eurovision

What better way to begin our trip to Eurovision 2014 than with a visit to ABBA the Museum in Stockholm? With this year commemorating the 40th anniversary of ABBA’s win at Eurovision with the song “Waterloo”, it seemed to be a particularly appropriate time.

The museum takes you on the journey through the lives of the members of ABBA, from their early years and first bands, through to the formation of ABBA, their win at Eurovision in Brighton, UK and the years of fame and music making that followed. It’s a lot of fun, with their music playing throughout, and interactive singing and dancing activities and photo opportunities giving lots of chances to get involved. I was so excited to sit in the helicopter from the Arrival album cover! If only I were wearing a jumpsuit! Having seen the ABBA exhibition on its visit to Sydney, I was worried that this museum would merely repeat the experience, but it provides a whole extra level of depth.

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The ‘Gold Room’ contains the true treasures – gold records and original stage costumes, including capes, miniskirts and my all time favourites, the blue and yellow cat outfits. How badly did I want one of those as a young girl? And now I own a t-shirt featuring the original design, purchased from the museum gift shop.

It was great to watch that original Eurovision performance, and to remember that, up to that point, the competition had been fairly conservative. It seems that the ABBA win was a turning point, introducing Euro-pop and the outlandish outfits that just seem to get more and more over the top with each year’s competition. (It’s also interesting to note that Olivia Newton-John represented the UK in the 1974 competition and came fourth with “Long Live Love”).

One tip is that the museum is cashless, and that there is a surcharge for buying tickets at the door. We had difficulty purchasing our tickets online with Australian credit cards, but tickets can be pre-purchased from the nearby Djurgården tourist information centre, avoiding the fee.

The museum also includes the Swedish music hall of fame, a further excuse to lose yourself in the Europop of Roxette, Ace of Base, Swedish House Mafia, Europe and, of course, the 2012 Eurovision winner, Loreen.

“Coming Home” by Malta’s Firelight is a rousing foot stomping, hand clapping, folk-pop number. If the Seekers were still going today, this is the kind of song they would record, with its stirring harmonies. It’s also probably the only Eurovision number this year featuring the Appalachian mountain dulcimer.

While the band is new, the lead singer is no stranger to Eurovision, having performed twice with a pervious band and also as a solo singer. In 2011 he managed to come in as runner up. So is this his chance for the number one spot? Can Malta take out both the Junior ESC and the main competition?

If they perform this well live it could really get the audience going and singing along. It’s certainly one of my favourites. But will it light the fire for Europe?

While many Eurovision acts may seem to have come from outer space – or at least that would provide them with a reasonable explanation, this year’s entrants seem to have been looking to the heavens for inspiration.

The Swiss entry by Sebalter , “Hunter of Stars” is a catchy, folky pop tune featuring whistling, banjo, fiddle and one of those wind keyboards last seen when used by 80’s pop band, The Hooters. It also features the interesting line, “I am so wet I feel dirty”. But can it reach the heights?

The UK entry by Molly, “Children of the Universe” is a radical departure from the recent British trend of using Eurovision as a vehicle for attempting to revive the careers of ageing rockers, with Molly Smitten-Downes just starting out in her songwriting career. This song, co-written by Swede, Anders Hansson, features an interesting mix of strings and heavy percussion. There is something vaguely Pat Benatar about this song, but this is Eurovision and that’s not a bad thing. The theme of unity is also very ESC. Will it launch Molly’s career?

Just when you may have feared that Eurovision was becoming terribly mainstream, “Three Minutes to Earth” by The Shin and Mariko from Georgia (although the band, The Shin is based in Germany) does appear to have fallen to Earth from somewhere. Although this song does seem to lack a melody, it is apparently based on traditional, Georgian folk songs and allegedly describes the last three minutes of a long walk back to earth. Which could explain why the singer appears to be in pain.

“To the Sky” by Tijana from F.Y.R Macedonia has positive, catchy lyrics and a great dance beat. I’m looking forward to shaking my booty in the mosh pit to this tune. It could be a contender, but will Europe phone home votes for Tijana?

Not Alone” by Aram MP3 from Armenia starts out as a soulful piano-based ballad Billy Field style with strong vocals, building with the usual strings and horns, yet it manages to morph into intelligent synth-pop. I’m hoping for lots of lasers and robot-style dancing for the stage production. Will Europe alienate Aram, or will they vote for this song?

To be honest, when I first heard that the Austrian entry was a long-haired, bearded lady called Conchita Wurst, I thought that Austria had stopped taking ESC seriously. Surely they had no hope of winning with that act. Yet “Rise Like a Phoenix” is one of the stand-out songs of this year’s competition. It has all the drama and soulfulness of a classic James Bond theme song. I can’t wait to see how this song will be staged, but I’ll bet it gives both the wind machine and the glitter cannons a good workout. There may even be fireworks! And the wardrobe…I can see lots of glitz and ‘flowing fabric’. Beware those playing drinking games!

So perhaps the Austrians do know their stuff? While unknown to the rest of the world, it seems that Conchita is a popular performer and overall celebrity in her native Austria. Although she has cancelled recent shows due to a cold, so hopefully she recovers for her big week!

But can she win? There is always a risk that gender-bending acts will not win the votes of more conservative countries. However, that didn’t stop the openly transsexual Dana representing Israel in ESC 1998 (incidentally, the year that Conchita turned 10) and winning the competition. Let’s face it, in a competition that can be won by a group dressed up as monsters, anything can happen!

 

While “Rainmaker” by Emmelie de Forest may be the official #JoinUs song, it appears that several other countries have also been inspired by the changeable European climate in penning their ESC entries. Hopefully this rain dance won’t attract the clouds to Eurovision!

In past years, Spain has taken advantage of its Big 5 status guaranteeing it a spot in the Final by entering some very unlikely songs. But Ruth Lorenzo’s powerful Spanish/English tune “Dancing in the rain” is a real contender. And make sure you watch this heartwarming version of the video clip. Will Europe vote for this song or will they rain on her parade?

Norway’s “Silent Storm” by Carl Espen is pretty unremarkable. It’s a good song to play in a lift. It also doesn’t sound like the sort of song a mid-weight guy with a beard and tattoos would sing. Sure, the lyrics are very atmospheric, but I would imagine the votes will just drip in.

The Netherlands once again have chosen a very un-typical Eurovision entry with The Common Linnets’ “Calm after the Storm“. Last year’s entry, Anouk, with “Birds” had a sound more reminiscent of Lana del Rey than the typical Europop or folk styles represented in Eurovision. This year’s entry is in an atmospheric country style – who would have thought that there is a country music circuit in The Netherlands? Yet who can forecast how Europe will vote?

 

While a popular title for Eurovision entries, it has yet to take the number one spot. Georgia came closest in 2010, reaching number 9 in the Final. Yet Austria (2013) and the Netherlands (2009) both failed to make the finals with their versions (although I still think Austria should have gone further last year, I really like that song).

This, however, has not perturbed Russia, who is trying again in 2014 with their song, “Shine“.

While the Tolmachevy twins are only 17, they are already seasoned Eurovision performers, having won the junior contest in 2006. This is another fairly strong song, begging for some dramatic staging.

But can Shine reach the spotlight in 2014? Let’s see, would teenage blonde twins singing a catchy tune get many votes…?

 

 

While Australia may be caught in the grips of the Masterchef phenomenon, it appears that there is an international obsession with the culinary arts (or at least eating dessert) if the titles of this years’ ESC entries are anything to go by.

Latvia’s entry this year is “Cake to Bake“, a catchy, guitar-based folk song about a man lamenting that although he has done many amazing feats, such as “went to desert, made it rain” he doesn’t have a clue when it comes to baking a cake. By the way, one of his feats includes learning Latvian. The band’s name, Aarzemnieki, means ‘foreigners’ so this is a song written in English, by a German man living in Latvia. It features the classic Eurovision song elements of dodgy English, and a meaningless ‘ze ze ze cu cu’ refrain which sounds just as silly in any language. Can Latvia bake their cake and win Eurovision too?

The laid-back groove of Belarus’ entry suggests that “Cheesecake” is not a good lover’s nickname, at least not for the classically trained Teo. But is he sweet enough to tempt the international voting community?

A few tense weeks followed the initial confirmation that fan tickets would be available. The OGAE Facebook page was checked daily to ensure that our fees had been paid and were received by the club. Preferences were lodged for seated or standing tickets. Lists of those requesting tickets were scoured to ensure our names appeared. Fans started heated arguments over how to distribute tickets if only a small number were allocated. Everyone is mindful of the fact that while OGAE Rest of the World (ROW) has arguably some of the most passionate ESC fans, we are not a priority as we do not have a show entrant.

Fortunately, we did not need to resort to such drastic measures. Our initial ticket allocation covered most of those requesting tickets. As ROW members requested more seated than standing tickets, our club president, Roy, managed an international negotiation of United Nations proportions to swap our allocated sitting tickets for two standing tickets from countries such as Norway who had requested more sitting tickets than they were allocated. So all the attending ROW members were guaranteed their fan packages.

The whole ticket swap then had to be approved by OGAE International. The ticketing company then had to adjust for all the ticket swaps, delaying the purchase date. But who cares? We had guaranteed tickets to all the shows including the Grand Final. We are on our way to Eurovision 2014!

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Organising a trip to see the ESC means that the drama of Eurovision starts well before the first cape billows before a wind machine. It all begins with the ticketing.

As ESC is held in a different country each year (apart from that freakish triple winning streak by Ireland from 1992-1994) it is planned by a different team each year, so the number of tickets available, the configuration of seating, the timing of ticket sales, the process for purchasing and the types of credit card accepted all vary in random and unpredictable ways.

Tickets for ESC 2014 have already been released, with the first wave of public tickets going on sale 29 November 2013. For this year’s competition, tickets were then released in a further two waves, with those missing out on the tickets they wanted – such as those for the Grand Final night – able to nominate for a waiting list. But let’s face it, purchasing Grand Final tickets through the public allocation is harder than finding a straight guy in the ESC mosh pit.

So CJP and I decided to hold out and see whether we could gain a fan package. The fan packages are offered through the Eurovision Fan Clubs, or OGAE. They include tickets for both semi-finals and, best of all, those elusive Grand Final tickets. Again, the numbers on offer vary from year to year, as do the times at which they are offered for sale, so we were maintaining a close vigil for any breath of news about ticketing pretty much since we returned from the last Eurovision.

Finally we received confirmation that fan packages would be available. But would there be enough to go around?

The host city for ESC 2014 has now been announced as Copenhagen. Denmark had submitted some very creative entries for hosting next year’s event, and the winner was one of the more interesting options presented.

Instead of going with the town’s most predictable venue, the Parken arena (which opted to host football instead of the world’s best competition! Seriously!!!) the arts precinct of B&W Hallerne, a former shipyard, will be modified into a purpose-built ESC venue.

One of the advantages of last year’s host city, Malmö, was that the smaller town created the feeling of a Eurovision village. From the Eurovision disco at the Central Station to the fan hubs scattered throughout the town, part of the appeal of attending ESC is the atmosphere of peace, love and partying created within the host city. While Copenhagen is the most logical option for the Danish host city, given that few other locations in this small country can offer the necessary combination of a suitably sized venue and sufficient accommodation, there is the risk that the ESC vibe could get lost in a larger city.

The B&W Hallerne venue, however, promises to turn the whole precinct into a ‘Eurovision Island’ especially for the fans attending this event. Plus, the venue will be designed specifically for the three televised shows! All this promises that ESC will be one spectacular and memorable event! I can’t wait!!! Look out little mermaid, here we come!

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