What is the Eurovision Song Contest?
Started way back in 1956 as a way of drawing a fractured Europe back together with the healing power of music, the Eurovision Song Contest, or Concours Eurovision de la Chanson – the contest is telecast in both English and French – is open to all active members of the European Broadcasting Union, which oversees the competition.
Each country is permitted to submit one three-minute song to the contest – a song which is selected by a variety of means, usually a winner-takes-all competition such as Sweden’s renowned Melodifestivalen – which their selected entrant performs in one of two semi-finals in the hopes of making it to the glittering grand final.
Only six countries have direct entry into the grand final:
- The Big Four who fund most of the contest – UK, Germany, France and Spain
- The host country (which is the winner of the previous year’s contest)
- Italy, who didn’t take part for many years and was re-admitted in 2011 after a 14 year absence (it was one of seven countries that competed in the first event), making the Big Four the Big Five. *
* this year it’s the Big Five with Italy also the host thanks to last year’s win in Rotterdam.
The winner is chosen by a 50/50 mix of viewer votes (you cannot vote for your own country) and a jury of music industry professionals in each country, a method which was chosen to counter the alleged skewing of votes based on political and/or cultural lines when voting was purely the preserve of viewers at home.
Past winners include, of course, ABBA in 1974 with “Waterloo” and Celine Dion who won for Switzerland in 1988 with “Ne partez pas sans moi”. Above all though, the Eurovision Song Contest is bright, over the top and deliciously camp, a celebration of music, inclusiveness and togetherness that draws annual viewing figures in the hundreds of millions.
NORTH MACEDONIA: “Circles” by Andrea
THE ARTIST
Drawing inspiration from both her grandfather, who she credits with engendering her passion for music, and formative years in New York City’s Harlem, Andrea is a singer with a deep-seated loved of gospel, pop and pop-punk.
It’s that clear love of diverse genres which captured the attention of producer Aleksandar Masevski who suggested the two collaborate on making music together, sparking what her Eurovision bio refers to as her “relatively new” presence in “the world of pop” which kicked off at the end of 2020.
She may be new to the public but she’s been honing her craft for years at Skopje’s Faculty of Music Arts, the country’s leading music school, where she built on all that early love of music with burnished songwriting skills and by learning to play guitar and piano.
These skills have led to the release of six single in just six months, with her entry for Eurovision, “Circles”, the latest and likely to be her most successful release yet.
It was enough to garner her the win via tiebreak (with Viktor’s “Superman”) at North Macedonia’s national selection contest Za Evrosong 2022 but will it be enough to push, Andrea, who creeds Lauryn Hill and Haykey Williams are just two artists who inspire her, to the truly great Eurovision heights to which she so clearly aspires?
THE SONG
“Circles” is a truly emotionally arresting song.
Sung with a passion that speaks of the inability to live not simply sing a song, the sign of any great artist, “Circles” is redolent with the lyrical agony of someone desperate to save a relationship but fearful that it cannot be brought back from the brink.
Every last drop of that impending loss and romantic grief finds its way into a song which feels like every last heart-on-a-sleeve which has ever graced planet earth; it’s full to the heartbreaking brim with the sort of raw emotions that takes ballads to breathtakingly gloriously good.
The vocals soar, the melody is a thing of emotionally brutal intensity and the lyrics pour every last drop of suffering into a cup the artist, who doesn’t want to lose what matters most to her, is understandably unenthusiastic about drinking, pleading for some way to avoid it.
This will make for one of *the* standout moments of semi-final 2 and will send North Macedonia comfortably into the grand final …
POLAND: “River” by Ochman
THE ARTIST
One listen to the multi-faceted, endlessly versatile and immeasurably beautiful voice of Krystian Ochman, better known by his artistic mononym Ochman, and you can well understand why he was crowned the winner of the eleventh season of The Voice of Poland.
Whether it’s a gift from his famous grandfather, internationally renowned Polish tenor Wiesław Ochman, or sheer genetic dumb luck, the fact is that Ochman, who was actually born in the U.S. state of Massachusetts but who has called Poland home since his teenage years, is gifted with a superlative vocal instrument.
It’s that vocal talent which led to him taking singing lessons while at high school (he also learned to play the piano and the trumpet), playing the role of the prince in a musical staging of Cinderella, and then studying at the Karol Szymanowski Academy of Music in Katowice.
Signed to Universal Music Polska, Ochman can now lay claim to a successful debut single, “Światłocienie” – the song notched up 300,000 streams in its first week on Spotify – a slew of successive hits and a bright and shiny debut album which saw the light of day back in November 2021.
So multiple artistic boxes ticked! Can he add success at Eurovision to his already stellar list of achievements?
THE SONG
There is absolutely every chance in the world.
“River” is one of those goosebump-generating songs that caresses the ears immediately and sets the heart racing with sheer beauty, thanks to an emotionally evocative melody, soaring choral vocals and Ochman’s vocals, all of which lend the song an epic quality that will surely see it capture everyone’s attention during the second semi final.
If it’s paired with a stunning on-stage performance, and surely simplicity is best here with a song so easily able to stand and impress on its own two musical feet, then look for Poland to gallop into the grand final and to stand a real chance of taking out the contest overall.
It’s that good, one of the true highlights of this year’s selection of songs.
ROMANIA: “Llámame” by WRS
THE ARTIST
WRS, known to friends, family and the local Starbucks as Andrei-Ionuț Ursu, is a man with an impressive musical pedigree and talents on which to call.
Hailing from the town of Buzău where his parents were folk music dancers, inspiring him to take up dance himself, which led, according to his Eurovision bio to “performing on stage with Romanian pop icons such as Inna, and being hired as a house dancer for both Romania’s Got Talent and The Voice of Romania.”
If that wasn’t enough, his singing career kicked off in 2015 with his participation in boyband SHOT, a brief but bright collaborative moment succeeded by the artist heading to London to learn more about songwriting and how to be a standout solo act which he became in 2020 when his debut single “Why” set off a series of hits which has culminated in a cosy collection of 10 singles, three collaborations and a forthcoming debut EP, Mandala.
A man of many talents, as his Eurovision bio attests indeed, but he ha got what it takes to make the good people of Europe sit up and take notice, and more importantly, vote for him?
THE SONG
If it’d down to just the dancing, hell yes – you can look away from WRS in full dance mode, his body flowing across the stage like water.
The song however is another matter; there’s nothing wrong with it necessarily, it’s headily catchy mix of traditional folk and danceable pop, and curiously lots of Spanish, making for a bright, fun listen that should definitely get people up and dancing, burnished by strong, playful vocals that suit the song’s delivery to a tee.
The thing is that when all the dust settles, and all that dancing can’t help but stir up more than a passionate performance, the song isn’t all memorable – bright and breezy and inherently enjoyable, which should benefit nicely from a neatly-timed live performance, but not strong enough to do all that much.
It won’t embarrass Romania but neither will it steep them in glory and accolades with the song likely to lead to a pleasingly high but not stellar placing.
SAN MARINO: “Stripper” by Achille Lauro
THE ARTIST
If you want presence and arresting artistic attitude, the kind you can’t and don’t want to look away from, then Achille Lauro is your performer.
Real name Lauro De Marinis, 2022 marks the tenth anniversary of the singer-rapper-songwriter’s first mixtape Barabba, a release which has seen him become wellknown in the Italian hip hop scene to which he was introduced by his brother Federico who in 2012 was a producer for artist Quarto Blocco.
Taking his stage name from the infamous ship that create headlines in 1985 when it was hijacked by members of the the Palestine Liberation Front – not, it should be added because it inspired him in any way but simply because people kept associating his first name with it so rather than fight it, embrace it? – Achille Lauro released his second album in 2015 (Dio c’è) which was followed by independently released album Ragazzi and Sony-backed Pour l’amour.
Topping the Italian charts on two occasions, he is a man of great and pleasingly diverse talents as his Eurovision bio lays down.
“It’s not just music that Achille spends his time on, however. He’s acted, directed and is even an award-winning film producer, alongside hosting TV shows, putting on art exhibitions, authoring 3 books, and acting as the creative director for a record label.”
A three-time participant Festival di Sanremo in 2019, 2020 and 2022, Achille Lauro is now representing Italy’s much smaller neighbour San Marino in a move that should garner him an even higher profile than he currently has.
THE SONG
With a title like “Stripper” for your entry song, you are hardly going to fly under the radar, a handy plus in a contest that thrives on clever music and quirkily memorable performances.
Folding together playfully-written lyrics in Italian and English, “Stripper” has a ballsy, rock-driven, almost punk aesthetic, driven by Achille Lauro’s unsmiling swagger and a gift for performance which should see him eat up the stage in Torino.
It’s not a quiet, retiring song which is perfect for an artist not even remotely interested in hiding his light under a bushel, and should ensure San Marino makes a bombastically catchy splash in Eurovision this year, which fits nicely with its run of artists who bring mostly interesting songs and give them an idiosyncratically epic performances.
This will be one of the fun and intense entries, nicely balancing the more beautifully earnest and granting this year’s contest a pleasing eclecticism.
SERBIA: “In Corpore Sano” by Konstrakta
THE ARTIST
The mononyms are strong with this year’s crop of Eurovision hopefuls and Serbia’s Ana Đurić is no exception, taking on the artistic moniker of Konstrakta to launch her solo career which kicked off in 2019 with the single “Žvake” (Chewing Gums).
Previously, the singer-songwriter, who is also a credentialed architect, was lead vocalist in the band Zemlja Gruva (Land of Groove),an indie pop band which was founded in 2007 and which generated a series of successful single and albums in the first half of the 2010s.
The band also had the honour, notes Konstrakta’s Eurovision bio, “of being the opening act for Amy Winehouse, at her last ever concert, in Belgrade in 2011.”
Now successfully charting as a solo artist, Konstrakta is known for commentary on social and emotional issues with the talented conceptual designer and artist giving every video she releases a distinctive look and feel and no doubt ensuring her performance at Eurovision will be one to remember.
THE SONG
Her entry song “In Corpore Sano” has, according to her Eurovision bio, “been interpreted by some as a critique of the Serbian healthcare system and a satire on unattainable beauty standards” which means her socially thoughtful messaging has been carried over into the track.
Quite whether that’s the case or not, and honestly there do appear to be some sharply critical observations in the lyrics as well as vocal stylings that suggest a dismissive scorn that works brilliantly with the messaging that seems to be inherent in the words, “In Corpore Sano” is a clever, highly listenable song.
Archly delivered with lo-fi verses and a bridge which give way to a driving chorus, the song percolates with an arresting originality which captures your attention and holds it thanks to judiciously used backing vocals, atmospheric musical flourishes and a mix of the traditional and the pop which works neatly to create one of the most unique songs you will likely hear this year.
It’s likely not striking enough to make a real mark for Serbia but that’s less because it’s not a good song – if anything it’s one of the cleverest and most interesting songs to hit the 2022 slate – and simply it maybe too different to have the widespread appeal that a song and artist needs to cut through and make it through to the grand final.
SWEDEN: “Hold Me Closer” by Cornelia Jakobs
THE ARTIST
Sweden is known as a pop powerhouse, a role it has successfully undertaken since the heady days of ABBA’s Eurovision win in 1974, and it is easy to see why Cornelia Jakobs is right up there with the best and brightest the country has to offer the world right now.
Born Anna Cornelia Jakobsdotter Samuelsson, the singer-songwriter kicked off her music career in the girl group Love Generation who made their bid for Eurovision glory in 2011 and 2012 when they competed in Sweden’s national selection contest for Eurovision, Melodifestivalen.
While Love Generation didn’t live up to the meaning of the name, only sticking around for the release of three singles, Jakobs continued on her with singing career, going solo in 2018 which led, so her Eurovision bio says, to the release of “singles, performing to sell out crowds across the country, and working on her first album.”
The composer and performer of the soundtrack song for HBO Nordic series Björnstad, the daughter of Poodles’ singer Jakob Samuel and granddaughter of a composer, has a lot of musical heritage on which to draw, which finally saw her win Melodifestivalen this year, sending her to Turin where the artist’s love for music and dedication to her career will be on full display.
THE SONG
Starting out neat and small, “Hold Me Closer”, co-written by Jakobs with David Zandén and Isa Molin, is a song that addresses the deep sadness of being rejected by a romantic partner, ruefully noting that “You say it isn‘t me but when did that ever help” with a knowingness and emotional honesty that makes it lyrically thoughtful in ways that cut to the heart.
It’s emotional incisiveness is burnished by a contemporary pop sheen and melody and enmotively-rich vocal delivery by Jakobs that makes every word and phrase come painfully and memorably alive.
“Hold Me Closer” is a song that apart from sounding, in all the best possible ways, like something off this week’s charts, lives and breathes its subject matter, the perfect marriage of music and lyrical intent which should give it wide appeal among Eurovision voters.
It doesn’t hurt that there’s a danceable element to the song, which builds and builds in time with the emotional pleading that infues a song that should see Sweden stride confidently into the grand final with a real chance of winning the event with a real heart-on-the-sleeve number that is going to resonate with a great many people.
EUROVISION 2022 EXTRA EXTRA!
This close to the event itself, you can bet there’s a lot to update on everything from the interval acts to the pre-parties and the exciting announcement of Eurovision Canada!
One of the most fun things to emerge from the report is the rendition of the Eurovision theme tune “Te Deum” which is all kinds of exultant fun …
And who among us isn’t curious about what happens backstage at Eurovision? Wonder no more, my friends, as Samya Hafsaoui, who reported for Dutch broadcaster AVROTROS at Rotterdam 2021, provides a series of YouTube reports on what’s going down behind the scenes. Here’s a sample of her work which is warm, enthusiastic and well-informed. This is a great idea and it will be hugely enjoyable to see what we get to see …
MY SEMI FINAL 2 TOP 10
Picking which ten acts will go through to the top 10 is a crapshoot at the best of times with so many variables in play and subjectivity running rife. So, this selection simply reflects either what I like or what I think will do well overall and nothing more … oh, and they come in no particular order … right, housekeeping done, let’s see what made the grade …
- SWEDEN: “Hold Me Closer” by Cornelia Jakobs
- CZECH REPUBLIC: “Lights Off” by We Are Domi
- NORTH MACEDONIA: “Circles” by Andrea
- GEORGIA: “Lock Me In” by Circus Mircus
- POLAND: “River” by Ochman
- AUSTRALIA: “Not the Same” by Sheldon Riley
- SAN MARINO: “Stripper” by Achille Lauro
- AZERBAIJAN: “Face to Black” by Nadir Rustamli
- ISRAEL: “I. M.” by Michael Ben David
- MALTA: “I Am What I Am” by Emma Muscat