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Ich Komme by Erika Vikman
I’ve seldom been as thankful for being one of the organisers and presenters of Second Cherry – a second chance contest and erstwhile podcast – as when Erika Vikman didn’t win UMK in 2020. Her song Cicciolina was the perfect camp euro pop track that I love so much, and even more so that it celebrated such an iconic figure. It also meant that Erika and her song forever had a place in fan lore as our Second Cherry champion rather than an asterisk as a would-be cancelled Eurovision entrant.
Five years on saw Erika’s return to the Finnish UMK in one of the most anticipated participations in years. The title alone tantalised, and her being the last song to be revealed helped crank up the attention. I have to be honest that I didn’t think it was great on first listen, but perhaps I was judging it against the hype. On second listen I assessed it for what it is rather than isn’t, and do you know? I like it.
Erika feels like the kind of artist who’s made for Eurovision. I can’t think of a better platform for her. I also love that she’s an artist who embraces and champions female sexuality in a way that becomes a key tenet of her art. Perhaps Ich Komme’s theme feels emphasised in a year that feels oozing with sex and innuendo, but it’s one I am so behind. It’s tumultuous build to an almost literal climax is pure fun.
Sticking in Finnish is a treat to fans though even after the success of Käärijä feels like a risk. Maybe the exclamation of being about to come feels more palatable in German, both to enhance understanding and to avoid the severity of the censor. I’m not sure this has the broad appeal or personal charm of Cha Cha Cha though, and I can’t lose sight of the fact it didn’t instantly wow me. I think Erika is edging us to a very decent result, but I reckon she’ll not quite get us to the happiest ending of all.
My marks: douze points!
Photo: Mikka Varila/EBU