Estonia, Austria Denmark

Estonia: Bridges by Alika

Inspirations from the glorious Kate Bush are not uncommon at Eurovision, but Alika has certainly taken it to new heights: piano: ✅; elements from ‘Breathing’: ✅; expressive barefoot dancing on red rose petals: ✅. A big voice that taps into familiar territory – definitely a chance for the finales.

Reviewed by

Mariella Herberstein

Austria: Who The Hell Is Edgar by Teya & Salena

Packaged up in high octane dance pop comes an unexpected piece of satirical social commentary. There is reference to how little artists are paid (0.003 cent per stream) and how female songwriters struggle to be taken seriously. And all that with reference to gothic poet, Edgar Allan Poe! Some consider this kaleidoscope a bridge too far, I say – let this insanity interrupt the long intervals of horrible sanity!

Reviewed by

Mariella Herberstein

Hansani: very creative and dramatic performance.

Denmark: Breaking My Heart by Reiley

Primary colour enthusiast, Reiley is not afraid of love. Indeed, he is loved by millions of TikTok followers and all the way to South Korea. The song, which seems to only consist of a chorus without a beginning or an end, is light, sweet and catchy synthPop – perfect for the small screen, but will it work live on stage? Enough for the finales, for sure!

Reviewed by

Mariella Herberstein

Armenia, Cyprus and Denmark

Armenia – Rosa Linn: Snap

Rosa Linn, the love-child of ‘First Aid Kit’ and ‘The Lumineers’, delivers a charming folk song, with an catchy chorus and tap-along beat. With surprisingly cogent lyrics (‘get out of my heart’) – this is definitely not your typical Armenian entry… I love it… and the adorable beanie she is wearing! Top 10 for me!

Review by Mariella Herberstein

Cyprus – Andromache: Ela

Reminiscent of the Sirens who transfixed Ulysses with their song, Andromache’s Ela is seductive, alluring and dreamy, without losing Cyprus’ signature Eurovision pop (the trashy kind of pop). The bookies have Andromache wearing white on stage (a pretty safe bet, tbh), and in the top 15.

Review by Mariella Herberstein

Denmark – REDDI: The Show

Girl band, REDDI, lure you into a a slow piano start with a sudden, yet not entirely unexpected, transition to a high-energy rock rendition reminiscent of the 80s. What’s not to love? Empowered women, guitar solos, high kicks, wild drumming and an excellent hat!!! Unfortunately, the song is not very lovable… still hoping REDDI will make it through to the finals.

Review by Mariella Herberstein

United Kingdom, Denmark, The Netherlands

United Kingdom – Embers by James Newman

Oh dear, the UK is heading for the bottom of the pile again. The whole thing just does not make any sense…clearly, this is meant to be a slow love ballad that some music exec turned into a thumping dance mix. Poor James can’t conjure up a decent dance step and is out of breath just keeping up the tempo. Let’s hope the brass section can carry this through…

Review by Mariella Herberstein

Denmark – Øve Os På Hinanden by Fyr Og Flamme

Oh, hello…the 80s are back!!! Fyr & Flamme  are Denmark’s answer to Wham, just not as good. The two lads have found the left-over wardrobe from Miami Vice and deliver a bit of 3-minute fun with an astonishing lack of irony. I like it!

Review by Mariella Herberstein



The Netherlands – Birth Of A New Age by Jeangu Macrooy

Elegant, powerful, joyful and relevant – Jeangu sings in English and Sranan Tongo about the colonial history of the Netherlands with resilience and could easily carry away a back-to-back win for the Netherlands. Not really a fate I wish upon the country – Ireland won back to back in the 90s after which it fell into a deep misery from which it is only now slowly emerging.

Review by Mariella Herberstein

Denmark & Montenegro

Denmark

Love is forever by Leonora

Hello, it’s Scott again, your friendly American correspondent. I’m so excited to peer over the wall to see what Eurovision has in store for us this year. My first review is for Leonora from Denmark. I love her. I love her voice. I love her lyrics, and how she simplifies all conflict in a way only a bland white European pop star could. I love her hair. I love that adorable giant Ikea chair of a stage prop, it really highlights the emptiness of our wilting capitalist society. I love the way her undead stare peels away all pretenses.

As she summarizes the zeitgeist of 2019 so perfectly: “Travel the world to see the ruins of what has been. Learning our history, but still, we don’t take it in. Don’t get too political.” And such a boppy tune! Love is Forever, she cheerfully reminds us, and forever is a whole lot longer than any land claims west of the Jordan River. I’m confident this postmodern classic will sail past any entry that bores viewers with protest, or substance, or self-awareness. Leonora has no time for politics, she’s here to make Eurovision great again.

Review by Scott Fabrican

Montenegro

Heaven by D mol

Montenegro’s entry is a high-minded character study in how the concept of heaven varies between whomever envisions it. For the song’s writer, heaven is watching a jumbled collection of sweet literal nothings elevated to national champions. For the stage director, heaven is the essence of simplicity, embodied by angelic white robes and a complete lack of attempted choreography. For the music video director, heaven appears to be a laundry detergent commercial. For me, heaven is a Eurovision final without this song. I’d make a Pascal’s wager on it.

Review by Scott Fabricant

Bulgaria & Denmark

BulgariaEquinox: Bones

What is life? Equinox asks the important questions in this serious yet sensual song.

As a Eurovision rookie, I feel prematurely emotionally attached to this group, who will perform together for the first time during the semi-finals.

I hope they bring the rainbow prism machine on stage, because it adds a whole new mysterious dimension to the song; word on the street is Bulgaria have been a favourite before the group were even formed- doesn’t get much more mysterious than that!

My only concern for this group is that they follow each other, ‘deep into the unknown’ and forget to open their eyes and fall off the stage; regardless, I predict they’ll love beyond bones straight into the finals.

Review: Georgina Binns

 

DenmarkRasmussen: Higher Ground

I’m going to be honest, I wanted to review Rasmussen because of his beard.

Fortunately, his beard didn’t let me down. The choreography on the other hand, was a bit of a disappointment. Rasmussen is pretty decent at singing and stomping and looking like a Viking though, and thank goodness for the wind machine. I also really like how the back-up dancers don’t try and show him up.

Higher Ground is apparently based on a Viking who refused to fight. I’m confused as to how this Viking even got the job of leading a crew of warriors into battle when he was a lover, not a fighter?

There is a great pitch change towards to the end, which does kind of make you feel like loving instead of fighting.

And his beard really is great.

I give this act 3 beards out of 5 beards.

Review: Georgina Binns

Cyprus, Denmark & Finland

CyprusGravity by Hovig

Will this be the year when Cyprus breaks the drought and finally wins Eurovision? I am afraid not. Is it the auto tune? The mildly threatening lyrics (Right beside you – I’ll never leave you)? The heavy-footed dancing? The lack of voting neighbours, or all of the above? Unless Hovig pulls off a gravity defying performance, I am afraid this one will crash into last place.

Review by Mariella Herberstein

DenmarkWhere I am by Anja

Ready the wind machines for Denmark! Lulling you into a false sense of security for the first minute or so, Anja hits her strides and belts out a classic Eurovision anthem that could only be improved by a key change. Never mind the nonsensical lyrics and non-existing dancing. I think this will go far, the finals for sure!

Review by Mariella Herberstein

FinlandBlackbird by Norma John

This is a real song, sung by real musicians, conveying sincere emotions, beautifully. What on earth is Norma John doing at Eurovision? No wonder they are looking so sad. This is the highest quality entry for decades, hands down. Sadly, this is no guarantee and if anything quality is a detriment to Eurovision success. I am so sorry, Norma John!

Reviewed by Mariella Herberstein

Denmark, Malta and Ukraine

Denmark
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Soldiers of Love by Lighthouse X

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As the piano starts and a serious, well-groomed man stares intensely at the camera you get the feeling that Soldiers of Love by Lighthouse X may develop into something special. Excitement builds by the time the second and third singers start and you begin hoping for some classic boy band magic. But then, for me, confusion sets in. The song choice and hairstylist felt they were stuck in the 90s, but costume and dance moves seemed modelled on more contemporary male groups. Lighthouse X’s casual style of dressing (looking the same without being identical) and less scripted choreography left me feeling like I was watching what happens when One Direction loses another band member, develops a pseudo-social conscience and ages 10 years.

Despite this, there is nothing offensive about the song, the band or the set. And there is enough fist clenching earnestness to hold everything together. Throw in a well timed key change, some bursts of fire and some golden confetti and it all feels very Eurovision. Overall, it’s good enough to make the grand final, but not spectacular enough to stand out.

Review by Fran van den Berg

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Malta
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Walk on Water by Ira Losco

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No touch’ touching – that is, being unbelievably close to someone and acting like you are going to touch them but not actually making contact makes me feel incredibly uncomfortable. Given that, Malta’s entry Walk on Water sung by Ira Losco left me squirming in my seat. While Losco stands and delivers her catchy dance tune, a man in black emerges from the shadows to dance around her, showcasing an exemplar of no touch touching.

Is repeatedly singing “I feel like I can walk on water”, while evidently failing to do so in the official clip reflective of delusions of a Eurovision win? Definitely so, but Losco’s powerful voice, plunging neckline, sequined dress, and a dancer with rather impressive animalistic gyrations will mean that Malta will probably be swimming somewhere near the top of the Eurovision pool this year. I just wish that the dancer spent less time invading Losco’s personal space.

Review by Fran van den Berg

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Ukraine
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1944 by Jamala

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After an understandable absence from the Eurovision stage in 2015, Ukraine has returned in a big way, with Jamala singing 1944. This song details the plight of the Crimean tartars out of their lands by Joseph Stalin in 1944, near the end of World War 2. This song was seen as controversial by the Russian as it believed Ukraine to be taking a swing at them and trying to gain supporters to the current Russian-Ukrainian war. But the judges deemed it fine as Jamala made mention that it details her family’s personal history during the Crimean war.

But is it worthy of this attention? Well maybe, although Jamala does not move her body on the stage, her arm movements and her intense voice, draw in the listener to the song. Nice Middle Eastern Flavours, as well as a chorus sung in Crimean tartar, which will surely impact on the Ukrainian voters. But as to the wider European and worldwide audience, the message and presentation are lost in the lack of physical movement and there is no hook.

It will definitely attract a lot of sympathy votes, but I do not think it will be enough to reach the Top 10 on the scoreboard.

Review by Nicole O’Donnell

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