When the COVID-19 pandemic initially struck, it resulted in the cancellation of several events, like the Olympics, the major international beauty pageants, and the 2020 edition of the Eurovision Song Contest. More than a year later, the pandemic continues to rage on, but with the development of various vaccines and adjustments in place to minimize the threat of mass infections (e.g., social distancing and travel restrictions), the European Broadcasting Union (EBU) had decided to resume the long-established institution this year.
The immediate impact of the previous year’s cancellation was that the various countries have a decision whether or not to field the same act when the Eurovision Song Contest resumes. Eventually, 24 of the 39 countries opted to send the same acts, and this gives me the opportunity to share comparisons between this year’s entries versus last year’s.
Normally, trends could be spotted from the results of the previous contest. However, it looks like there’s not enough entries that are following the precedents of the Top Three of 2019. However, in the realm of the real-world charts, Duncan Lawrence‘s “Arcade” has emerged as having extraordinary legs, actually hitting its biggest chart strides two years after its EUrovision win. This is thanks partially to buzz on the Tiktok app, as it has been applied on some Harry Potter-themed memes, and a re-recording where they transformed the song into a duet with American artist FLETCHER and given a new subtitle, “(Loving You is a Losing Game)”, based on the key line in the song’s chorus.
One key trend tat could be culled from the cancelled 2020 edition which spilled over to this year is the significant increase in the number of black acts, as six countries fielded such artists: SWEDEN, ISRAEL, MALTA, SAN MARINO, CZECH REPUBLIC, and the NETHERLANDS. Even if SWEDEN changed its act from 2020 to 2021, this statement still holds true. Adding to the racial diversity, AUSTRALIA and AUSTRIA fielded acts with at least some Asian heritage, in particular Filipino. When these acts were selected in 2020, little would one ralize how important the discussion of race would be a few months later (triggered by the murder of George Floyd by the police).
The ongoing pandemic of course has an impact on the themes tackled by some of the entries, although there is a variety. It’s a bit reminiscent of the 1990 edition, where many entries that year referenced either the fall of the Berlin Wall the previous year, or anticipation of impending establishment of the European Union. Unlike the 1990 edition, the pandemic was not directly referenced but served as an underlying current infusing these songs. It varies from the “dance alone” motif of LITHUANIA, the “against all obstacles” permeating NORTH MACEDONA‘s entry, the hope inherent in the arrival of Spring in UKRAINE‘s entry, the mental healt anxieties permeating ROMANIA’s entry or love amidst an impending apocalypse for GREECE.
Another favorite topic seems to be female empowerment, as reflected on the songs delivered by RUSSIA, AZERBAIJAN, MALTA, and most especially LATVIA. We can also add AUSTRALIA, IRELAND, ISRAEL, and FRANCE to this list, but their songs are more about self-empowerment which could be more universally applied instead of targeting specifically at females.
This year also fielded three alumni from the offshoot Junior Eurovision Song Contest, a contest that features–you guess it–junior performers (under 16 years old). GREECE‘s Stefania competed in 2016 representing another coutny (the NETHERLANDS) as part of the group Kisses. and placed 8th. The other two were champions: MALTA‘s Destiny won in 2014, while FRANCE‘s Barbara Pravi co-wrote last year’s winning song “J’imagine [I imagine]” performed by Velentina. FRANCE and MALTA*1 are also part of another trend, about the French language coming back to prominence since they opened the competition to more Eastern European countries back in 1994, as alongside SWITZERLAND they are in the running as possible winners of this year’s contest.
*1 Yes, MALTA’s French connection is simply one line which also serves as the title of the song, “Je me casse“
There is also a few entries which decided to have a 1980s throwback sound, GREECE, POLAND, ICELAND, and DENMARK. I have to note though that in the case of DENMARK–its sound is technically not 1980s but more 1970s disco with dashes of 1960s Motown, but I can give this a pass because such 1970s disco sound spilled over in entries competing in early 1980s era Eurovision, as Eurovision in those days were notoriously behind musical trends instead of keeping up pace with it.
Rock music is normally not that much represented in this contest, with probably at most two that fit this genre, but this year there are three acts represented. Obviously most would pinpoint FINLAND and ITALY, but LITHUANIA is also in its essence, in this category, too. Yes, for the past two years they fielded highly catchy and danceable songs, but there is a grounding in rock music to both of them. Last year, GEORGIA‘s entry would’ve been also in this category, but this year, the song is more atmospheric balladic pop with only a brief rock element so I can’t really consider it in this bin.
As you might notice, my criteria for a “trend” is if there are at least three entries that fit that “trend”. I’m divided if I could include a Billie Eilish trend as it is most obvious for two entries, ROMANIA and BULGARIA, but one might argue tht this year’s entry from CROATIA can fit tat trend, too, but the thing is, the song itself is more conventional pop than the quirkier eclectic sounds that we associate with Billie Eilish. However, Albina did perform the Billie Eilish-Khalid duet “Lovely” during her stint at The Voice Croatia and there are hints of an Eilish vibe in some scenes of her music video, so perhaps indeed she might fit the Eilish mold after all.
For the first time since 2015, there are two competing songs carrying the same song title: SLOVENIA and AUSTRIA both have songs entitled “Amen”. But unlike the “Warrior“ battle of 2015, neither of the “Amen” songs are considered possibilities for the finals, albeit they might be showered with love from the juries.
It’s time to do a rundown of the hunks and babes in this year’s contest. This year, there is one uncontested winner for Eurovision Hunk of 2021: ESTONIA (Uku Suviste). If it was the previou year, though, Uku would’ve had fierce competition from FRANCE (Tom Leeb) and CROATIA (Damir Kedžo), with Tom Leeb as the winner. Interestingly, all three men fielded romantic ballads last year.
For this year, we can include SPAIN (Blas Canto) as a handsome balladeer, but take note that last year he is more of a pop star than balladeer. Still, his handsomeness cannot be denied.
Unlike 2019, this year is relatively slim pickings if you’re thirsting for hunks. But there are some who could be considered appealing. For instance, this year’s rock contingent, most especially the frontmen from LITHUANIA (Vaidotas Valiukevičius of The Roop), FINLAND (Joel Hokka and Niko Moilanen of Blind Channel), and ITALY (Damiano David of Maneskin).
From Central Europe, we have the loverman appeal of CZECH REPUBLIC (Benny Cristo), and some might consider that with shades, POLAND (Rafal Brzkowski) could fit the appealing list, too.
On the distaff side, , there are no out-and-out stunners of he level of say, Cyprus’s Eleni Foureira back in 2018, but there are a whole host of attractive lookers out there. For many fans, the title of Miss Eurovision 2021 will go to CROATIA (Albina), and I could support that choice.
There are a whole host of youthful lookers out there nipping at Albina’s heels, though. First, we have the youngest entry, GREECE (Stefania) and the recently-turned-21 ISRAEL (Eden Alene).
Also extremely youthful is the bassist for Maneskin, Victoria de Angelo from ITALY, being both badass and possessing oodles of appeal.
We can add the “Eilish Girls” from ROMANIA (Roxen) and BULGARIA (Victoria) onto the youthfully appealing list as both are good-looking girls barely in their 20s. I would also like to add that if you look into their real-life surnames, those names share a common derivation from the name “George”: Roxen’s surname is Giurgiu, while Victoria’s is Georgieva. As I previously mentioned above, Albina can also be considered an Eilish girl if it weren’t for the type of song she’s performing.
For those who are into fuller figured zaftig types, we have the teenager from MALTA (Destiny).
On the other side of the age spectrum, BELGIUM (Geike Amaert of Hooverponic) and SAN MARINO (Senhit) both providing proof that you can still be very vital and appealing past 40.
Now, let’s discuss the other noteworthy ladies in between those opposite spectrums. Ramping up the sex appeal are two acts from the Balkan region, SERBIA (Hurricane) and MOLDOVA (Natalia Gordienko). I describe the type of music they’re fielding with their entries as “trashy pop”, and this is not necessarily a bad thing, as they can be considered guilty pleasures.
If you want pop with a bit more finesse (even if some folks might consider Lady Gaga as “trashy”–I’m definitely NOT one of them), you can go for CYPRUS (Elena Tsagrinou).
There are a whole host of thirtysomething blondes fielded in this year’s contest. Besides MOLDOVA, we also have SLOVENIA (Ana Soklič), IRELAND (Lesley Roy), ALBANIA (Anxhela Peristeri), and LATVIA (Samanta Tina). I dub them the “Thirtysomething Blonde Sirens”.
Some of the countries from the former USSR fielded good looking brunettes, and they are an eclectic bunch: there’s the quirky eccentric from RUSSIA (Manizha), then the ethno-pop princess (who on the music videos looks about 10 years younger than her actual age) from AZERBAIJAN (Efendi), and the cool, severe looks of UKRAINE (Kateryna Pavlenko of Go_A).
I’ll conclude my survey of lookers with FRANCE (Barbara Pravi). It’s hard to pin her in a category, but she makes a striking presence with her wavy brunette locks. Her ethnic background is very interesting–more on that when I review the entry.
Now, onward to the song reviews…
Joseph Vitug's Views 