The first semifinal of the Eurovision Song Contest went on very auspiciously. From the opening number to the announcement of finalists, the BBC proved they know how to deliver a near perfect program with high production and entertainment value. Starting with the opening sequence, featuring a video segment of a boy getting enthusiastically excited when learning Liverpool will be hosting the contest, to a live number set to a cover of Giorgio Moroder and the Human League's Philip Oakey's "Together in Electric Dreams"*1 and finally Ukrainian co-host Julia Sanina rocking out to her band The Hardkiss's song "Mayak [Lighthouse]". Surprisingly these disparate elements segue and work well together.
*1 It's a soundtrack single to a forgotten 1984 film, Electric Dreams, about a love triangle among a man, a woman and a personal computer.
Besides Julia Sanina, also on hand to host the event are singer/rapper/TV personality Alesha Dixon and singer/actress Hannah Waddington. Hannah proved to be sensational in her hosting, but Alesha's long presenting experience also served her well, and Julia proved no slouch and can hold her own with these veterans.
The postcards segment this year proved to be wonderfully conceptualized--highlight a Ukrainian laandmark, select an equivalent UK landmark, and then the artists are filmed enjoying another equivalent landmark in their own respective countries. It's well produced and wonderfully segued.
During the first break between the song numbers, Alesha interviewed the first four artists that performed and then did a rap flashback after noting it's been 25 years since the UK last hosted this contest. I love her rap and I'm glad they found an opportunity to showcase this particular skill of Alesha.
Graham Norton is set to be hosting onlyin the final, but he is present in this semifinal as he did voiceover for a taped segment on 20 years of Ukraine's participation in this contest, with a snarky comparison about the UK's fortunes in those years. It's trademark Graham Norton and I'm all for his witty snark.
The first interval act is a cover of Duran Duran's 1993 hit "Ordinary World" by UK artist Rebecca Ferguson and Ukrainian artist (and 2010 Eurovision representative) Alyosha. To be honest, I thought Rebecca sometimes veer off pitch in her performance, while Alyosha proved to be superb, and since this number is framed as a tale of Alyosha's pain of having to leave her country and separate from her husband because of the ongoing war, Alyosha provided the number's most poignant moments and delivered it.
UK superstar Rita Ora was also granted a segment in the interval where she did a medley of her songs "Ritual" and "Anywhere" and then launched into her new single "Praising You", which is lifted directly from Fatboy Slim's smash hit "Praise You". If David Guetta and Bebe Rexha can re-popularize Eiffel 65's "Blue (Da Ba Dee)", why not Fatboy Slim, right?
Now, let's discuss the contest proper. I got 10/10 correct this time. Still, I lament at three of the eliminated entries as they put up a great fight.
For starters, MALTA (The Busker) was a highly entertaining delight with the sax plaing and dancing. I think they'll have to settle for the consolation that they got the most screentime among non-finalists, as they were interviewed by Alesha Dixon twice.
LATVIA (Sudden Lights) should be commended for its uncompormising artistry, and I'm reading many fans' sorrows over this entry's elimination. When will they be able to catch a break?
A lot of flak has been tossed on the NETHERLANDS (Mia Nicolai & Dion Cooper), that it is frustrating that the effort being shown by the pair, and the chemistry they had developed, didn't pay off. Sure there way sophisticated staging, but indeed their pitches were far from perfect that it probably cost them their previously assured slot in the final.
Now, time to discuss the standout performances and staging among the final qualifiers.
CROATIA (Let 3) as expected delivered a highly saturated visual presentation. Instead of trotting a tractor onstage as rumored, we just see the band members doing their parody of totalitarian marches.and their striptease reveal was as modest as their performance in Dora. Will they go more risque in the final?
SERBIA (Luke Black) got the crowd shouting "Bitch!" after he said the line "Game over." The presentation was very similar to his national final, but that's already a very intriguing performance to begin, so there is nothing to fix about this presentation.
MOLDOVA (Pasha Parfeni) scaled up his presentation from his national final, with more room to move for him, his backup singers, and the dwarf flautist. My only quibble is that towards the song's end he sounded slightly winded--hopefully he'll be able to have the vocal stamina when finals come, so he can exceed the 11th place finish he made 11 years ago.
CZECHIA (Vesna) provided a sleek and powerful presentation--their singing and their choreography is very much on-point, a far cry from the apparently raw and sloppy performances in the pre-party circuit. Rooting for this to approach Mikolas Josef's 6th place showing back in 2018.
ISRAEL (Noa Kirel) delivered on the sensational buzz she received at rehearsal. She sang and danced with aplomb, though one might wonder if during the last dance segment there were no live vocals sung, just pre-recorded backing vocals.
Many fans, as expected, raved about FINLAND (Kaarija) and many would declare him the sensation of the night. But for me, like MOLDOVA he sounded winded towards the end of the song. I know he's capable of sustaining his voice for the latter part of the song as he already did that in his national final. Hopefully he'll have the rest to regain his stamina and be sensational in the final.
Finally, SWEDEN (Loreen)'s path for a historic victory is very much on track, as she was simply on-point when it counts. The released rehearsal footage showed her veering a bit vocally but in the moment it counts she was on-point. So, even if I know Kaarija has the huge following, I would peg Loreen as the winner in this round. We'll see how it all turns out in the final.
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