I’ve saved my (current) home entry for last. I’ve struggled to understand why it’s received almost universal panning on the fan boards.
SuRie is an incredibly charismatic performer. At the national final, it became clear she’d turned a decent-enough song into something greater. The studio polish that followed helped confirm this.
One thing I’ve read that other fans think goes against ‘Storm’ is that it’s repetitive. And maybe that’s not a bad thing. Each act has three minutes to convince the voters. Eurovision isn’t a time for subtle nuance. When the second chorus lands – unless you’ve a swinging brick where your heart should lie – you’re with her, arms aloft and joining in. We’ve seen it at all the parties this year.
And then there’s the lyric. Not that I believe Eurovision is a place for depth, but I adore the plaintive twist in SuRie’s voice as she asks of her mother if she’s making her proud or still needs to do better.
The first time I heard ‘Storm’ it was out of context, and I thought it was one of the Melodifestivalen tracks. It has that Nordic feel. Were this song in the hands of Mariette, fans would have it tipped for victory.
After a run of stinkers (Humperdink through Electro Velvet) few expect the UK to do much at Eurovision. Indeed, ‘Storm’ could easily find itself ranked 11th or 12th on various scorecards, meaning fewer points than I believe it deserves. Equally, in a polarising year (with some dreadful songs on offer), I wouldn’t be surprised to see SuRie surpass predictions and return the UK to the left-hand side of the scoreboard.
For me, it’s all there – a charismatic singer who knocks it out of the ballpark when she sings live (and who knows how to use the camera) and a memorable song …
And yeah, I know I’ve just handed SuRie the kiss of death.