eurovision

Grant and I were dressed for the part. Grant is wearing a Pirate Bay Party t-shirt, while I am wearing a Swedish football team t-shirt.

Eurovision Song Contest

There was a time not so long ago when I used to host an annual Eurovision Song Contest party. A whole bunch of us would gather together. We had score sheets. We had trophies. We had snack food based around different European cuisines. We revelled in the trashiness of it all. We constantly tried to outdo each other with smart-arse, bitchy comments. As the years went on I felt less inclined to hold these parties. There was a certain sameness to it every year. The longer the contest, the more difficult it became to go to work on the Monday morning. But the killer for me was I started to take Eurovision seriously.

I started to see through the “trashiness” of it all, what I call the “Woganification” of Eurovision, to see something really worthwhile and enjoyable, that you could enjoy without the need to trash it. I used to love Terry Wogan’s commentary, but over the last few years I’ve begun to realise the really negative impact he’s had on Eurovision in the UK directly, and in Australia indirectly. In the UK, his constant trashing of the entries (with a heavy dose of UK-centrism and some degree of xenophobia) has indirectly led to a situation where the contest isn’t taken seriously, and why they keep putting up such awful acts, in my view. Indirectly, the years of his commentary being shown in Australia has led to something similar: a situation where Eurovision is defined in the public discourse only through the glitter, the camp, the trashy.

I’m not denying the glitter, the camp, and the trashy (as they’re elements of Eurovision I really love), but I’ve become increasingly disenchanted with the half-arsed lame, sledging comments on places like Twitter. Every many (with a Twitter account) and his dog watching Eurovision seems to think they’re the funniest new comedian or bitchiest new drag queen on the block. I’m also completely sick and tired of the SBS coverage where it’s become the Sam and Julia show. The killer for me, this year, was during the second semi-final when they actually began making comments OVER the song.

So this year I decided to avoid all of the shenanigans of a Sunday night watching the delayed SBS commentary. Instead, I got up early yesterday morning and watched the live coverage from SVT. As it was in real-time I didn’t have to worry about the stupid all day Sunday media blockout, avoiding the results. I also got to enjoy a coverage which was amusing and with affection, and where the commentators didn’t speak over the top of the songs, nor over the top of important parts of the show, and where it wasn’t all about them.

With that rant out of the way, these were my Top 3 this year.

1/ The Winner – Conchita Wurst : A great song, performed with passion, and with a great novelty act.

2/ The Wooden Spoon – Twin Twin : Despite the fact this song finished last, I thought it was great fun, had a good tune, and I really loved the fact it was the only song in the final not in English. This is the video version, by the way, since their live performance was rather dull, and out of tune.

3/ Sweden (of course) – Sanna Nielson : I actually think the song is rather boring, but when you support Team Sweden, you have to support the team.

Having been to Melodifestivalen (the Swedish finals) on a couple of occasions over the last few years, where the Swedes take it seriously, where they genuinely try to compete with a great song and a great performance, and where the public really looks up to those who enter the contest, I’ve begun to realise there’s another way of seeing Eurovision. It’s the difference between laughing WITH them (which is what the Europeans do) rather than AT them (which is what the UK and Australians seem to do).

Anton Ewald

Melodifestivalen 2014 #4

Alcazar

Alcazar

Ah yes, I remember it well. It was Stockholm Pride in 2011, and Graeme and I were there in the front row for the final ever performance by legendary Swedish pop group, Alcazar. There was a real sense of sadness in the crowd, as Alcazar had delivered so many wonderful pop music memories.

The sadness didn’t last long, because eventually Alcazar would make a comeback, and another, and another. And thank goodness they have, because they brought a really great excitement for the opening of the fourth heat of Melodifestivalen, the finals which choose which song goes on to represent Sweden at the Eurovision Song Contest.

In many ways their entry was going over old ground. Their song sounded like just about every other Alcazar song from the last five years (Fredrik Kempe made his fourth consecutive appearance in this year’s competition), and their dance routines are in desperate need of an update. But they’re Alcazar and the Swedish public loves them. Well, more than they did last year anyway, when they never made it to the final. This year, thankfully, Alcazar made it through.

Anton Ewald

Anton Ewald

There was a lot to like about the songs and performers in the fourth and final heat. The second track “Fight Me If You Dare” by I.D.A was a surprise favourite of mine. I also really liked “Hollow” by Janet Leon. Sadly, neither made it through to either the final or Andra Chansen. Anton Ewald, a favourite of mine from last year, thankfully did make it through, though the song he has this year is not up to the standard of last year’s hit, “Begging”. Still, he’s a terrific dancer and quite a cutie.

The hosts for the television presentation weren’t as awful as they’ve been in previous weeks. Still awful, but not as awful.

It's not The Footy Show

Melodifestivalen 2014 #3

“Oh my God, it’s The Footy Show”, I thought to myself as I watched the opening moments of the third heat of this year’s Melodifestivalen, the Swedish selection process for the Eurovision Song Contest. A big boofy bloke in a dress is always hilarious, isn’t it?

Well, no actually. Even though the audience laughs, uncomfortably, there’s nothing amusing about the hosts for the contest this year. I’m sure they’re lovely people, but as hosts for Melodifestivalen, their humour comes across as self-indulgent, forced, and ultimately, fairly lame.

Despite the awful hosts, I quite liked a lot of the songs on this week’s show. The opening “Nine Inch Nails” inspired rock and roll song was great. The second track, “Red” by EKO was also really impressive. A day or so later, I’m still singing along to the chorus of “All We Are” from State Of Drama. But as soon as the songs were over, and having endured the awful interval act, I switched the television off. I caught up with the results on Twitter.

There’s something deeply unsatisfactory about this year’s Melodifestivalen. As @scandipop tweeted, “Oh God even Björn Gustafsson is dying on his arse. Why can’t they get anything outside of the songs right this year?!”

My other favourite tweet about the night was about Shirley Clamp. Wickedly, @melodipopvision observed “(Shirley is just out the back, swigging on a bottle and fielding calls from Stockholm gay clubs about the #melfest finalen weekend.)” I love Shirley Clamp. She’s had some really wonderful songs over the years, and would probably be called as “Melodifestivalen Royalty”. That’s the problem I guess. In the same way the tele-voting has rejected the likes of Alcazar and Army Of Lovers in recent years in favour of the younger “Idol” acts, disappointingly, Shirley never even made it to the second chance heat.

The other great comeback of the week was the duo by Dr Alban – “Sing Hallelujah” – and Jessica Folker. On paper, there was so much potential. In reality, there was too much Dr Alban and not enough Jessica, unfortunately. They made it through, but only just.

Hilarious Comedy :)

Hilarious Comedy :)

Though the selected artists might change, there’s one constant in Melodifestivalen this year: the weekly appearances of song-writer, Fredrik Kempe. My friend Graeme thinks I’m too harsh in my criticism of Kempe. For his part, Graeme recognises that Fredrik has contributed some really great songs to Melodifestivalen over the last few years, and that, being a smallish country, the song-writer gene pool obviously doesn’t go that deep. For my part, I don’t think it’s acceptable that his songs have been selected in all three heats so far. Surely he’s not back next week for the fourth?

That said, if I had to choose between never seeing Fredrik Kempe again, and never seeing this year’s Melodifestivalen hosts again, Fredrik would win hands down.