Final thoughts before the final show - ESC 2021

So, the semi-finals are over and we're now left with a roster of 26 finalists – 10 from each semi-final and then of course the Big Five along with host country.

The live performances always have an element of surprise and they can truly make or break a song. A mediocre song can truly come alive on stage and take everyone by surprise. On the other hand, perhaps the important notes don't go as smoothly as intended, or the stage presence doesn't match the song, or the vocals suffer from over-staging. And sometimes, there just aren't enough spots in a semi-final to go round (which was especially the case in the first semi-final). I was saddened to see some great songs not make it, such as Australia, Croatia, and Romania. I was also sorry that Iceland and particularly Australia had to rely on live-on-tape performances, as opposed to getting to perform at the actual event like all the others.

But that's the way the Eurovision cookie crumbles.

Anyway, one of these 26 entires will be our next winner – let's have a look at the final lineup!

Elena Tsagrinou - El Diablo (Cyprus)

Europe sure loves a basic bop with flashy choreography when it comes from Cyprus, huh? The song is still every bit as devoid of meaning as before, like its only raison d'être was to provide a disposable soundtrack to a dance show. Which, let's be real, is not inaccurate.

That said, the dance show was executed very well and the singing was good considering all the choreo, so you know, good job there. Musically speaking, I don't rate it but there clearly is an audience for stuff like "El Diablo". It'll be interesting to see how it fares in the final, given the dreaded opening slot.

★★

Anxhela Peristeri - Karma (Albania)

There was a definite discrepancy between the two semi-finals, with the first semi being far more competitive. Some of the qualifiers from the second semi probably wouldn't have made it through from the first one, and I have a feeling Albania was one of them.

Make no mistake, Anxhela Peristeri delivered a solid performance that felt like a relief among a whole lot of rough vocal takes, and the song itself is perfectly fine. However, it's a very 'traditional' Balkan entry that will likely not be getting a lot of votes from outside of its home region.

That said, I am genuinely glad to see Albania in the final, I do like the melody of the chorus, and I think it's cool how she's on stage alone. So many of this year's acts follow the singer-with-four-backup-dancers pattern and it's great to see a vocalist command the stage without the need to rely on unnecessary visual distractions.

★★★

Eden Alene - Set Me Free (Israel)

With Israel's entry, Eurovision history was made: that note was the highest note we've ever heard in the context of the show. That's quite the achievement so congrats Eden Alene!

Elsewhere, the vocals - while still pretty good - suffered a little from nervousness and/or the added choreo, but hopefully they'll manage to iron this out by Saturday. The song itself is catchy (albeit familiar) but this year's contest is plentiful in female boppery, meaning that it won't be easy to stand out. Therefore, I'm expecting "Set Me Free" to land somewhere in the middle of the scoreboard.

★★★1/2

Hooverphonic - The Wrong Place (Belgium)

It was interesting to see the reactions after Belgium's spot in the final was announced. Many seemed to consider them uncertain (or even unlikely) qualifiers, whereas I saw this as a sure-fire contender from the very first listen. There were so many dance numbers and hectic performances that Belgium's mellowness and composure felt refreshing in comparison.

I also really liked the staging: singer Geike Arnaert has this certain magnetism to her and its clever how she is positioned between the musicians and how the camera slowly pans around them, really drawing you in. The vocals were good but I was perhaps expecting them to be even stronger, so hopefully she will really bring it in the final.

"The Wrong Place" is probably my favourite entry this year and while it might not end up winning the whole thing, I could easily see it placing in the top 10 nonetheless (even if the early slot in the running order is less than ideal).

★★★★★

Manizha - Russian Woman (Russia)

You know what, I was right - "Russian Woman" has been a stealthy grower of a song. Sure, if you don't speak the language, you won't understand most of it, but it's such a unique and delightfully odd tune. Singer Manizha has a charismatic stage presence and she's a lot of fun to watch. Also, her wheeling around the stage like a disoriented babushka Dalek? Hysterical!

This is one of those entries that were definitely elevated by the live performance. The inspirational slogans and the "We are the change!" we could've done without, but other than that, the performance carries a certain air of rebellion, of defiance. A particularly striking moment was when, during the second traditional-sounding chorus, the background screen was filled with a myriad of Russian women, varying in age, ethnicity, gender expression, profession, etc., and replacing the sad, traditional female figure shown in the first chorus. The way this performance celebrates diversity really resonated with the Russian woman in me (for the record, I am a Finnish guy).

★★★★

Destiny - Je Me Casse (Malta)

Expectedly, Malta made it to the final with their fun electro-swing number "Je Me Casse". I'm glad they didn't compromise Destiny's vocal prowess by making her dance all over the place, but the post-chorus handography looks almost ridiculously tiny, especially when the camera shot is not a close-up.

Also, visually speaking, Destiny and her backup dancers definitely don't look like they're attending the same party. Considering the genre of the song and the Destiny's silver fringiness, It could've been nice if the dancers were wearing like neon pink flapper dresses with some metallic fringe or something to tie them together (but in a way that wouldn't be too on the nose, I think). Also, those boots are not flattering, they need to go.

But all in all, it was an excellent vocal performance from Destiny, one that was a joy to watch.

★★★1/2

The Black Mamba - Love Is On My Side (Portugal)

I still do not care for the singer's voice or the costumey getup, but Portugal qualified very deservingly for the final. It's a nice, timeless song that has an actual story to tell, and it's always wonderful when the acts are more about the music as opposed to just the spectacle aspect of the contest. I don't think it will be placing higher than maybe the lower left side of the scoreboard, but I always welcome entries that dare to go outside of the stereotypical Eurovision box.

★★★1/2

Hurricane - Loco Loco (Serbia)

Serbia is another entry that probably wouldn't have qualified from the first semi-final. This is such a confusing song to me: melodically, the verses are decent but the messy chorus just drops the ball completely. Where are the hooks? Choreographed female bops are a ruthless category this year and "Loco Loco" is among the weakest ones of the surviving contenders.

In the end of the verses, just before the pre-choruses, there is this brief synth riff that is probably my favourite thing about the track. I really wish they had ventured more into electropop with the overall sound as I feel it would've made the song more interesting.

★★

James Newman - Embers (United Kingdom)

As the first of the Big Five, we've got the United Kingdom!

First of all, why is he singing a dancey pop tune in a long leather jacket? Why are there so many zippers? And why is the jacket zipped up? It's not a very good look.

Sadly for the UK, I don't think this is going to be the hit song to finally propel them into the upper echelons of the scoreboard. Like many UK entries, it's perfectly okay, but ultimately forgettable. "Embers" gets repetitive really quickly and the chorus never truly takes off. To make things worse, the song takes place largely in the singer's lower register with him occasionally struggling to hit the lower notes. This is particularly confusing in the chorus, where (apart from the "light up the room" line) the melody dips down, ensuring that the song fails to picks up any momentum whatsoever. The whole thing should've been transposed up a key or two.

Unfortunately, it looks like it'll be another year of the UK chilling in the bottom right corner of the scoreboard (and no, it's not because of "politics" or "Europe hating you").

★★

Stefania - Last Dance (Greece)

It is an all-too-common sin for acts to go crazy with gimmicks to the point where it takes away from the song itself and becomes the only thing that people remember. All they can think of is the hamster wheel, or the treadmills, or the totally unrelated sand artist. Or, after this year, the green screen shenanigans.

Now, here's the thing - if you are going to be heavily relying on an effect of some sort, you had better master it. Especially if it's an illusion, because a broken illusion amounts to nothing. Alas, it was really frustrating to see the green screen magic constantly ruined by shadows and appearing outlines. Those issues were so visible that they could not be missed. Not to mention how the staging has literally nothing to do with the lyrics of the song.

But an even bigger issue here is the fact that the staging is a huge commitment with virtually no payoff. If you're watching it on TV, it looks like an incredibly cheap music video. And if you're watching it live, you're not only peeking but pretty much taken behind the curtain while getting none of the smoke and mirrors. Sure, it's impressive to see the maneuvers unfolding as the performance goes on but then, what can you remember of the singer?

The singing itself was alright and Stefania looked great, of course. It's a shame they didn't have faith in that being enough.

★★★

Gjon's Tears - Tout l'Univers (Switzerland)

Switzerland was an expected qualifier and rightfully so. Gjon's Tears sounded great live and while there was some occasional tenseness in his vocals, hopefully the final performance will be even better. The staging was quite clever - thank goodness there wasn't a grand piano in sight! It was a good idea to introduce some dancing into the performance, although those white boy rapper moves really need to go.

I still think "Tout l'Univers" might be just too similar to the previous winner to snatch the Eurovision trophy, but as one of the standout entries of the year, it should still make it to the top 10 quite comfortably.

But dear, what on earth are you wearing? Whoever did that to you, you need to fire them immediately and then figure out which competing delegation was giving them money. 

★★★★1/2

Daði og Gagnamagnið - 10 Years (Iceland)

Like Australia in the first semi-final, Iceland also had to rely on a pre-recorded live video instead of getting to perform 'actually' live, except that they of course ended up qualifying.

A member of the band tested positive for COVID-19 and the band didn't want to get on stage with any missing members, which is admirable. But can you imagine if they were to win, and then both the new and the previous winner were in quarantine? That would be such an anticlimax after two years of waiting!

I don't think they are going to be winning, although they'll undoubtedly be one of the biggest fan favourites and land somewhere in top 10–15.

The live performance itself retained a lot of its quirkiness from the original preview video. I thought it was a fun detail how the three keytars combined to form a circular keyboard. Romania 2014 who?

★★★1/2

Blas Cantó - Voy A Quedarme (Spain)

Spain has chosen to be represented by a rather traditional Eurovision ballad sung in Spanish. Apparently, the song is dedicated to the singer's late grandmother which is very endearing.

It's a brave choice to start the performance with an a cappella intro but thankfully, it sounds good. Starting from the second verse, there is a thumping rhythm that seemingly promises a buildup that doesn't really materialise. Singer Blas Cantó sings beautifully and hopefully the high notes in the end go a little more smoothly in the final. Ultimately, "Voy A Quedarme" makes for a touching tribute, if an unfortunately forgettable song.

★★1/2

Natalia Gordienko - Sugar (Moldova)

It was extremely surprising to see Moldova qualifying this year, truth be told. Now, as someone who really enjoyed the album version of "Sugar", I was delighted... but at the same time, the live performance was rough. The tongue-in-cheek camp of the music video was nowhere to be found but far more importantly, the live vocals were really weak and overly breathy (and that long note in the end didn't sound all that sweet). It's a real shame since the song is catchy and Natalia Gordienko herself seems like such a bubbling personality.

But there's no denying that this performance needs to improve a lot if it wishes not to sink into oblivion in the final. Considering it managed to qualify, perhaps the jury performance went much better, so maybe there's hope for a stronger, less nervous vocal take. 

I gave this song four stars in the semi-final review but with the performance taken into consideration, I cannot justify that. Fingers crossed that now that they've been given a second chance, they'll be able to execute things better.

★★1/2

Jendrik - I Don't Feel Hate (Germany)

If Moldova's entry doesn't satisfy your sweet tooth, fear not - Germany amps up the saccharine factor with "I Don't Feel Hate". Kicking off with a ukulele intro, this quirky tune feels like a number in a children's musical they'd show during class at primary school. Fittingly, Jendrik skips on stage like a tween pop star high on a sugar rush (or cocaine, pick one). It' all a bit... much, and juvenile.

I must say this is not a song I would've expected to have a a post-chorus breakdown but here we are. The singer has enviable amounts of energy but all the hyperactiveness takes a serious toll on his vocals (you can constantly hear him running out of breath). And did the song really need a mock radio voice-over moment? I think not.

Hey backup dancer, how many points are we predicting for Germany this year?

Sounds about right. I will say that it is kind of funny how the dancer keeps skirting around the 'no middle fingers' rule.

★1/2

Blind Channel - Dark Side (Finland)

Speaking of middle fingers, cue Finland (there's no way this running order was a coincidence). To me, Blind Channel was a fairly safe qualifier, especially considering the overall level of the second semi-final. There were no surprises or changes in comparison with the UMK performance, and perhaps that's for the best - any gimmicks would stick out like a sore thumb here.

Lyrically, it's still cringy to me but the band delivered a fairly solid performance, very true to their style, so props to them. And I'm not going to lie, it was heart-warming to hear the arena chanting "Finland" before the final qualifier was announced.

★★★

Victoria - Growing Up Is Getting Old (Bulgaria)

Bulgaria was another shoo-in qualifier from the second semi-final (one I considered a potential semi winner beforehand). Certainly, it was a cute performance and a very deserving finalist, but I must say I found the performance just a little underwhelming. The vocals came occasionally across as flimsy and at times, the lack of enunciation made the lyrics hard to follow.

"Growing Up Is Getting Old" is a beautiful song though, and the last chorus in particular is a sublime little moment. It's also not unheard of for the singers' nerves to get the best of them in the semi-finals, so hopefully the performance will be more polished in the final.

I had originally listed this as a contender for the top spot but I don't know if I see that happening anymore. Nonetheless, a placement in the top 5–10 should not be out of Bulgaria's reach.

★★★★

The Roop - Discoteque (Lithuania)

I was glad to see "Discoteque" qualify but I must confess that this song has been the opposite of a grower to me - it was love at first listen, but the more I listen to it (or more specifically, the more I watch the live performance), the less I care for it. When listening to the studio version of the song, you can imagine a dimly lit club shrouded in smoke. There's almost a certain moodiness to it.

But the live performance retains none of that atmosphere. Instead, we're met with a barrage of bright yellow outfits, silly facial expressions, and dorky dance moves. Sometimes less is more and this is definitely a song that would've profited from a sleeker, more enigmatic staging. I'm sure it'll still do relatively well, though.

★★★1/2

Go_A - Shum (Ukraine)

The Ukrainian entry is one that took me a couple of replays to get into, but it feels like Go_A has taken Europe by storm in all of its techno-pagan cult-like glory. Singer Kateryna Pavlenko has emerged as something of a meme queen and the song has made its way to the hearts of ESC fans and fellow contestants alike.

I can see the song being a harder sell for the juries, but I'm fairly convinced this won the televote of its semi-final. This information won't be made public until the grand final has aired, of course, but I have a strong gut feeling about this. There's no doubt Ukraine will find itself in the top 5, even if the jury vote might not be in their favour.

★★★★

Barbara Pravi - Voilà (France)

France's 2021 entry is "Voilà", a traditional-sounding chanson number - what could be more French than that? - that sounds like it could play during the closing credits of a Parisian period drama. The song is an interesting journey, with the tempo accelerating towards the end and giving the song a sense of urgency.

The performance is filmed cleverly in a way that creates an illusion of intimacy, as if the singer was alone in a room singing to you and you only. You completely forget that she's singing at an arena with thousands of people in it. The staging is simple, but highly effective.

"Voilà" is a pretty song with a cinematic quality. I can't say I know anything about chanson, but this does feel somewhat generic in its genre. Nevertheless, it is a likely jury darling that should do well enough in the final.

★★★1/2

Efendi - Mata Hari (Azerbaijan)

"Mata Hari" continues to exist without pretty much no substance to its name, but that didn't stop it from qualifying. The live performance tried to tick as many cliché boxes as possible in three minutes and that it did: synchronised choreo in sexy outfits? Check. Dancing in a circle? Check. Indian deity arms? Check, check, check.

I will say that the last 20 seconds of song do go off somewhat and the vocals were nice considering all the dancing.

★★

TIX - Fallen Angel (Norway)

Considering that whole "Efentix" showmance everyone and their mother seems to be shipping, Azerbaijan and Norway being back to back in the running order is definitely not a coincidence, either. I see you, producers!

I wasn't expecting Norway to qualify but they did so good on them. It was also courageous of TIX to briefly remove his sunglasses to reveal his tics to the world, kudos to him for that.

"Fallen Angel" is a 90s boyband-sounding ballad with over-the-top angel costumes, and I don't think it'll soar all the way to the top. I honestly would be surprised to see it finish higher than the upper right side of the scoreboard but then, stranger things have happened.

★★★

Jeangu Macrooy - Birth Of A New Age (Netherlands)

The good thing about being the host country is that you're automatically in the final and get to go more outside of the box since, let's be real, you're not going to be winning two years in a row.

This year, the Netherlands are represented by Surinamese singer-songwriter Jeangu Macrooy and "Birth Of A New Age". Don't let the laid-back soundscape fool you - the lyrics tell about the suffering caused by colonialism: "They buried your gods, they imprisoned your thoughts / Your rhythm is rebellion, your rhythm is rebellion / They tried to drain you of your faith / But you are the rage that melts the chains". Still, there is an uplifting message of resilience: "This ain't the end, no / It's the birth of a new age". 

For Eurovision, these are some pretty hard-hitting lyrics. Props to the Dutch.

★★★1/2

Måneskin - Zitti E Buoni (Italy)

Italy is responsible for the second rock song of the night. "Zitti E Buoni" is arguably the more palatable out of the two, emulating that great and once-wildly-popular mid-noughties UK indie-/alt-rock sound, reminiscent of the likes of Franz Ferdinand, Arctic Monkeys, and Band of Skulls. In the context of the Eurovision Song Contest, this genre was previously featured by Georgia in 2016.

The singer sounds great live (pretty much identical to the studio version, actually) and we all know how enthusiastically Europe laps up Italian male singers. A top 5 placement is almost inevitable and this is a serious contender for the winner. Will we be going to Rome next year? That just might be the case.

★★★★★

Tusse - Voices (Sweden)

Sweden also qualified to absolutely nobody's surprise. Even if the singer himself is likable, "Voices" remains a subpar, generic entry that we really could've done without but it is what it is. I think it's safe to say Sweden won't be in the running for the top positions this year so the rest.

The million voices he sings about? I think he's referring to the pre-recorded backing vocals. While I understand the choice of the production team to allow that this year, I really hope this won't be a mainstay feature in future contests. Several acts have relied heavily on non-live vocals this year (definitely not only Sweden), and that kind of defeats the purpose of having a singing competition to begin with.

★★1/2

Senhit - Adrenalina (San Marino)

Finally, we have San Marino, who landed the coveted closing slot in the running order. Having Flo Rida there is still every bit as unnecessary and I sure hope that featuring American rappers will not be the next big Eurovision fad.

Will it win? No. But "Adrenalina" is a decently catchy dance number that should profit quite nicely from the last performance slot. Still, it's very middle of the pack as this year's entries go.

★★★

Who's our winner?

This year, female dance bops are a highly competitive category. In all likelihood, they will end up cannibalising each other, so I think we can cross them off the list for now.

A couple of probable contenders that I would pick from this lineup are (in alphabetical order) Belgium, Bulgaria, Italy, Switzerland, and Ukraine. Of these, Ukraine and Italy have the highest chances of winning the televote. Meanwhile, taking the jury vote will probably be between Italy and Switzerland. Considering Italy has strong chances in both votes, I think Måneskin is going to be the one to beat now. (Unless of course we'll have a compromise winner who does well - but not best - in both votes.)

Well, in a couple of hours we'll see how it all plays out - stay safe and happy Eurovision final everybody!