refreshing in a year with either over-the-top earnestness or over-the-top outrageousness.
I have not the slightest idea how this is going to fare at Eurovision, but I have to admit I dig this highly.