The Binibining Pilipinas Charities Inc. (BPCI) encountered another transition this year as it lost two further franchises, as Miss Grand International is now under the auspices of Alfred Vegafria and the Miss World Philippines Organization and Miss Intercontinental moved back to the Mutya ng Pilipinas organization, now headed by former Miss World Philippines director Cory Quirino. So as far as we know there are currently only two titles at stake in this pageant: Miss International and The Miss Globe. There are some rumors that a third new title will be awarded but that has yet to be fully confirmed so for now, we'll assume that only two titles are at stake.
To make up for the attrition in titles to be offered, the BPCI is trying to sweeten the pot by inviting the reigning Miss International, Germany's Jasmin Selberg, to grace the coronation. She did help boost publicity for this pageant to shore up its prestige.
Miss International 2022 Jasmin Selberg
This pageant has been notorious for encountering withdrawals and/or attrition after the initial roster of candidates have been selected. But this year, the 40 selected Binibinis stood by steadfastly and are in it to the coronation. So let us assess these ladies' prospects of advancing in either Miss International or The Miss Globe.
BINIBINING 01: QUEZON CITY - Juvel Cyrene Bea. She's solid in all aspects but has not been receiving much buzz nor making a standout impression, so it's an uphill battle for her to make the next cut. I - 7.5, TMG - 7.5.
BINIBINING 02: ZAMBALES - Elaiza Dee Alzona. She has an interesting tale about being raised by a single mother when she was younger until her mother remarried and converted to Islam while she remained Catholic. She seems well-spoken and good-looking, though she has not been receiving much buzz so she might be considered a worthwhile contender. I - 8; TMG - 8.
BINIBINING 03: PAMPANGA - Lyra Guina Punzalan. Her press presentation introduction might be a bit overbaked but she's well-spoken and she has been receiving significant buzz that she could be a semifinals possibility. I - 8.5; TMG - 8.5
BINIBINING 04: NAGA CITY, BICOL - Paulina Marie Labayo. I tend to assume that this city is linked to a province (Camarines Sur) but it seems this city has been considered an independent chartered city unlinked with any of the provinces in the Bicol region, so I found the designation unusual and weird at first until I learned about that detail. She's another solid contender who may need a bit more seasoning before becoming a serious contender for the finals. I - 7.5; TMG - 7.5.
BINIBINING 05: PALAYAN CITY, NUEVA ECIJA - Gianna Llanes. She has great looks and is a great communicator especially with her background as a radio DJ and TV host. Her perceived disadvantage is her height as she's only 5'4", but with abundant charisma like she has, she can make judges overcome their resistance towards shorter statures and she can make more serious inroads in the international arena--if Precious Lara Quigaman can pull it off back in 2005 at Miss International, why not her? She seems poised to make the winners' circle. I - 9.5; TMG - 9
BINIBINING 06: PALAWAN - Angelica Lopez. She made the Top 16 in last year's Miss Universe Philippines, so it's possible that se also has an inside track to make the next cut in this pageant, too. She is polished and has a human interest story about rising above her impoverished circumstances. She can indeed be a semifinalist contender. I - 8.5; TMG - 8.5.
BINIBINING 07: PARAÑAQUE - Charmaine Estores. She's attractive and physically polished enough, but it seems she's a bit raw in the communications and advocacy departments, hence she is not deemed a standout and it will be an uphill battle for her to advance. I - 7; TMG - 7.5.
BINIBINING 08: ANGELES CITY - Mirjan Hipolito. She made the Top 16 at Miss Universe Philippines 2021, and on top of strong communication skills she also has made waves with her stage presence. It looks like she has an inside track to make the next cut and maybe even join the winners' circle. I - 9; TMG - 9.
BINIBINING 09: TACLOBAN CITY - Babierna Liong. She tapped on her background as a survivor of Typhoon Yolanda back in 2013 to promote her disaster management advocacy. She may be a bit one of the plainer looking candidates in this batch, but we have to commend her for her advocacy. I - 7.5; TMG - 7.
BINBINING 10: URDANETA CITY, PANGASINAN - Rasha Cortez Al-Enzi. She reported she has received online bullying because she's thicker than most of the candidates in this pageant. So, she can be considered the Siera Bearchell*1 of this batch, though I have a feeling she doesn't have the communication level of Sierra to pull it off and advance further. She's good looking and very solid otherwise. I - 7; TMG - 7.
*1 So named after the 2016 Miss Universe delegate from Canada who received flak for her heftier shape in her Manila stint but had the gab to parlay that controversy to a Top Nine finish.
Unfortunately, I don't have enough time to do a full-fledged Homestretch review for Miss Universe Philippines 2023 due to issues with my resources at hand on top of this also being Eurovision season, and admittedly my frame of mind is more towards that song contest these days. I'll see if I can come up with a complete candidates' review instead.
The Miss Universe Philippines Organization is caught up in a dilemma: it recently acquired two new franchises, Miss Supranational and Miss Charm International; however, Anne Jakkaphong Jakrajutatip, the current owner of the Miss Universe Organization, issued a directive saying the national pageant must be staged without any other titles or crowns to be conferred alongside the Miss Universe country title. This directive was issued while the pageant had selected the candidates, and it is unlikely the organization has the resources or support to stage a separate pageant just for the two new franchises. Right now talk has it that they will be staging this pageant the same way they have been doing for the past couple of years, and then confer the other two titles after the pageant is over.
They initially did a screening and whittled them down to 40 candidates. However, one candidate, PANGASINAN (Evangeline Fuentes) made an early withdrawal due to health concerns, and a replacement representing APAYAO (Kristeen Mae Boccang) was installed. Then there were two further withdrawals, DAVAO DEL NORTE (Dianne Mae Refugio) and MANDAUE (Breanna Marie Evans) also withdrew. So we are left with 38 candidates. Anyway, here is my "Fearful" Forecast on how the 38 candidates stand:
FINAL FIVE: BOHOL, CEBU PROVINCE, MAKATI, PAMPANGA, ZAMBALES
TOP 10: AGUSAN DEL NORTE, BAGUIO, CAVITE, DAVAO ORIENTAL, EASTERN SAMAR,
TOP 18: BATANGAS, BULACAN, MARINDUQUE, NORTHERN SAMAR, PASIG, QUEZON CITY, SORSOGON, TIAONG-QUEZON
BUBBLING UNDER: AKLAN, BACOLOD, BACOOR CITY, CEBU CITY, ILOILO CITY, LAPU-LAPU, MANDALUYONG, PALAWAN, PARANAQUE, QUEZON PROVINCE, SOUTHERN LEYTE, SURIGAO DEL NORTE, TAGUIG
It looks like it's a fierce showdown between BOHOL (Pauline Amelinckx) and MAKATI (Michelle Dee) for the coveted Miss Universe Philippines title, and I'm rooting for the former to get it this time. Hopefully the eventual runners-up will be given the other crowns--perhpas Michelle for Charm and then PAMPANGA (Mary Angelique Manto) for Supranational. Let's see how everything will unfold and best of luck to all the candidates.
The second semifinal went thorough efficiently--no opening number like in the first semifinal, just a brief friendly banter among the three hosts (Alesha Dixon, Julia Sanina, and Hannah Waddingham).before getting the proceedings underway. And as is in the previous semifinal, all three were faultless dispensing their duties, with Hannah the one delivering playful wit and showcasing a hosting caliber almost to the level of Sweden's Petra Mede.
I have already mentioned in the previous semifinal about the format of this year's video postcards, and they continue to be of high quality here.
In one of the breaks after the first batch of five semifinalists have performed, we are treated to a pre-taped segment featuring actor Luke Evans reciting an ode to Eurovision history. He is as hunky as always (though the mustache gave me slightly creepy vibes) but it could be more visually interesting than the white background as shown.
One of the interval segments feature what is known as the "Be Who Yu Want to Be" medley. It featured a gimmick where the three hosts enter into the |Queen Machine" and three drag queens (Ms. Demeanor, Miss Mercedes Benz, and Tamara Thomas) clad in outfits evoking what the hosts were wearing emerge to perform a medley that featured an original song that then segue to the drag queens lipsyncing to En Vogue's "Free Your Mind", Ultra Nate's "Free", and Jessica Mauboy's 2018 Eurovision entry "We Got Love"This is a fabolous show, but can this also be a sign on the prospects for BELGIUM's Gustaph in the final?
But the highlight interval performance is a showcase of the history of Ukrainian music under the theme "Music Unites Generations", featuring Eurovision 2014 entrant Maria Yaremchuk, rapper OTOY, and Junior Eurovions 2022 entrant Zlata Dziunka. Maria was a revelation, showcasing her growth as an artist since her 2014 stint. The highlight is showcasing what most English people know as the Christmas classic "Carol of the Bells"--I didn't know it was originally a Ukrainian song "Shchedryk [Bountiful Evening]"*1
*1 It turns out this song was initially meant to be performed around New Year's Day, as it expresses the hope of a prosperous year ahead. It was originally performed in 1916, and it was performed in concerts around the world, so eventually in 1936 it was adapted by American composer Peter J. Wilhousky as "Carol fo the Bells".with lyrics unrelated to the Ukrainian original.
Now it's time for the competition proper. Unlike in the first semifinal where I got a perfect prediction, I only got 8 out of 10 correct this time. This competition was indeed tougher to call even if the caliber of the first semifinal was far superior.
I'd like to discuss an obvious non-qualifier--ROMANIA (Theodor Andrei). Sure, there are LED graphics, including one inspired by the 2000 move American Beauty, with Theodor playing the Mena Suvari part lying down naked in a bed of rose petals. I've noticed he also altered the first section of the song to be quiet and acoustic, but still the lack of support from the broadcaster shows. There is talk that because of monetary issues, this country will probably withdraw from future editions of this contest especially with a finish like this. Such a shame that this otherwise talented artist is not given an opportunity to showcase his best.
I thought there is a chance DENMARK (Reilly) could qualify and break the two-year drought, but well, diminishing the backing vocal effects to showcase his live vocal didn't work in his favor as his live vocal shows some pitch issues and hence he's eliminated.
I was expecting ICELAND (Dilja) would qualify for the catchy 1980s melody and her sheer vocal power. But admittedly her stage presentation was basic and perhaps that's why she's edged out by other contenders out there.
But the biggest shocker was GEORGIA (Iru)'s elimination. I thought there wouldn't be serious objection about the incomprehensible English lyrics, but it seems to be a bigger issue than previously thought, as I found her staging and performance to be strong.
Hard to believe I'll be discussing all the actual finalists even if I maintain this group of entries pale in comparison to the entries in the first semifinal.
Listening to the lyrics more intently this time, I now understand why ESTONIA (Alika) hasn't gotten the flak that CZECHIA (Vesna) has received for the conciliatoryy theme of her message song. It turns out the tone of the lyrics is that of someone repenting for past mistakes and hoping to make up for it and build bridges--it could be read as a metaphor of how Russians can move ahead once they either give up or depose Putin, that after redressing previous offenses, forgiveness and reconciliation can occur.
Sasha Jean-Baptiste proved she has the magic touch with the way she staged ALBANIA (Alibina and Kelmendi Family)--sure the family members are still not good dancers but the choreography Sasha provided for the rhythmic breakdown portion of the song worked very well. That staging and the beautiful beaded wardrobe sported by Albina were probably key for this coutnry to advance to the final.
I'm glad POLAND (Blanka) is no longer channeling Ariana Grande but Alicia Silverstone instead. They made the most of Blanka's limited vocals and that dance break helps add visual interest to the song--sure it's not as awesome as Spain's Chanel last year, but still impactful.
When LITHUANIA (Monika Linkyte) added the "Ciuto Tuto" chant, it did add magic to the song. "Ciuto Tuto" is not a translatable phrase as it's more of a chant when performing a ritual and with that I'[m glad they added these mystical graphics that does add mystique to the "Ciuto Tuto" chant. Needless to say, Monika's vocal was also terrific, way better than her 2015 stint.
I also have to commend CYPRUS (Andrew Lambrou) as he delivered on the high notes throughout the song. Sure there are some sections where he sounds imperfect, but still he delivered a strong vocal performance.
Well, AUSTRALIA (Voyager) delivered on spectacle so it's not surprising they qualified. I'm just glad they properly showcased bassist Alex Canion whenever he sings his parts as rehearsal footage initially pulled away when Alex did his climactic growl--glad they corrected that.
Rising in buzz is BELGIUM (Gustaph) as besides delivering strong vocals the staging was a fabulous party, and thank goodness for that live dancer adding more fierceness and fabulousness to this number. Yes, he's indeed in the same trajectory as Laura Tesoro in 2016.
I have a feeling that the winner of this semifinal was still AUSTRIA (Teya and Salena) because their song is just too irresistible and buzzworthy, but it is noted their vocals were far from perfect, and many Eurofans want to discount their prospects for this act as a result.
Providing the best artistic highlight is ARMENIA (Brunette). Her rocals were impeccable and the staging is very artsy, and adding a dance break after the rap segment does help bridge better between that rap and the climactic ending of the song. Can this make the Top 10?
It's very suspenseful when SLOVENIA (Joker Out) was called last, but I'm glad they made it as they deserve to be in the final. They delivered a star-making turn filled with charisma (especially with the lead singer Bojan Cvietićanin looking especially dreamy in his silk printed shirt and shiny silver bellbottoms). Hope to see them on the left side of the scoreboard.
With GEORGIA out, I'll make one small revision in my "Fearful" Forecast, as I'll trade GEORGIA's place with BELGIUM instead. It still looks like the Loreen-vs.-Käärijä show, but I'm also very interested at how the other entries will stack up. Best of luck to all the 26 finalists!
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.
Now, it's time to discuss the automatic finalists. Besides the Big Five, UKRAINE was accorded an automatic slot because of its victory last year, even if it is unable to host the contest for understandable reasons. It can be said that this year's batch of automatic finalists are competitive, that there is a scenario that none of them will fall to the dreaded bottom five of the final this time.
FRANCE: "Evidemment [Obviously]" - La Zarra. I'm still reeling over this country's 2nd-to-last finish in the final last year, and I'm so glad Overthinking It provided an in-depth analysis of what happened, and I do love the Alvin & the Chipmunks joke ("AAAAALVAAAAAAAAAAN!!!"). Indeed, they decide to offer up a number that is of a style we tend to stereotype the French as offering--the chanson. La Zarra offered a twist by adding a disco groove to this time honored genre, and it made it a standout. This entry looks like it can make a play for the Top 10, and is hype to be the next-in-line behind the formidable Loreen and Kaarija. Can't wait to see if this will pan out.
GERMANY: "Blood and Glitter" - Lord of the Lost. Those who are not into metal or goth rock would easily dismiss this and say this country will figure in the bottom again. However, this song has great melodic elements that I think it's actually a 1980s new wave number (think Modern English and A Flock of Seagulls) dressed up in a goth-metal costume. For me it's a fusion that works and I think that even if this is marked down by the jury, there will be enough televote support to shore this above the normal bottom doldrums this country has been experiencing for several years.
ITALY: "Due vite [Two lives]" - Marco Mengoni. The typical problem of Sanremo winners is that they would need to edit down their songs to fit this contest's 3-minute time limit, as the Italian contest allows songs to run as long as 4 1/2 minutes. This lush soulful ballad is so lyrically dense that Marco had pondered sending a different song instead, but fortunately they figured out how to pare down the first verse and chorus and so this song remains the entry. From his initial 2013 stint, Marco has grown to be more soulful as a singer, and I like this song better than his previous entry--for me it's like the Italian version of that much-covered1970 Leon Russell chestnut, "A Song for You". Considering how Marco killed covers night with his version of the Beatles' "Let It Be"(which also came out in 1970) it would be wonderful to hear Marco's version of that Leon Russell song. This country has been almost continuously faring high in this contest, and Marco is likely to sustain that streak--now the question is if he'll be able to top his 7th place finish 10 years ago.
SPAIN: "Eaea" - Blanca Paloma. Flamenco is a musical genre that is highly identifiable with this country. So fielding an entry in this genre should have been a slam dunk for this country, like a chanson does for France? Interestingly, this country only fielded two entries in this genre prior to this year: "¿Quién maneja mi barca? [Who sails my boat?]" by Remedios Amaya in 1983, and "Bandido [Bandit]" by Azucar Moreno in 1990. There were contrasting fortunes for these two entries: Remedios was a notorious flop as she garnered the dreaded nul points, while Azucar Moreno' knack for fusing pop with their musical style was very successful as they finished 5th. Blanca seems to be following Azucar Moreno's approach as her song was peppered with subtle 21st century EDM touches. But another thing that differentiated Blanca from her predecessors is her vocal register--Remedios and Azucar Moreno have these throaty altos, while Blanca has this dulcet soprano tone. One might presume dulcet soprano tones like hers wouldn't have power in her voice but Blanca has proven she can belt out full throttle. There are many fans who rave about her performance and felt she can be a close rival to the likes of Loreen, Kaarija and La Zarra. But there are others who are concerned that her style might be an acquired taste, that it may end up like France's Alvan & Ahez last year. I'm hoping that scenario won't occur as Blanca is just too good to deserve that fate. I'd love to see her in the top tier of the left side of the scoreboard. Here's hoping the juries will rally behind her.
19 UKRAINE: "Heart of Steel" - Tvorchi. Of the automatic finalists, this electro-R&B number is my least favorite. For me it's a relatively monotonous tune that I feel will not make much impact, just like any post-victory Ukrainian entry (2005 they placed 19th and 2017 they placed 24th). I do have to note they revamped the song a bit from the national final, changing one verse to be sung in Ukrainian instead of being an all-English song, and there is a string orchestra climax towards the songs end that gave it a sense of crescendo. Oddsmakers seem to believe this entry will buck the notorious trend of the 2005 and 2017 entries, as they placed this as 3rd behind Loreen and Kaarija. I suppose continued sympathy for this country's plight might shore up its televote fortunes, but I feel this will fare poorly with the juries.
26 UNITED KINGDOM: "I Wrote a Song" - Mae Muller. Many have pointed out that she was the little girl in Eurovision 2022 host Mika's music video for "Grace Kelly". But I should also note that this lady already had real-life chart impact prior to this entry, as she made a splash last year with the song "Better Days" with Swedish DJ collective NEIKED and US rapper Polo G--even if it didn't go higher than Top 30, it had enough chart legs to make the year-end chart lists in countries like the USA. Now, what about this entry? It's state-of-the-art pop that seems inspired by superstar Dua Lipa. Now the question is if her live vocals are strong enough to at least reach closer to Sam Ryder's finish instead of languishing at the bottom. What I heard is that it's divided for now--my hope is this will at least be mid-table, and that would be a respectable result.
With all entries accounted for and if my "Fearful" Forecasts in the semifinals hold, here's my take on who will make the Top 10 in the final:
TOP 10: SWEDEN, FINLAND, AUSTRIA, FRANCE, SPAIN, ISRAEL, NORWAY, MOLDOVA, ITALY, CZECHIA
Most prognostications point to a Loreen victory, which will bring forth major records like joining Johnny Logan as a double Eurovision winner and bringing SWEDEN in a tie with IRELAND for most Eurovision wins. But one must beware of FINLAND's Kaarija as he can deliver a major upset. Let's all check how all this unfolds.
For most people's reckoning, this year's second semifinal is the less competitive batch. However, it is emerging that this is the competition that is more difficult to call, as there are multiple scenarios at play that can affect the outcomes of this batch.
01 DENMARK: "Breaking My Heart" - Reiley. This is an urban-sounding pop number, but Reiley is actually from the Faroe Islands, a remote rural dependency of Denmark. People are divided over the chorus that used heavy vocoder effects--one side thinks it's what makes the song state-of-the-art pop, another side found it grating. And the use of the effects also divide people on Reiley's vocal ability--some think he proved he can sing well live, but others felt he's an inadequate vocalist because of those background vocal effects. As such, it's tough to call if he can break the two-year drought this country is experiencing making the final.
02 ARMENIA: "Future Lover" - Brunette. When this song was released, I was slightly jarred at what I heard, as based on the song title I was expecting something uptempo, but instead we have this classical-style ballad with a feisty rap interlude. I also have a quibble with the use of the term "near cafes" instead of "nearby cafes". Many fans loved this entry upon hearing it while eventually after being taken aback this song also grew on me and now I love it. So it's shocking when the running order was announced and this is placed in the notorious No. 2 slot. This song is too good to be placed there, so many people thought. But then again, maybe it's probably the producers' way of trying to prove that performing 2nd is not a curse, as Brunette has proven herself to be a consistently strong vocalist during the pre-party circuit and at her segments during the online A Little Bit More specials (especially check out her cover of Salvador Sobral's 2017 winning song "Amar pelos dois"). I'm optimistic she'll handily beat the No. 2 curse and now the question is if she will finish in the Top 10 in the final.
03 ROMANIA: "D.G.T. (Off and On)" - Theodor Andrei. There are many people who feel this is one of Romania's weakest entries ever, and that the artist is too homely and his presentation in the national final was a sleazy hot mess. But considering he's only 18 years old, and he's the one who wrote this song in the first place and perhaps was the one who conceptualized his own staging at the national final, I think we can cut him a lot of slack as there is a lot of raw talent underneath the mess, and you don't expect someone as young as him to be fully formed and polished from the get-go, and the song is something indeed fitting for someone his age as a guy his age would have sex and seduction on his mind a lot--"D.G.T" in the title is actually a stylized shorthand for the Romanian word "degete [fingers]" and hence the song's theme is about how a woman's touch drives him mad, wild and crazy. Judging from the rehearsals, apparently the Romanian broadcaster is not giving him much support as although the staging is now finessed and there doesn't seem to be scantily clad female backing dancers present, it seemed threadbare compared to what the others are offering, so this country is likely to miss the finals for the 4th time. Still, keep an eye on this guy in the future--he might be able to make great music once he finds someone to guide him and finesse his boundless energy.
04 ESTONIA: "Bridges" - Alika. This spare and elegant piano ballad has its adherents, and it has a relevant message about world peace in the light of the Ukrainian conflict. Alika is also a consistently gifted vocalist, nailing her notes every time. Now, I have to note one thing about Alika's background that I wonder why she didn't generate controversy the way say, CZECHIA's Vesna, had--Alika is of Russian descent, her full name being Alika Milova; so why are critical Eurofans not giving her flak for her conciliatory message or compare it to something like Polina Gagarina's hypocritical world peace ballad "A Million Voices" back in 2015? If people are cutting her some slack, why not Vesna? Anyway, there are people who have a high regard for this ballad, and undoubbtedly Alika will sing impeccably, but I'm not confident that this ballad is making a standout impression, unlike if we have Ollie or the Bedwetters were competing in her stead?
05 BELGIUM: "Because of You" - Gustaph. Most Eurofans had a low regard for this entry, and often ranked him the weakest in his national final. So imagine their shock when he ended up winning (pipping one of the favorites by one point). But upon further listens to this song, one realizes this is a fun, celebratory LGBTQ+ pride anthem, and Gustaph is a consistently strong singer. It's giving me flashbacks to 2016 and this country's representative, Laura Tesoro's "What's the Pressure?"and I'm seeing a similar upward trajectory will happen with this guy the way it happened with Laura. When Laura won her national final she was considered a weak link, but with the release of her slick music video and then the entertainingly funky live presentation, she soared to 10th place in the final. I don't expect Gustaph to duplicate Laura's finish, but his prospects of making the final is growing stronger and stronger--I'm glad he brought in one of the dancers shown in his video (and in the video backdrop in his national final) to perform those impressive squat-leaps in high heels. I'm expecting a fabulous night to be had by all with this entry.
Watching the music video, I observed that when Gustaph is sporting a cap, he looks like a deadringer to Matthew Krol, host of the Extra Credits and Extra History YouTube channels.
Top: Gustaph; Bottom: Matthew Krol from Extra Credits
06 CYPRUS: "Break a Broken Heart" - Andrew Lambrou. Instead of sourcing talent from Greece, this year, they found an Australian of Greek descent to represent them. This guy competed in Australia Decides last year with the song "Electrify", a Latin-infused electro-pop banger which placed 7th in that competition. When the video for this entry was released, many observers were skeptical if this hunk can deliver the song live--but then again, after checking out his previous number, I realized he already showcased his falsetto vocals throughout the song (on top of his capability of singing verses in Spanish). He didn't show up in the pre-party circuit, but as rehearsals wore on, people are starting to realize the guy can deliver those high notes live--he's the closest thing we have to Duncan Laurence in this year's contest. He's looking more of a surer thing to make the final.
07 ICELAND: "Power" - Diljá. This inspirational empowerment song is a driving 1980s throwback bop. This lady's vocal chops are undeniable and there are many fans digging this song. But still there are some who are skeptical that this entry can advance to the final--some criticized that the song's structure doesn't really build up to a climax, and that could probably leave the televoters a bit cold to not vote for her despite her amazing vocal talent. I'm still rooting for her to succeed.
08 GREECE: "What They Say" - Victor Vernicos. If you base it on the depth of his voice, it's hard to believe that this guy is just 16 years old as he has this deep baritone. This country is normally a Eurovision powerhouse and is almost guaranteed to figure in the finals (it only missed twice--in 2016 and shockingly, 2018). But many fans are not bullish towards this song as the acoustic rock number is just a tad low-key compared to other offerings. On top of that, the staging featuring him alone rolling on the stage floor sporting a pink jacket-and-shorts ensemble is just underwhelming. Considering that this year the semifinal decision would be determined solely by televote, this entry may need the presence of its traditional allies to help push it to the final, and this bracket has a lot of them, with Cyprus, Albania, and Armenia expectedly tossing big points this country's way.
09 POLAND: "Solo" - Blanka. Based on the drama with the results of her national final, there are many Eurofans who are going out of their way to hate on her and this breezy, tropical-styled pop entry, making fun of her every move and most especially, making her opening line to this song, "Baby," (pronounced and spelled like "Bejba") into a meme. She was ranked down on many fans' lists, but then the talk came that for her Liverpool performance there will be a dance break added, and as it was shown on rehearsal footage, it was impressive. One must also note that the majority of viewers are not aware of the national finals drama, so they might vote for her based on her presentation alone. So, instead of being an also-ran, it is turning into one of the likely finalists.
10 SLOVENIA: "Carpe Diem" - Joker Out. This country normally stages a national final, but this year they decided to do an internal selection and have this already locally popular band be the chosen entry. It proves to be a great choice as this lively danceable rock ditty is a strong entry. This country tends to struggle to advance but thankfully with this group being less competitive there is ample room for this entry to shine. Now the question if this entry has what it takes to exceed its country's highest finish of 7th place back in 1995 and 2001, that remains uncertain. Still there is ample hope for this engaging number to succeed.
11 GEORGIA: "Echo" - Iru. She previously competed at Junior Eurovision 2011 as part of the girl group Candy with their gimmicky disco ditty "Candy Music".With this country in a long finals drought since making the cut in 2016, fielding this former champion might be the ingredient to reverse their fortunes. This song seems to evoke something epic, and Iru is a terrific singer and she delivered passion in her singing. Now, many people have noted when listening closely to the lyrics, the verses don't seem to make any sense--they are like random English phrases spliced into verses seeing if they would stick. Those lyrics make the Backstreet Boys' 1999 inscrutable classic "I Want It That Way"seem elementary and easily comprehensible. Still, it looks like Iru can get away with it like the way the Backstreet Boys did.and this is one of the likeliest entries to make the final, and possibly even making a play to outdo its best-ever 9th place finishes in 2010 and 2011.
12 SAN MARINO: "Like an Animal" - Piqued Jacks. Well, this rock number is listenable enough. But I have serious quibbles when lead singer Andrea "E-King" Lazzaretti hit that climactic high note as it sounds irritatingly grating to the ear. Many fans also feel the song lacks substance or depth so even if we have to hand it to this band for doing their best, their prospects for making the final are very slim to none.
13 AUSTRIA: "Who the Hell is Edgar?" - Teya & Salena. One might get hooked on the in-your-face funny spoken word intro that recalls Sir Mix-A-Lot's "Baby Got Back" and most especially the "Poe-Poe-Poe-Poe-Poe" hook on the chorus, but this song is actually much deeper than its catchy silliness may imply. I'll defer most of the discussion to Overthinking It again, but this song tackles a lot of themes, like lack of compensation for streaming in the record industry, lack of respect for women as creative forces in music, and corollary to that, the tendency to assume that for a woman to succeed in this business, there is a man working behind the scenes to ghost write for her. Most believe this entry will be the top performer in this semifinal, and I subscribe to that.
14 ALBANIA: "Duje [Love them]" - Albina & Familija Kelmendi. Reading the lyrics I discovered it's a cry for help for a love that seems to be falling apart, and though the song itself doesn't state exactly what form of love, this family presents it as about holding the family together. When I watched their performance at their national final, I loved the danceable ethno-rhythms and I would love to sway my hips to the beat but it's hard to get into a dance mood when this family couldn't seem to dance and all we see is Albina wailing in agony. For their Liverpool staging, they employed the help of famous stage director Sasha Jean-Baptite, and so far bauzz about the presentation is good and maybe, just maybe, this entry will be able to squeak through the final.
15 LITHUANIA: "Stay" - Monika Linkytė. At first listen, this pop ballad seems too conventional and ordinary. But upon further listens, I started appreciating the passionately yearning vocal delivered by Monika--she didn't get to showcase her range in her initial stint back in 2015 as the song only required her to be bubbly, cute, and optimistic. This song is definitely a stark contrast to that puppydogs-and-rainbows number as instead of sunshine we have intense distress and yearning, and I'm glad Monika was able to deliver. As the national went on, Monika and her team added a tweak to the song that made it special--a repetitive chant of "Ciuto Tuto", which doesn't have a direct translation but it does cast a spell. With this bracket this looks like a sure finalist--now can she outdo the 18th place finish she had back in 2015?
16 AUSTRALIA: "Promise" - Voyager. This band fuses electro-pop with gritty hard rock and are known to be strong live performers. Though I wonder what the hell a car is doing onstage in Liverpool, I'm still optimistic this number will advance to the final. This year is supposed to be the last year of a contract that Australian broadcaster SBS will be sending entries to compete in this contest--but I have a feeling it's likely they'll extend this indefinitely.
Now, it's time for my "Fearful" Forecast for this semifinal:
TOP 10: ARMENIA, BELGIUM, CYPRUS, ICELAND, POLAND, SLOVENIA, GEORGIA, AUSTRIA, LITHUANIA, AUSTRALIA
I normally split my song review of the first and second semifinal into separate halves, but with the relatively lower turnout this year, I feel I might as well do my song preview in one go without splitting each semifinal up. The first semifinal is deemed this year's "Group of Death" based on the hype and caliber of the entries in this bracket. There are some who would wish that some of the potential losing entries in this group should've swapped places with some entries in the other group so these otherwise worthy entries would be able to advance, but we have to play with the cards we are dealt with, so to speak.
01 NORWAY: "Queen of the Kings" - Alessandra Mele. This entry has been deemed one of the top favorites in this year's batch, as its martial beat and sea-shanty vibes are irresistible to many listeners. It looks like this entry is poised to duplicate the Top 10 finish of its predecessor--the question now is, how far will she be able to outrank last year's 10th place.
02 MALTA: "Dance (Our Own Party)" - The Busker. There are some Eurofans who may not have a high regard for this entry as the vocals showcased are of a limited range, and includes whispered delivery. But this funky song has an irresistible groove and it also has a sax guy who is almost as legendary as Moldova's Epic Sax Guy (Sergey Stepanov) from Sunstroke Project, and its stage presentation promises to be a lot of fun. There are two questions--can they overcome its country's recent weakness in drawing televotes? And can they break the curse of the No. 2 slot?
03 SERBIA: "Samo mi se spava [I just want to sleep]" - Luke Black.. The YouTube channel Overthinking It has delivered in-depth analyses of some entries like this one, so I'm tempted to defer my notes to what they say, below. What I'll add is that this is a great successor to Konstrakta's art-pop number last year and that it's nice to learn they have a connection as Luke was mentored by her. Also, I just love the crouching choreography--that is very tough on the thighs. Don't know if this entry will have enough to equal Konstrakta's 5th place finish, but even with this early slot I'm reasonably confident this will advance to the final.
04 LATVIA: "Aija" - Sudden Lights. This band previously competed at Supernova in 2018 and finished 2nd behind the jazzy Laura Tesoro. Now, they are fielding this moody art-rock number. At first listen I thought this number doesn't have impact, but upon further listens, I was won over and as explained by the German YouTuber Eurovision Histories, this entry is actually very moving and relevant, and it even has a connection with last year's champion, Kalush Orchestra's "Stefania" as both touch upon returning to a place where they can listen to lullabies. With a certain entry weakening in buzz, there might be an opportunity for this entry to advance in its place and break its five-year finals drought.
05 PORTUGAL: "Ai coração [Oh, heart]" - Mimicat. Though I'm slightly upset that Claudia Pascoal was not selected to represent Portugal with "Nasci Maria [Born a Maria]" I do appreciate this entry especially with the energetic stage presentation and the vocal and showmanship skills of this artist. Now, it seems based on the rehearsals they ditched the couch prop, and for me that prop made the performance special so I wonder if this would make them vulnerable to a possible shock boot. SPAIN is not voting in this semifinal, so much will be seen if this entry will still have enough support to make the final.
06 IRELAND: "We Are One" - Wild Youth. The guitar riff I hear throughout this song reminds me of the riff U2's The Edge played in their 1987 Joshua Tree classic "Where the Streets Have No Name".but set to a Bo Diddley beat and with generic world peace sentiments. Despite being reasonably listenable, it is deemed one of the weaker entries in this semifinal. Aggravating matters is the ill-conceived music video--what's the point of having the handsome band members hidden in glitter masks and why no unmasking took place? At least the staging would feature the lead singer in a golden bell-bottomed jumpsuit, though I still believe this will not advance.
07 CROATIA: "Mama ŠČ!" - Let 3. Like many Eurofans, I was shocked when I learned this entry won the right to represent this country to this contest. I scratched my head and wondered why both the Croatian jury and televote opted to vote this "troll" act. As Overthinking It researched and explained, it turns out this band has already a long history as it was formed all the way back in 1986, and they have a long history of provocative demonstrations and the Croatian public was all for it. Now that I learned about the band's history, I started appreciating them a bit more and understood that they might be the "troll" act that will likely see action in the final as their provocative staging would no doubt be eye-popping and impactful.
08 SWITZERLAND: "Watergun" - Remo Forrer. What I noticed when this entry premiered was the obviousness of its antiwar lyrics. I was first bearish over this song's prospects because of those lyrics but then when I listen to the song as a whole with the sincerity of this young man's vocals, I started to believe there might be a way that this would work and have a path to the final. Sasha Jean-Baptiste conceptualized a staging featuring backup dancers and running choreography and that could possibly make an impact. I'm no longer counting out this entry's prospects of making the final.
09 ISRAEL: "Unicorn" - Noa Kirel. I've learned of her as she was the opening number performer at Miss Universe 2021 that was held in her country. She was the first artist announced to compete in this contest, and many fans were waiting with bated breath of what her song was going to be. It turned out it's a catchy bop that has multiple disparate musical sequences that seems disjointed. But having listened to K-Pop songs and aware of how most of those hits have disjointed styles, especially hits by Blackpink like "Kill this Love" and "How You Like That". So in my mind I was speculating that this song was probably originally offered to Blackpink but then retooled to suit Noa's style instead. It's interesting to note that Noa was absent in all Eurovision pre-parties--it turns out she and her team were all focused towards their staging in Liverpool, so when rehearsals came around, any worries that she would fail to deliver were tucked away as she turned out to be almost as ferocious as Eleni Foureira back in 2018, so not only is she a shoo-in for the final, she could make a serious play for the Top 10 or even Top Five.
10 MOLDOVA: "Soarele și luna [Sun and moon]" - Pasha Parfeni. When I first listened to this song, I coujldn't get the repetitive chorus out of my head and the fusion of traditional Eastern European folk music and modern EDM is just so irresistible that I am rooting for this guy to not only outdo his 2012 stint but perhaps come close to equaling Sunstroke Project's 3rd place showing in 2017*1. Though it seems he's currently overshadowed by buzz over the likes of ISRAEL, SWEDEN, and FINLAND, I think a Top Five showing is still within reach.
*1 He was the original lead singer of this band, from 2007-2008, before he decided to pursue a solo career.
When I read the song lyrics I thought it's a simple ditty about a man in love who wants to commune with nature to marry his beloved. But then, YouTube channel Eurovision Histories provided a possible darker interpretation based on a Romanian/Moldavian folk song / tale called "Miorița [The Little Ewe Lamb]" about a shepherd anticipating his own murder by his two colleagues instructing his flock to tell everyone like his aging mother that instead of him being murdered he went off to marry a princess with the sun and moon and the forces of nature as witness.
11 SWEDEN: "Tattoo" - Loreen. When it was announced Loreen is going to have another go-round at Melodifestivalen (Melfest), the whole Eurovision fandom got very excited, wondering if she'll deliver a song at the level of her 2012 classic "Euphoria", or if it will languish in the semifinal like her 2017 entry, "Statements". Turns out, it's more towards the former, and with an innovative staging involving a giant ceiling screen that gradually ascends upward, winning Melfest was all but guaranteed. Now, hype is heavy that Loreen will not only pull off the feat only achieved by Ireland's Johnny Logan (winning Eurovision twice) but to bring forth her country's 7th win to tie with Ireland's record. Despite fierce competition from FINLAND and, yes, possibly ISRAEL and AUSTRIA, I'm bullish on this entry's prospects to achieve those lofty goals.
I have a piquant note about the song--I've observed that the chord progressions seem to evoke a familiar mega-hit from another iconic Swedish act: ABBA's 1980 classic "The Winner Takes It All". To me the chord progression of the verses of both songs are similar, and that they share a breakup theme--the difference is that ABBA's tone is serious and expresses a finality in the breakup, while Loreen'[s song expresses a hope that yes they'll part ways for now but they'll come back together again someday.
12 AZERBAIJAN: "Tell Me More" - TuralTuranX. After the jury collusion scandal that seems to be spearheaded by this country, this country decided to scale back and decided to ditch the successful formulas they previously employed. They decided to do a low-key selection for acts with songs that were locally written instead of hiring Swedish songwriters to come up with their entry. And as a product of their new approach they have these twin brothers, who delivered this low-key Beatlesque number with a rap interlude. It felt out of league with the heavy hitters with this semifinal, and although the staging with the contrasting colored wardrobes sported by the twins is appealing, this country will have to wave its final qualification streak goodbye.
13 CZECHIA: "My Sister's Crown" - Vesna. There was a lot of excitement among many fans when this entry was selected to represent this country at Eurovision. The song's theme of Slavic female unity and empowerment seems to be a powerful, necessary message worth promoting. So it's baffling when we learned of the controversies that arise with this entry, which Overthinking It explained in depth (and check out the Stranger Things joke towards the end). I feel the controversy and objections are absurd, and I hope that wouldn't deter this entry's prospects. Anyway, it's surprising to most fans when they discovered the staging for Liverpool--instead of the colorful costumes in their music video, they now opted for uniform pink jumpsuits and one long braid for each member. Based on rehearsals, this actually looks brilliant and this group would be closer towards equaling Micklas Josef's stellar 6th place finish back in 2018.
14 NETHERLANDS: "Burning Daylight" - Mia Nicolai and Dion Cooper. There was initial excitement about this entry as it was disclosed that the song is cowritten by 2019 champion Duncan Laurence. When the music video was released, everyone remained optimistic--yes, it's no "Arcade", but it sounded like a quality ballad that it would sustain this country's finals streak. But then came the live parties and they didn't make a good impression that the Dutch media took potshots at the pair, and there were reports the broadcaster was not running to this pair's defense. They decided to fix the issue by adjusting the key the singers would sing in, supposedly to make them more comfortable, and although the staging looks pleasing, the key I'm hearing the pair is singing in seems off especially in relation to the instrumental, so it felt uncomfortably off-key. So I'm concerned that this might pave the way for the likes of a SWITZERLAND or possibly LATVIA or MALTA to advance instead of this one.
15 FINLAND: "Cha Cha Cha" - Käärijä. This fusion of abrasive industrial rapping and catchy pop alongside the well-conceived humorous staging amde this entry a major sensation and is hyped to be the one who could pull off the upset to beat Loreen. And this guy is relishing the hyped rivalry--check a TikTok video of him parodying Loreen's staging. I can understand the sentiment in the song's lyrics about getting drunk to let go of inhibitions and then dance, but Overthinking It dives deeper and we discover about introversion and some alleged plagiarism controversy, though I am in the camp that no plagiarism took place. It's indeed an opportunity for this country to clinch its 2nd victory, but if Loreen still prevailed, I have a feeling this entry will still deliver this country's best finish since "Hard Rock Hallelujah".
With all 15 entries accounted for, here's my "Fearful" Forecast:
TOP 10: NORWAY, SERBIA, PORTUGAL, CROATIA, SWITZERLAND, ISRAEL, MOLDOVA, SWEDEN, CZECHIA, FINLAND
