As usual, Albania made an early claim for Eurovision glory after Albina and Familja Kelmendi won the televote at Festivali i Këngës 61, the country's national annual music competition, just before Christmas last year. Their song is Duje (Love It) which they will perform in the second half of the second semi-final on May 11.
In many ways, Duje is what we have come to expect from Albania. With a couple of notable exceptions, the country tends to provide angst-ridden vocals by a female artist seemingly on the verge of a nervous breakdown. Given those parameters - to an extent - this song does not disappoint.
Viewing the video from the national final, Albina clearly does not look happy for the first third of the song. Not sure why as my Albanian is not up to scratch. Nevertheless, she is certainly making an impassioned plea until her older family members join in with a more soothing take on proceedings. For a while it all gets a little Partridge Family, but then the distinctive ethnic Albanian instrumentation kicks in.
For me, this is what always distinguishes the Albanian entries from the rest of the pack. Particularly this song, which uses that instrumentation to great effect, counterbalancing the forcefulness of much of the vocal.
Those vocals first came to prominence as a product of The Voice franchise, Albina having taken part in that competition in 2014. There's no arguing she has pipes and her song will undoubtedly appeal to the Balkan audience. Assuming Duje remains in Albanian (it should), one wonders how much interest there will be from the wider European public?
Personally, I fear the song might find it difficult to move forward from its semi-final. I may be wrong, but it's fair to say that it may fight to gain widespread appeal.
Bulgaria managed to beat Albania to the punch this year by becoming the first nation to announce its entry for the 2022 Eurovision Song Contest. The Intelligent Music Project will perform the song Intention in the hope that it will return the country to the Top Five for the first time since 2017.
If last year's winner is anything to go by, to excel at Eurovision you need to stand out from the crowd through either sound or visuals, but ideally both. Måneskin had each in spades, along with a kind of undefinable charisma and passion. Bulgaria's supergroup follows the Italians' rock path although they veer off in a more conventional direction with a perfectly acceptable slice of classic rock that wouldn't sound out of place circa 1981.
Intention is constructed very much in a way one might have expected a single release from Rainbow or Whitesnake back in the day. Some crashing guitars, thumping drums and a raspy lead singer, this time in the form of the seasoned Ronnie Romero who has enjoyed time with the aforementioned Rainbow.
While one can't fault the professionalism and undoubted experience of the group, in many ways the track sounds out of place for a Eurovision song, although many could have said the same thing about Måneskin's offering. By comparison, though, it doesn't feel as if it ticks all of the required contemporary/modern boxes, instead appealing to the more mature "Dad" vote.
While the power of Zitti e buoni felt like a metaphorical fist to the stomach, Intention feels more of a stern slap on the wrist. Not as edgy nor as gritty. Intelligent Music Project has proven skills, both musically and vocally, but it's fair to say that this entry may struggle to gain universal appeal.
Let's take a look at ten of the first semi-finalists for the 2021 Eurovision Song Contest and some personal thoughts on what might and might not qualify for the Grand Final on May 22.
1. Lithuania: The Roop - Discoteque
Like many of the artists this year, The Roop return and this, their 2021 effort, was one of the early favourites but has recently faded in the face of more supposedly-popular entries.
The whole concept showcases the quirkiness that the modern day Contest demands: crazy choreography and staging, bright costumes and a song that worms its way into your head whether you want it to or not!
Consequently, I can see this qualifying for the final with ease. Once there, it's the type of presentation and song that is likely to stick in the memory of the casual viewer. It should do well and a Top 10 place is not out of the question.
2. Slovenia: Ana Soklič - Amen
Ana is back in the competition too and has, unfortunately, been hidden away in position two by the producers - the notoriously difficult Eurovision starting place.
Ana is no slouch in the vocal department though and sings Amen - a big, ballsy ballad - with great aplomb. The backing track emits some distinct gospel vibes throughout and Ana takes us and the song to church!
However, although she is probably the one of the most accomplished vocalists in the competition, she is going to need some divine intervention to help her through to the final. This semi-final looks tough and I feel Ana will be one of its casualties.
3. Russia: Manizha - Russian Woman
Manizha replaces Little Big as Russia's Eurovision representative with an empowering anthem aggrandizing the development of the Russian Woman.
Even after hearing the song several times, it's still not one which has climbed my personal ranking very far. At first, I didn't care for it at all but once it reaches its 'Fiddler on the Roof' style refrain, it becomes a little more tolerable.
Whether Europe will tolerate it enough to push it through to the final is debatable. Personally, I wouldn't miss it at all but Russia is one of those countries which somehow gets through to the final come what may. A borderline finalist.
4. Sweden: Tusse - Voices
Another production line entry from Sweden as young Congolese/Swedish singer Tusse confidently brings Voices to the Eurovision stage.
He is a product of the Idol factory, winning the country's version back in 2019 and has since successfully woven his way through the Melodifestivalen minefield.
Now, there's a lot to be said for Sweden's Eurovision selection process as the country's recent successes can attest. However, now and again, the technique can throw up something so formulaic it could have been written by a robot. Voices has that quality about it.
No surprises here from Sweden (even the obligatory key change), but with their track record, I've no doubt it will qualify and feature in the overall Top 10.
Vasil is another survivor from the 2020 contest and this time around he is singing Here I Stand, a song which he has also written for the event.
Now, there's no denying that Vasil can sing. He is a classically trained baritone which is more than evident from this somewhat overblown ballad. To be honest, you would more likely hear this on a Disney movie soundtrack or as part of a West End musical rather than on the Eurovision stage.
There is nothing wrong with it, per say. It's just likely to be forgotten among more striking up-tempo entries in what has become a tough semi-final. A non qualifier, I feel.
7. Ireland: Lesley Roy - Maps
Ireland offers up Maps this year as its entry and the returning Lesley Roy should be heading in the direction to the final if her live vocals hold up.
It's a perky bop of a song which should get you strutting your stuff around the kitchen, even if you don't know what the heck Lesley is going on about.
Her diction isn't so great - or it might just be my aging ears - so it's tough to make out where her maps are taking her.
A berth in the final should be her final destination, but this is one of those entries that could just as easily be left at the starting gate.
8. Cyprus: Elena Tsagrinou - El diablo
Cyprus has decided to go with a bop-by-numbers composition called El diablo sung by Greek singer, Elena Tsagrinou - so expect 12 points from Greece!
The track ran into trouble early on when the Church of Cyprus and many members of the Cypriot public objected to the lyrics concerning love of "el diablo". Nothing came of it, but what's more surprising is that Lady Gaga hasn't had something to say about the song, as you would be forgiven for thinking that - in part - you're listening to Bad Romance.
Nevertheless, it's well executed and has become one of the favourites to raise the Eurovision trophy. A definite qualifier and a Top 5 pick.
9. Norway: TIX - Fallen Angel
TIX's win at this year's Melodi Grandi Prix upset all the KEiiNO fans but, hey, Fallen Angel (Ut av mørket) is the better song.
Written by the phenomenally successful TIX, the track is somewhat autobiographical, as it deals with his depression caused by childhood bullying over his affliction from Tourette Syndrome.
That said, the song is an impressive composition in its own right; a soaring ballad with a memorable chorus and impactful presentation. It's the sort of package that Eurovision is all about, helped by the relatable back story which is very much an in focus topic.
The staging is a little overblown for my liking but I hope this entry does very well. A qualifier that deserves a Top 10 ranking at the least.
10. Croatia: Albina - Tick-Tock
Having won Dora 2021, the Croatian preselection process, Albina's Tick-Tock faces off against its "banger" competitors in this semi-final.
In that quest, it could do really well as Croatia is presenting one of its strongest entries in years, courtesy of the attractive Albina. This anthemic dance track contains a very catchy chorus and feels like a radio hit, which I mean as a compliment.
Croatia has not done well for several years, but if Tick-Tock progresses to the final – undoubtedly! – it could be on track to its strongest placing in more than a decade. Yeah, qualifier.
Lack of time has prevented any further reviews this year, but currently the bookies favour two of the Big Five countries to raise the winner's trophy: Italy or France. Could it be either of them or will we be heading to Valetta in Malta for the 2022 contest. All will be revealed on May 22!
It's been a bumpy few years for Austria at the Eurovision Song Contest since Conchita Wurst's victory in 2014. This year, Victor Bueno has been given a second opportunity to improve the country's fortunes with the song Amen which is a completely different proposition to his 2020 cancelled effort, Alive.
Where the latter took on a funky Bruno Mars/Justin Timberlake vibe, Amen gives Victor the chance to show off his accomplished vocals on a respectable breakup ballad. The lyrics are fairly repetitive, bog standard, heartbreak clichés but there is a nice progression as the song develops.
As Amen begins, Bueno is in reflective, almost claustrophobic, mood. However, around the halfway mark there is an explosive change of tone and the mood switches as if the singer has finally been been released from the shackles of a doomed relationship.
Victor delivers all of this with the angst one would expect of the material and he has sufficient charisma to attract quite a few votes. He is up against some pretty tough competition in his semi-final though, and the song probably doesn't have enough of a wow factor to push him too far up the scoreboard.
However, I'm willing it to make the Grand Final as I believe it's good enough to earn a spot. Very much a borderline hope, though.
Australia doesn't mess around with its approach to Eurovision - having ranked near the top of the scoreboard more often than not since they first took part in 2015. Aria Award-winner Montaigne returns this year as the country's representative with her song, Technicolour - an ear-splitting tale of courage, vulnerability and solidarity.
While the singer's stage presence may be striking - she now sports colourfully cropped hair, heavy makeup and chains - her song is pretty much the opposite. Well, in truth the song is not too bad, it's just Montaigne's performance of it that doesn't cut the mustard.
Dami Im, Isaiah Firebrace and Kate Miller-Heidke all brought accomplished vocals to Eurovision and, in Kate's case, the bonkers factor. Unfortunately, Montaigne brings neither if her recent live performance of Technicolour is anything to go by (see above). She was whiny and off-key throughout, something which will not convince viewers to rush to vote for her.
Personally, the song does nothing for me and 2021 could well be the first year that Australia misses the Grand Final.
Eurovision wouldn't be Eurovision without a dramatic ballad or ten, preferably sung at top volume by a woman accompanied by a dance troupe of worryingly clad beefcake. On that front, the highly attractive Anxhela Peristeri and her Festivali i Këngës staging more than delivered back in December. Albania's song is called Karma and our buxom Anxhela manages to belt out the high notes with all the subtlety of a police siren on a council estate.
However, the song is cleverly constructed around some big moments - both instrumentally and visually. Before ramping up to the final agonising chorus, the song begins serenely with hints of Eastern promise. It builds slowly to an instrumental mid section where Anxhela is thrown around on stage like a rag doll by said beefcake who are dressed in what must have been an end of season job lot of gold lamé.
Whether that FiK staging (see here) will make the journey to Rotterdam remains a mystery, but the original mix of Karma certainly won't. There have been some slight changes to the song, mostly to the instrumentation, since it was first performed. Nevertheless, Anxhela has the vocals to fill the Eurovision stage in May, easily good enough to suck up a few fortuitous votes.
Great vocals and big lungs, though, will probably not help her in what has become a relatively strong semi-final, competing with the likes of pre-competition favourites such as Switzerland, San Marino, Iceland and Greece. It's always possible that Karma may score enough points to scrape into the Top 10 but I fear that this typically melodramatic power ballad from Albania will miss the cut.
These days the announcement of the United Kingdom's Eurovision songs comes with a large serving of trepidation and so it was with mixed feelings that I awaited the arrival of 2020's offering, James Newman's My Last Breath.
To find this year's hopeful, the British public was bypassed in favour of a collaboration between the BBC and a major record label. This change was a concerted effort to prise the UK out of the bottom five and lift the nation onto the left hand side of the scoreboard. The task was taken on by BMG which approached award-winning songwriter James Newman - the brother of successful vocalist John - who decided to accept what must seem like a daunting prospect. Having collaborated with some of the biggest names in recent music business history, he now steps into the spotlight as a featured vocalist.
As we all know, it has been in excess of twenty years since the Brits have stood on the winner's podium and various (sloppy) explanations have been given as to why - ranging from Iraq to neighbourly voting to, more recently, Brexit. In truth, it's been because the songs have just not been good enough. So, can James change the UK's fortunes in 2020?
The simple answer is probably not. But that comes with a caveat: it was always going to take something astounding to bring the Brits back to the top of the scoreboard - although not astounding, My Last Breath feels like a huge leap in the right direction.
The song feels very current - a blend of what has been popular over the past few years: elements of Ed Sheeran and Lewis Capaldi are woven into the structure of this mid-tempo, drum pounding ballad. There's a clever (hesitant) hook in the chorus which, after a couple of plays, sticks in the memory - so repeated promotion is going to be vital to draw interest.
However, that could be part of the problem with My Last Breath. Does it possess sufficient impact for first time listeners in May to remember it enough to vote for it? Fantastic staging and a credible live performance should enhance its chances greatly.
If that's achieved, it could mean the UK hands the wooden spoon to someone else in May. That said, it's also highly unlikely to be the winner.
Kate Bush meets Ellie Goulding. In any other environment, this would do well - but the Eurovision Song Contest doesn't feel like its natural home. Perhaps too delicate for the competition and another entry that could fail to qualify.
Contemporary, catchy and radio-friendly. Combines ethnic flavours with modern Western sounds. Likely to qualify easily and, if there's any justice, climb high on the left-hand side of the scoreboard.
Typical Euro dance-pop delivered by a pretty young singer and which should bring the stadium to life in Tel Aviv. Whether that will translate to enough votes to allow it to qualify is debatable. Generic Eurovision fodder, though. Borderline qualifier.
Another credible entry from Belgium although Eliot's vocal sounds rather laboured. It feels as if the song is about to take off but then suddenly stalls, the chorus somehow not rescuing it. It's good, just not spectacular. Likely to qualify, but could struggle at the Final.
Roko sings The Dream well and the song possesses a stirring chorus. Nevertheless, it sounds like a failed national final entry from the 1980s. Got to hand it to Roko though, he has the balls to wear a pair of ridiculous wings. Sadly, they only add to the overall out-of-date whiff of stale cheese. Non-qualifier.
Cyprus continue the club theme already offered up by last year's Fuego. In some respects, it is a better example of the genre with its brass riffs and mesmerisingly catchy chorus. This should perform very, very well but it could hinge on the staging and Tamta's live vocal abilities. Easy qualifier and could finish in the Top 5.
One of the early front runners, Denmark has dipped back in the betting. Not surprising, really. The song is way too twee, formulaic and safe. Leonora is a little difficult to watch as well. Sitting on a oversized chair/platform high above the stage, I'm not sure if her fixed stare is from the fear of falling or the fear of failing. Very borderline.
House music come to Eurovision courtesy of the highly successful DJ/record producer. If you've heard his Sandstorm then you kinda know what to expect. Unfortunately, this is way too repetitive but could still qualify from a weaker semi-final 1 (or from his credentials, alone). Can't see it doing too well in the Final, though.
Already touted as the entry that will be stuck to the bottom of the scoreboard when all is sung and done. It goes without saying that Oto may have an uphill struggle to garner many votes - particularly from the public. The song is a dark, dramatic ballad sung at full tilt - there's no denying Oto has a set of lungs on him - but the song may suffer from being TOO ethnic as well as TOO difficult to love (and comprehend)! An easy non-qualifier, I feel.
Compelling voice, compelling vocal and compelling production. Co-written by Fame Academy winner David Sneddon, Better Love feels as if it has a Top 10 finish about it. As long as the ideas behind the video translate well to the Tel Aviv stage then Greece can expect a ton of votes. Compelling (of course!)
Joci returns to Eurovision with a mid-tempo ballad that captures elements of Hungarian folk music. Enhanced by his plaintive vocal, the song relates the joy and sadness of his boyhood memories. It's one of the few entries to be sung in a native language, thus could accomplish a reasonable result. Joci achieved ninth in 2017 and this latest effort could do as well or better.
One of possibly two entries with its own USP (possibly Portugal as well). BDSM techno/punk comes to Eurovision and it has really divided listeners/viewers. Very much a Marmite song, Hatari try to deliver shock visuals - writhing women in chicken wire together with sex shop rubber gear - alongside snarling shouty vocals over an, admittedly, irresistible backing rhythm. Entries with bizarre USPs tend to do well these days, although how the more conservative voters in Eastern Europe will react is anyone's guess. Could do very, very well or fall flat on its face!
As one of the Contest's most incessantly under performing countries, Latvia's Eurovision entries are prone to fluctuate between pleasantly dodgy and thoroughly awkward. In essence, the Latvian's have been accountable for some enjoyable entries but, over the last few years, the votes have not come their way. Their last final was in 2016 when Justs managed a lowly 15th place, hot on the heels of one one their best entries, Animata's 6th placed Love Injected.
It's natural when nations experience an unusually bad run of results that urgent deliberations about withdrawing from the competition surface, but no such discussions among the Latvians appear to have taken place this year. Even so, there has possibly been some added pressure on them to get their 2019 entry just right and it is evident from That Night - a laid-back, bluesy type of song - that the direction of travel is the right one.
Out of the forty one songs taking part this year, it’s very probably not the first of them to immediately come to mind, but I have to concede a canny soft spot for this song. Where many entries emit a calculated stratagem, Carousel's That Night possesses an undeniably straightforward relaxing appeal. It’s also quite annoyingly catchy, drawing in the listener with a strange intensity.
There's scant support for this one, but as a stylish composition it may well be given a lift by the juries. My heart feels that it should qualify but my head says that Latvia will probably be overlooked once again.
Estonia is a nation which really seems to understand Eurovision. You don't always find them on the left hand side of the scoreboard but their appreciation and undeniable passion for the competition usually promises a slick production.
This year they have gone all Swedish as the charismatic Victor Crone will be flying the flag for the country with his rather captivating entry, Storm. It has absolutely nothing to do with the UK's 2018 entry, only that it is pure pop with a strong build and chorus.
This is one of a few outright pop tunes in the first semi-final, and Victor is a more than capable vocalist who possesses bucket loads of charm. His performance at Eesti Laul was thoroughly captivating and juries are inclined to appreciate this type of catchy, well performed entry. Not only juries, but the voting public, too.
Estonia may benefit from performing in the second half of their semi-final - people tend to remember the later performing entries. What may spoil their prospects are the songs from countries such as Australia, Iceland and Portugal - all possessing a quirkiness which may pull votes away from Victor. Faced with that, could it be the type of song that a great deal of viewers will appreciate, but only a handful will be especially motivated to vote for?
This feels a strong enough entry to qualify - particularly as it possesses a Swedish connection. A really impressive performance should garner it plenty of support, even if there is some stiff competition in its semi. My inkling is that a place in the Grand Final beckons.
Over the years, particularly since their return to the Contest in 2011, it has been Italy’s undaunted attitude in sending entries which feel as if they refuse to cater to a Eurovision audience which has been the country's strength. It has also helped that they have delivered respected, proven acts with a genuine ability to perform live; big shoes newcomer Mahmood will have to fill when he takes to the stage in Tel Aviv.
He'll be performing Soldi (Money), a song which has already proved popular on streaming services such as Spotify and iTunes, and which has become a favourite among many of Eurovision's core fans.
Up until now, Mahmood's CV has consisted of appearances on Italy's version of The X-Factor in 2012, from which he was eliminated relatively early on. His victory at Sanremo was a surprise too, seemingly having been shunned by the public vote in the opening show. Even his final night votes came mainly from the press and jury rather than the public, leading to questions about his song's appeal to a wider Eurovision crowd.
Mahmood has said that Soldi is a very personal track which he relates to his father's departure from his life when he was a young child and how money can affect family ties. Compared to the majority of 2019's entries, it's probably the most contemporary, relevant and radio-friendly.
It's hip-hop without much hop, sounds as if it's a rap song - but isn't. Creatively, it suggests a poetic beginning moulded seamlessly to a backing track; Mahmood's vocal monotone in nature, imbued with emotive inflections.
Soldi could be one of those songs which is not only very dependent on the running order, but also on its promised Eurovision revamp. Picked to perform at the sweet spot or nearby and Mahmood could do very well. Ultimately, it probably isn’t the winner, but I think if he brings a convincing vocal and stage performance it will win through and maintain Italy’s sequence of creditable results. Picture: Bart Ryker [CC BY-SA 4.0], via Wikimedia Commons
D-Moll: Heaven or hell for Montenegro in Tel Aviv?
In early February, Montenegro chose its latest Eurovision participants through a televised national final, Montevizija. The selection, which had five songs in the running, saw D-Moll win both voting rounds with their entry Heaven - ultimately winning with a 24% televote difference over the second placed act.
Like San Marino, Montenegro enjoyed their first Eurovision finals as an independent country five years ago and they have generally proven over succeeding contests that it wasn’t by accident. With the choice of Heaven, that observation may well now be up for debate.
As Balkan entries go, this is quite underwhelming in terms of its capacity to appeal to a wide cross-section of Eurovision voters. Although it has a perky and upbeat personality, the whole production feels depressing, drab and dated. It's as if the song has been plucked from an earlier decade and awkwardly recycled for a 2019 audience.
For sure, there is a melody for Eurovision viewers to grasp, while the arrangement is quite inoffensive on the ears. However, the lyrically repetitive nature of the chorus adds little but a feeling of annoyance and a desire for it to finish as soon as possible.
Harsh words, yes. But a possible promised revamp by the Montenegrins may change minds about the likelihood of it qualifying in Semi Final 1.
While it’s not impossible for D-Moll to reach the final with some improved staging and vocals, at the moment - based solely on the entry - I predict the group will be on an early flight home.
Kate Miller-Heidke topped the scoreboard at Australia's first Eurovision national final with the pop-opera song Zero Gravity.
Quite frankly, the whole thing is a shambles. Juries are likely to shun it and, from a Eurovision perspective, it is likely to follow in the footsteps of Sweden's 2009 effort or Romania's entry from 2013, rather than the more successful path enjoyed by Estonia 2018 (whose presentation Miller-Heidke looks to be emulating). Both of the former entries ended up outside of the Top 10 and, quite honestly, each of those countries can claim a lot more friends than Australia.
The public's response to the entire package may turn out more favourably as, for example, Romania’s Cezar (2013) found when he finished within the Top 10 in the televote, but flopped with the juries. So, while this genre of song may gain the goodwill of the public in May, it is likely to be a non-starter elsewhere - especially if other songs in Australia's semi gather more credible traction. Of course, this all depends on whether viewers will be sufficiently engaged with the song. Personally, about halfway through, I just wanted it all to stop. To be fair, I stayed with it, but towards the end it all got extremely monotonous. Consequently, this may well have grave implications for Australia’s televote, given that any interest in their highly camp presentation swiftly evaporates.
At the time of writing, only a few of the songs in Australia's semi-final have been announced. Their competition could be tough though, as the first semi-final contains several Eastern/Balkan nations. The Aussies could find themselves in a fight for points.
Those points could be more forthcoming if they can revamp the production so that more surprises are provided as Zero Gravity unfolds. Then, a place in the Grand Final may not be in question.
Big talent: Michael Rice to represent the United Kingdom
The BBC granted the UK another Eurovision national final this year, once again under the banner Eurovision: You Decide. The process was a little different this time, but it was Michael Rice with Bigger Than Us which topped the public vote and who will fly the British flag in Tel Aviv.
Six acts presenting three songs was the twist this year; each song nominated to be sung in two different styles by each of two singers. The "expert" panel, having eliminated three of the singers in the first round, left it to the public to choose between Kerrie-Anne's dated dance track Sweet Lies, Jordan Clarke's nursery rhyme Freaks, and Michael's gospel-tinged offering.
Admittedly, none of the options was overly inspiring, but I feel Michael Rice pulled off the selection solely because of his outstanding vocals - lifting what could have been an unremarkable song to a whole different level.
21-year-old Rice is no stranger to the competitive talent show circuit, though, having appeared on The X-Factor in 2014 and winning the debut series of the BBC's All Together Now singing competition. His strong voice was evident there on songs such as Hallelujah and Proud Mary.
Bigger Than Us is constructed for Rice's style of vocalisation: a power ballad which grows to a mighty conclusion - possessing a well-placed key change and all held together with the help of a gospel choir backing. Think Austria 2018 and you may well notice some similarity.
Despite his lack of big-stadium experience, You Decide suggested Rice is an assured performer with good stage presence - albeit he does need to tone down the incessant arm waving before May. Nevertheless, there’s a real buzz building around this entry and I’m reasonably confident that we could be in for our first top ten placing in a decade. I can’t tell you how great it feels to be able to type those words.
Getting friendly: Lake Malawi to represent the Czech Republic
Following a combined online public and international jury vote, the group Lake Malawi has won the right to represent the Czech Republic at Eurovision 2019 with their song, Friend of a Friend. The four-piece band faced stern competition from pre-vote favourites Jakub Ondra with Space Sushi and Barbora Mochowa with True Colors, but managed to top the final poll after a close fought battle.
Comprised of Albert Cerný, Jeroným Šubrt, Antonín Hrabal and Pavel Palát, Lake Malawi is a recognised act in their homeland, having released their debut single, Always June, in 2014. This was a minor hit on the local music charts, but it was the follow-up, Chinese Trees, which brought the lads to greater public attention. Since then, they’ve released several other singles, an EP titled We Are Making Love Again, as well as their first album called Surrounded By Light.
Now comes Friend of a Friend which has a certain early-Eighties electronic vibe to it, although it comes across as a rather lightweight Howard Jones-style B-side. Moreover, it just does not have the dynamism and contemporary spirit of 2018’s Czech song from Mikolas Josef.
Against Lie to Me it sounds rather second rate which is a disappointment considering the group's other indie output. Conversely, there is something charming about the song: It does possess a memorable chorus which at least gives it some capacity to pinch a few points from both the juries and the public and possibly scrape through its semi-final.
It's not exactly my pick, but I think there’s sufficient here for it to become a potential qualifier. However, the Final will be more of a concern. It could easily be the kind of song that is overlooked in a bigger, tougher field.
So, can the Czech Republic make the Final twice in a row? The track is catchy, but is that enough?
Bilal Hassani expectedly won the right to represent France in Tel Aviv with the song Roi, although it was not as smooth a passage to the Eurovision final as some might have forecast.
Once again, decided by way of the French national final Destination Eurovision, Hassani had to endure a vote of indifference from most of the international judges selected to award fifty percent of the points. It was only a landslide of public votes which saved the 19-year-old from a loss to second placed Seemone with Tous les deux: the favourite with the judges.
Whether either song possesses the power to break France's 42 year run of losses is highly speculative, but the feeling here is that it is distinctly unlikely that Roi will break into the Top 10.
Alas, the lineup at DE 2019 was fairly dull, so it was really no surprise that Hassani's more vibrant and personal performance would stand out against the competition. Unfortunately, the song (co-written with France's 2018 contestants, Madame Monsieur) sounds like a substandard protest, full of hackneyed phrases aimed at the now generation of youngsters seemingly so consumed with their identity.
It was mainly due to this set of fans that Hassani crossed the finish line in first place. However, the wider Eurovision audience is unlikely to be so adoringly fervent about Roi, particularly if Hassani turns in a similarly substandard vocal in Israel.
There has been a strong case that France needed to move forward with their Eurovision choices. Over more recent years, one can argue that they have really tried. While this song fits in nicely with 2019 sensibilities, it nevertheless feels as if it is a step backwards and, consequently, unlikely to do any major damage in May.
Roi is not necessarily bad, it's just that Bilal Hassani does not provide it with the irresistibly fascinating performance that some might think he does.
Unlike Spain's 2016 effort by Barei (remember Say Yay?), the country's latest Eurovision entry is unlikely to become that sort of radio friendly hit which stormed up the iTunes chart well in advance of the national final - or indeed the Grand Final in May.
Miki's La Venda(Blindfold) does, however, follow the current musical fad for Latin based rhythms and it would have been a sin had Spain not latched on to this trend - it is a Spanish entry, after all!
Over the past few years, the country has produced what should have been some genuinely competitive entries – among them Edurne, Barei and last year's ballad from Amaia and Alfred - only to see them wind up near the bottom of the scoreboard.
However, what might go in their favour this year is a positive return to the unique Iberian style that Spain can generally be expected to supply. La Venda is catchy and uptempo - the sort of thing one would normally expect from the Spanish.
As Eurovision entries go though, the song is fairly innocuous and Miki will have to improve the quality of his presentation skills if he is to garner enough votes to make much of an impression. A competent, compelling performance is what is required.
One thing that was apparent from the national final was that Miki's vocals need to improve dramatically if this entry is going to be a contender. He sounded out of tune for much of the three minutes. And while the Latin beat and football-style chanting demand a party atmosphere, Miki's stage presence nevertheless comes across as somewhat clumsy and lacking in poise. This makes him look more of an exuberant amateur than a potential global pop star.
Still, these are all problems which can be rectified with the help of a more slick and competent presentation – something the Spanish team will hopefully try to put together between now and May.
Nevertheless, juries will probably hate the song. So the whole package will have to be memorable, energetic and entertaining enough for the viewing public to rush to vote. I can't see that happening at this point, so Spain looks likely to suffer yet another disappointing year.
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