2020: United Kingdom: My Last Breath: James Newman

United Kingdom

Artist: James Newman

Song: My Last Breath

Automatic Finalist

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.

What do you think?

Storm / SuRie / United Kingdom | Review

Will SuRie kick up a Storm in Lisbon?

It's a little over ten days since the British public and a somewhat anonymous panel of  judges chose - from among six other hopefuls - its song for this years's Eurovision. The outcome: SuRie has unexpectedly earned the UK ticket to travel to Portugal with the exuberantly positive track, Storm.

The result was something of a surprise among those who had already heard the previously-released half dozen tracks. A clear favourite had emerged (Asanda's Legends) but studio-based and live performances can sometimes turn out to be streets apart. Unfortunately for Asanda she did not live up to all the pre-show buzz, ultimately running out of gas before the end of her song.

So, it was classically-trained SuRie (Susanna Cork) who stepped up to the plate and effortlessly stole the whole show, raising the roof at the Brighton Dome by engaging the entire audience with her assured performance of this dynamic mixture of ballad-cum-pop thumper.

Her decidedly rich vocals have been cultivated at local venues in Bishop's Stortford - albeit at the top of her register they sounded stretched towards the end of the song. Hopefully, this is just an isolated episode and her live vocal should not prove a concern in Lisbon. 

While her voice should hold up, what about the song? It's an entry far removed from Lucie Jones's 2017 plaintive effort. Storm is a highly listenable pop composition which seems perfect for Eurovision. It builds from a piano ballad beginning and develops into an example of a full-on toe-tapping, hand clapping party piece. Along with its uplifting lyrics, it has the potential to repeat the kind of atmosphere it created in Brighton when it hits the stage in May.  

Over the coming weeks though, the song will be the subject of a revamp, so any review is somewhat tempered until Storm's full impact is revealed.  

However, marrying the entry with the right visuals and production design, the UK may  surprise a few people this year. It may not win the Contest, but its memorable refrain gives it the potential to climb further up the scoreboard than the doubters would have you believe.

United Kingdom

Artist: SuRie

Song: Storm

Big 5 Finalist

Revamped version of Storm:

Eurovision 2017: Review: United Kingdom: Never Give Up On You

United Kingdom: Lucie Jones: Never Give Up on You

It's nearly two months since the British public and a panel of "expert" judges chose - from a field of six - its song for Europe. The result: Lucie Jones has been given the daunting task of flying the flag for the UK with the Emmelie de Forest penned Never Give Up on You.

Although there were a couple of other songs among the "You Decide" selection which sounded as if they were more suited to Eurovision, it was former X-Factor contestant Lucie who stole the show with her emotionally charged performance of this rather maudlin ballad.

Her impassioned vocals have been honed from her recent experience of appearing on the London stage in Rent, so a live vocal should not prove a problem. That's something that should bode well with the Eurovision jurors.

While her vocals are proven, what about the song? It's a composition as far away from Emmelie de Forest's 2013 winner as one could probably get - barring punk or heavy metal. Never Give Up on You is something of a stagey, stripped-back composition which begs for the level of passion that Lucie  happily delivers.

Over recent weeks though, the song has been the subject of a subtle revamp: the addition of synthesizers during the chorus, along with a subdued beat, giving the overall package a more contemporary flavour.  The visuals have changed too.

If the evidence from the video is a guide then Lucie's presentation will be in keeping with her age. Instead of the drab, outmoded appearance of the national final, there has been a much-needed transformation to more modern outfits and styling.

At last, the UK may have married composer, song, singer and production into a winning package - or at least one which might appear a lot higher on the scoreboard than recent examples.

8/10.

Eurovision 2016: Review: United Kingdom: Joe & Jake: You're Not Alone

Joe and Jake prove they're not alone

Fans of The Voice UK  with very good memories will recall these cheeky chappies who have now joined forces in the hope of pushing the United Kingdom to the dizzying heights of the left-hand side of the Eurovision scoreboard: Joe (Woolford) and Jake (Shakeshaft).

The day after Germany chose its entry, Joe and Jake were among six expectant acts at the 02 Forum in Kentish Town, London taking part in the first UK national final for several years, aptly named Eurovision: You Decide.  Performing last, their upbeat offering, You're Not Alone, captured the bulk of the British public's votes - the actual voting pattern has not been revealed - and will now see more action on the Eurovision stage in Stockholm.

Unlike many of the songs this year, this one is in its native language (ha!), but joking aside, You're Not Alone has a very laddish Britpop feel about it. Bouncing along at a rate of knots, at times Joe and Jake sound like a mixture of One Direction and Coldplay with a splash of The Wanted stirred in for good measure. Not surprising really as one of its writers is Siva Kaneswaran of said Wanted.

As a result, the song has a fresher, more youthful vibe than many of the UK's entries from the recent past and should appeal to a wide cross-section of the audience, especially younger voters who will be particularly engaged with the sound - as well as with Joe and Jake.

All good so far, then. But if there is a fly in the ointment, it could be Joe's live vocals and performance skills. His lower register sounded shaky throughout the duo's performance at the national final, though he shines when he steps up to deliver the energetic and memorable (uh-oh oh) chorus. However, stumbling around like a still-drunk teenager who has partied too much the night before is not going to cut it. Mind you, if the video presentation is a clue to the pair's staging in Stockholm, then perhaps this is not so much of a concern.

Hopefully, neither is the bottom quarter of the scoreboard.

Thankfully, the majority of the reaction to the song has been positive so far and given that this is one of the best entries the UK has fielded for a long time, a place in the Top 10 is not an unthinkable proposition.

What do you think?

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Imaani: Where Are You? : 1998

Imaani

It Should Have Won

United Kingdom: Where Are You?

Back in 1998, the United Kingdom was still on a Eurovision high. The previous year the country had won the Contest with Katrina and the Waves singing Love Shine a Light and it was now preparing to host the event from the National Indoor Arena in Birmingham. The country also had another solid contender vying for a successive win.

Imaani Wins the National Selection

The British buzz surrounded the selection of Where Are You?, one of four compositions competing in that year's Great British Song Contest - the UK's national final. It would be sung by newcomer Imaani, who was suggested to the song's writers by Debbie French, a member of The Collective - a group which had also graduated to the final.

While the entry by The Collective did not click with the British public, Where Are You? caught the imagination and raced to victory, registering over 4,000 more votes than its nearest rival. It was not surprising, really: the song had pedigree, particularly with hit songwriter Scott English on board.

English had already penned or co-penned big sellers such as Bend Me, Shape Me and Hi Ho Silver Lining, as well as appeared in the UK Top 20 himself with his own composition Brandy. This later underwent a metamorphosis to become Mandy - Barry Manilow's first big hit.

The United Kingdom Vs. Israel

Dana International

This kind of reputation stands no chance, however, when there is unending controversy and media attention surrounding one of the other national contestants. It transpired that Israel was sending the act Dana International with the song Diva. 

In any other year, the performer and the song wouldn't have caused much of a stir. However, Dana International was formerly Dan International: the first openly transgender singer to enter the Contest. As a result, none of the other nations really stood a chance, no matter the quality of their songs.

Imaani's superior vocal and production gave Diva a run for its money, however, but many voters were already seduced by the Israeli story and Dana International went on to secure Israel its third victory.

The UK Finishes Second...Again

Chiara

In fact, just eight points separated the Top Three. Another battle had ensued between Imaani and Malta's Chiara - another 'It Should Have Won' contender - with the Brit securing the runners-up spot by just one point. Either could have been a better choice than the eventual winner, particularly Where Are You? which actually sounded current for its time and continues to impress today.

Imaani gives a soulfully explosive, yet measured vocal over a driving mid-tempo dance beat, helped in the storytelling by some excellent backing singers. They all contribute to the sense of anguish and heartache that the song evokes, painting a vivid picture of longing and despair.

Replacing the year-long high, the UK's result instead became a major cause of despondency. Despite being one of the nation's best entries, the United Kingdom was in second place again - albeit the song received points from every participating country, including top votes from four of them.

Eurovision is never fair, it seems. 1998 was less so than most years.

What do you think?

Imaani Performing at Eurovision 1998

Imaani image by Richard Kaby [CC BY 2.0], via Wikimedia Commons 
Dana International image by Daniel Kruczynski (Flickr) [CC BY-SA 2.0], via Wikimedia Commons
Chiara image by The Foto Grafer (photographer) and TVMalta (licensor) (The Foto Grafer) [CC BY 3.0], via Wikimedia Commons

 

Ronnie Carroll: A Eurovision Tribute

Ronnie Carroll at the 1962 Eurovision Song Contest

"I sang trite songs, and they're still trite, aren't they? If someone came on in the middle of all this tripe and sang a new song of the quality of 'When I Fall In Love', they'd romp home". 

Like Sandie Shaw, it seems that the late Ronnie Carroll - who died on April 13 - had little regard in later life for the Eurovision Song Contest. It's unclear what prompted his jaundiced view of the competition - although the title of his 1962 entry, Ring-A-Ding Girl, might give a pointer, as well as an early clue as to the direction the Contest would take.

Nevertheless, the exposure afforded a singer by Eurovision was obviously something Carroll felt he could benefit from. That 1962 entry was not his first attempt at representing the United Kingdom in the competition, though. He had tried two years earlier, when he sang the now long-forgotten song, Spring, Summer, Autumn and Winter in the second semi-final of the UK national final of 1960. He came fourth - a position that would go on to haunt him.

In 1962, he may have been forgiven for thinking that he would fare no better at the domestic final. He was up against some heavyweight names of the day such as Karl Denver, Kenny Lynch and Frank Ifield. As it turned out, the fourteen juries from across the country placed Ring-A-Ding Girl (written by Stan Butcher and Syd Cordell) in first place with 59 points, a total which was more than double the score of the runner-up, Frank Ifield's Alone Too Long.

Carroll travelled to Luxembourg in March 1962 for the Eurovision final where he performed thirteenth in a field of sixteen. Once all the votes had been announced he had scored a total of ten points, placing his song in fourth position, well behind the eventual winner that year, Un premier amour representing France. Moreover, unlike some other Eurovision entries of the period, Ring-A-Ding Girl was not a major hit in the UK, only managing a peak position of Number 46. 

Ronnie Carroll in 1963

As trite as the song may have been, it didn't stop Carroll returning to the Eurovision stage the following year. He competed at the national final in February 1963 with the Norman Newell/Phil Green composition, Say Wonderful Things. A better song than its predecessor, it secured first place - its only real competition coming from Barry Barnett's If You Ever Leave Me.

However, at the Eurovision final held at the BBC studios in London, it did no better than his 1962 entry. Selected as the first of the sixteen songs to compete, Say Wonderful Things scored 28 points and left Carroll in fourth place again - this time at the expense of Denmark's first victory with their entry, Dansevise.

Carroll's recording sold well enough though, completing a fourteen week run on the UK chart and peaking at Number 6. He might have secured an American hit with it too had US singer Patti Page not beaten him to the punch by taking it into the Billboard Hot 100.

Carroll died at the age of 80 holding hopes of becoming an independent political representative in the Hampstead and Kilburn constituency at the 2015 UK general election.

Eurovision watchers, however, will remember him as the only UK representative (to date) to appear at the Contest in successive years. RIP, sir.

Main image by Nationaal Archief, Den Haag, Rijksfotoarchief: Fotocollectie Algemeen Nederlands Fotopersbureau (ANEFO), 1945-1989 - negatiefstroken zwart/wit, nummer toegang 2.24.01.05, bestanddeelnummer 913-6611 (Nationaal Archief) [CC BY-SA 3.0 nl], via Wikimedia Commons

Review: United Kingdom: Eurovision 2015 | Electro Velvet

Electro Velvet to continue the Eurovision romance in Vienna

Like a convict escaping under a veil of darkness, the UK's Eurovision entry was announced last Saturday night on the BBC's backwoods channel, generally known as the Red Button service. Electro Velvet's updated version of swing entitled Still in Love With You took many people by surprise, not least the fans and the press, the bulk of which responded with their typical knee jerk reaction.

Comments such as, "It's crap and we will be the laughing stock AGAIN" and "Basically that's no f*****g points for us" were pretty mild compared to the majority of vitriolic opinions heading in the BBC's direction. Agreed, there were a few dissenting voices finding favour with the song but, on the whole, the reaction appeared to be unreservedly negative. This is not anything new, though.

With songs from the likes of Scooch (picked by the British public) or Engelbert Humperdinck (picked by the BBC), the UK's Eurovision entry is always destined to fail according to most commentators. Even last year's attempt, which pleased many for its contemporary appeal, floundered miserably. So, what to do?

Try a different approach. BBC Introducing didn't achieve the required results, so fling the doors open to the general public to submit a song. As a nation, we didn't get to hear a final ten or a final five. We shouldn't be disappointed as it was never likely to happen: Television is a business and the BBC are not going to bother spending money on a national final which barely a handful of people have tuned into in its last few incarnations. Especially if viewers are going to send ill-conceived rubbish like Flying the Flag (For You) or Teenage Life.

So, we are left with this internal selection from Electro Velvet. My first reaction on hearing it was a combination of incredulity and amazement. Not specifically due to the quality of the song, but how it didn't conform to the preconceptions of a Eurovision entry. It's neither an earnest ballad, nor an outright novelty song. In fact, it appears to abide by the original concept of the Eurovision Song Contest for entries to reflect the cultural heritage of the nation they represent. In other words, it sounds and feels very British: very Jeeves and Wooster; very Noël Coward; irony and humour in its lyrics.

In a lot of ways, the negative knee jerk reaction the song instigated is now ironic in itself.  By causing an outburst of discussion, it has raised its profile significantly. Social media has been buzzing with commentaries about its quality, more of which are now approving. As for me, I'm much less sceptical than I was.

The jury is out until I hear a live version, but the song's saving grace is that in May it should energise the arena, particularly on a night that will be host to a sea of ballads. Let's hope the BBC can build some momentum over the next two months - perform it across Europe and recreate the feel good dance atmosphere of the video. It's not going to win but, with the right presentation, it should go down a storm!

What do you think?

Eurovision 1977: Lynsey de Paul Remembered

Rock Bottom: Lynsey & Mike in 1977

We never did see Lynsey de Paul and Mike Moran perform Rock Bottom at the UK Eurovision national final of 1977.

It was a time when strikes were all too common and BBC cameramen had decided to walk out, leaving many outside broadcasts to suffer as a consequence.

Although the competition went ahead on radio, it seems that the BBC was not too enthusiastic about The Eurovision Song Contest in 1977 anyway - and even less so about promoting that year's entry. It was all a matter of cost.

Having won Eurovision in 1976 with Brotherhood of Man's Save Your Kisses For Me, it fell to the United Kingdom to host the competition in 1977. It's not a cheap thing to do, particularly when you are already one of the biggest financial contributors to the competition. In fact, because of budget constraints and striking cameramen, the Contest that year very nearly didn't happen at all.

Thank goodness it did. Otherwise, we would ironically have missed the delightful Lynsey de Paul singing about the political problems plaguing the country at the time.

Mike Moran was there too, of course. However, Lynsey's profile was higher and as one of Britain's most accomplished singer/songwriters of the time, expectations (by the public, at least) of another UK win were hopeful. The song was bright and catchy, even if there were some jokey political undertones, and a fourth triumph looked as if it was on the cards. 

Lynsey de Paul

Apparently, the BBC was not so enthusiastic. A second win in a row would have meant that the UK would have had to stage the event in 1978. More expense for the Corporation. And in any case, those in powerful places at the BBC were less than complimentary about Eurovision: calling it "vulgar" and "unbearable".

As it turned out, they need not have worried. While the voting was close, the final performance of the evening came from France and it was Marie Myriam who took the Eurovision title with L'oiseau et l'enfant. In the end, Rock Bottom secured the UK's tenth runner-up position in just over twenty years of the competition.

At the time of her 1977 performance, Lynsey de Paul was 26-years-old. Thirty seven years later, it came as quite a shock to learn that at the age of 64 this beautiful woman had suddenly passed away.

Of course, Eurovision was just a small part of her career, even if the newspapers labelled her in headlines as simply a "Eurovision singer". She was already a gifted songwriter with two Ivor Novello awards to her name, as well as a string of UK and European chart hits. Probably the best remembered amongst these are her own 1972 Top 10 song Sugar Me and The Fortunes' Storm in a Teacup.

However, Rock Bottom became her final UK Top 20 hit, peaking at Number 19. That position was bettered around Europe, with the song hitting the top of the charts in Switzerland and very nearly repeating the feat in Austria.

While it would have been nice to see the song do better in the UK, as far as Eurovision fans are concerned, all that really matters is that Lynsey de Paul is fondly remembered for that quirky (postponed) performance with Mike Moran at the Wembley Conference Centre in London on the night of May 7, 1977.


Image above: AVRO (Beeld En Geluid Wiki - Gallerie: Toppop 1974) [CC-BY-SA-3.0], via Wikimedia Commons

Eurovision UK: A Song For Europe 1981

1981 was the year in which the United Kingdom won the Eurovision Song Contest for the fourth time. 

Not news to the ardent Eurovision fan of course, but do you remember the singers and groups that Bucks Fizz were up against in the UK national final that year?

It had been usual for twelve acts to appear in A Song For Europe, but in 1981 the performances were reduced to just eight. Among them were a couple of reasonably well-known names of the time, but most of the groups were assembled for the competition, along with singers that were new to viewers.

Here's the line-up that year, together with some personal thoughts about each song.

1. Not Without Your Ticket: Headache (7th)

Why a group would name itself Headache and enter the Eurovision national final is anyone's guess? It was asking for trouble given the reputation of the Song Contest. Even Terry Wogan couldn't resist a smirk.

Although I enjoyed Not Without Your Ticket's (a very cumbersome title, I believe) contemporary sound and feel, it suffered from the lack of a real hook and performance appeal. The latter was not helped by the lead singer, whose facial contortions were a little disconcerting. It probably didn't deserve its seventh place, but it was never going to win either.

2. All Cried Out: Gary Benson (4th)

One of the better known names in the 1981 national final was Gary Benson, who had written for the competition previously.

He had tried and failed in 1977, but had enjoyed more success with a potential entry in 1975. That year The Shadows had been chosen as the UK performers and one of the songs that competed for the ticket to the Eurovision final was Don't Throw It All Away. It only managed fourth place out of the six competing songs, but his own recording became a Top 20 hit later in the year.

All Cried Out was a gentle ballad, much the sort of song one would expect of Benson. Having listened again, it appears that he may have had some tuning issues, no doubt costing him some regional votes. All in all it's a pleasant tune, but nothing spectacular. It would never have won Eurovision and fourth place in this national final was probably fair.

3. For Only A Day: Unity (8th)

It was really not surprising that this one finished in last place. Even by Eurovision standards, its message of peace and love was too overtly saccharin and the presence of a chorus of schoolgirls dressed as if they had just left the set of Little House on the Prairie certainly didn't help.

Lead singer Sue Glover had some pop (and Eurovision) pedigree, though. She was first involved with Eurovision with her sister, Sunny, when they backed Lulu on Boom Bang A Bang. Then in 1975, they were both backing singers for Joy Fleming who sang the German entry that year. They would later back Vikki Watson on the UK's Love Is... in 1985.

More famously, Sue along with Sunny, was a member of the original Brotherhood of Man which had a few chart entries around 1970. That band in another guise, of course, would win Eurovision in 1976.

4. Wish: Beyond (3rd)

Not a bad little pop tune that has a rousing chorus, which over time could quite easily get into your head. Therein lies its problem.

In many ways, Eurovision is about immediacy and I'm sure this one would not have clicked with European audiences quickly enough. Proof of this was that it came third with the regional juries.

Beyond didn't disappear into the ether immediately though. This group too has its own Eurovision connection. A couple of months later, it would be backing Kate Robbins (a member of Prima Donna, the UK's 1980 contestants) on the Number 2 hit, More Than in Love.

5. Making Your Mind Up: Bucks Fizz (1st)

It has now become one of the UK's most iconic Eurovision songs and, at the time, little did we know Making Your Mind Up would become the 1981 winner.

Bucks Fizz had only been together for two months by the time of their performance, but the four looked as if they had been a group for some time. Only Cheryl Baker may have been known to Eurovision fans, having performed as part of the group Co-Co, the UK representatives in 1978 with the song The Bad Old Days.

This time she was singing Making Your Mind Up, an uptempo, Fifties-styled pop tune. It wasn't reflective of what was happening in the pop charts of the time, but it certainly stood out from its Eurovision competitors. Not only did it have a memorable tune, but also a charm that pulled in all age groups. How could you forget the bright colours, the appeal of the singers, the dance routine and the now infamous 'skirt-ripping' incident?

6. Have You Ever Been in Love: Gem (4th)

Having already provided the co-writing credits for Making Your Mind Up, Andy Hill now appeared as vocalist with the group Gem, alongside his partner Nichola Martin (creator of Bucks Fizz).

Have You Ever Been in Love? is a fabulous tune and in any other year could have won A Song For Europe. A beautiful ballad, it only managed fourth in this competition, but during the following year it would become a Top 10 hit for Leo Sayer.

7. Where Are You Now?: Lezlee Carling (6th)

Another heartfelt ballad, this time delivered by 21-year-old Lezlee Carling, who appears to have fallen off the Earth since this attempt at Eurovision.

Although she has a strong voice, Where Are You Now? seems more appropriate for a singer who is much older than Ms. Carling.

Its main failing is that it sounds dated, even by 1980's standards. For a song such as this, its lack of a really killer hook does not help, either. Sixth place was about right on the night.

8. Don't Panic: Liquid Gold (2nd)

Before voting started, Liquid Gold were the favourites to win the UK ticket to Dublin. They entered the competition on the back of three Top 40 hits the previous year - the biggest of which was Dance Yourself Dizzy which peaked at Number 2 on the British charts.

Don't Panic was very much in the same vein as those songs: a dance tune that was sure to be a smash in the discos and clubs.

Consequently, it appeared as if it would be a foregone conclusion that the band would storm through the voting and, having had those hits across the Continent too, bring home the Eurovision crown to the United Kingdom once more.

The regional juries had other ideas though and left Liquid Gold trailing in Bucks Fizz's dust in second place, twenty seven points behind Making Your Mind Up. Don't Panic didn't fare too well either when released as a single, missing the Top 40 by topping out at Number 42.

However, from the eight songs presented, the national juries obviously got it right by selecting Making Your Mind Up. But could any of the other contenders that year have been equally as successful? Personally, I believe Liquid Gold could well have brought home the trophy too, but we'll now never know.

The rest of the songs had no real potential in my opinion, but you might feel differently.

All images courtesy of above video.

Eurovision 2014: UK: Children of the Universe

Molly Smitten-Downes: Courtesy YouTube

It's been almost three weeks since the BBC revealed that the song Children of the Universe would represent the United Kingdom at the 2014 Eurovision Song Contest.

Since then, Molly Smitten-Downes (or just Molly for performing purposes) has been rightfully lauded for writing a song that finally reflects what is currently happening on the British music scene.

Or, at least, a flavour of it. After all, this is still Eurovision and the song is going to have to appeal to a broad base of voters.

That said, Children... is what the BBC promised: anthemic and fresh. Fresh in both its sound and how it is delivered. Molly is 26 and a good forty years plus younger than her most recent predecessors: star names from decades past who could not deliver on the big night.

Having seen the reaction since the song announcement, delivery should not be a problem for Molly. I think we can all agree that UK supporters should not be concerned about her live performance. Her vocals are strong, even if her diction is occasionally unclear and her breathing erractic.

But the performance is not all about Molly. The song has been composed with both strong orchestral instrumentation and backing vocals to help carry it and make it memorable. I'm hoping both the drummer and the backing singers are a focal point of the staging in Copenhagen.

When Molly gets to Denmark, I believe the juries are going to love this and help push it up the scoreboard. With such an open field, it is currently among the favourites to win. Rightfully so, in my opinion.

UPDATE: Here is the official video for the song, released on April 23.

Eurovision 2013: United Kingdom: Believe in Me

Bonnie Tyler: Rocks And Honey

As we all know, Bonnie Tyler has accepted the BBC's invitation to represent the UK at this year's Eurovision Song Contest with her latest single, Believe in Me.

Taken from her latest album, Rocks and Honey, Believe in Me is a mid-tempo country ballad that builds to a catchy crescendo, but lacks a memorable last few bars. As a Brit myself, I want this to work and in many ways it does. One cannot deny Bonnie's pedigree as a singer, performer and hitmaker, but in the back of my mind, I would have preferred this song to be more like Total Eclipse of the Heart than Lost in France. In fact, Bonnie herself has been quoted as saying that she would have chosen a different track from the album:

"I would have picked a power ballad myself, this is the most gentle track on the album...there is another Desmond Child song called Stubborn, which has got a bit more energy to it, but if they wanted a power ballad, All I Ever Wanted is fantastic, and that was written by Frank Myers."

Without question, the song lacks the energy of many of the other entries, so it will now depend on the vocals and the presentation on the night. Bonnie will be backed by a four-piece band, who will also contribute to the vocals. Footage from the rehearsal shows the legendary singer working the stage and, in the final moments, raised on a platform to command the arena.

All in all, everything looks and sounds good so far. I'd love to see her win, even if just to silence all the critics - particularly those in the UK.

However, we now hold our collective breaths and wait until Friday to discover where in the running order the UK will perform.

What are your thoughts about Bonnie Tyler's chances?

Eurovision 2012: United Kingdom: Engelbert Humperdinck

Engelbert Humperdinck by Wayne Dilger [CC BY 2.0], via Wikimedia Commons 

The longest cliffhanger in Eurovision history is finally over and it has been revealed that Engelbert Humperdinck will sing Love Will Set You Free for the United Kingdom in Baku in May.

So, what of the song? On first listening to it, I have to admit to being slightly disappointed. However, after several plays it is beginning to grow on me. It's not your usual Eurovision song and not the type that the UK normally send. A stark romantic ballad that begins with some Spanish guitar, it builds slowly to a key change crescendo that becomes more satisfying upon repeated listens.

There has already been a lot of Twitter talk about the UK song and from what I have seen, much of it has not been complimentary. It seems negative criticism is close at hand whatever the UK send to the competition these days. Let's remember, however, that this song has been written by two of the hottest composers of the moment, namely Martin Terefe and Sacha Skarbek, who have worked with names such as Lana Del Rey and James Blunt.

While that pedigree is positive, the UK now has a lot of catching up to do. It will have to start promoting the hell out of this song, so that it doesn't get lost in the mix of the previously announced entries. Is it a winning song? It could be, given the right staging and song position on the night.

So, how do you think the UK will fare at Eurovision this year?

Four More For Eurovision 2010

March 12th saw four more countries throwing their songs into the Eurovision 2010 ring.

Here are the entries that will represent Estonia, Germany, Greece and the United Kingdom in Oslo in May.

Both Germany and the United Kingdom will automatically feature in the Final, while Estonia and Greece will have to fight for a spot there in the semi-final stages.

Estonia picked Malcolm Lincoln and Manpower 4 singing Siren.

Germany chose Lena Meyer-Landrut with Satellite.

Greece picked Giorgos Alkaios singing OPA.

The United Kingdom chose Josh Dubovie with That Sounds Good to Me.

So what do you think of these latest songs? And remember, you can see every currently announced entry at The Eurovision Song Contest 2010 page.

Eurovision 2010: Josh to Represent the United Kingdom

Josh Dubovie by Oslo.no from Oslo, Norwayderivative work: HOUZI  [CC BY-SA 2.0], via Wikimedia Commons

Nineteen-year-old vocalist, Josh Dubovie has been selected by UK television viewers as the country's representative at the 2010 Eurovision Song Contest in Oslo. He will be singing a Pete Waterman composition called That Sounds Good to Me.

Josh won the vote over two other finalists (Esma and Alexis) selected by the judging panel of Waterman, Jade Ewen (last year's UK representative) and dance guru, Bruno Tonioli.

So, what do you think of the UK's song, and its chances?