Well because none of you hated the first podcast, and because I’ve frankly got used to editing this podcast malarky, Here, for your delectation and delight, is another assault on your aural senses …
Why did they finish where they did? Well, I’ll tell you!
[mixcloud https://www.mixcloud.com/phil-colclough/oneurope-podcast-22019/ width=100% height=120 hide_cover=1]
My summary – Part 2:
Cyprus – We always talk about the rules of diminishing returning artists, Maybe we should talk about the diminishing of returning songs. Being a soulless singer didn’t help either.
Denmark – Cute works to some degree.
Czech Republic – Complete opposite from 2018, where they had juries low score and high televoters score. Not that there was much difference between the songs.
Iceland – RVU knew what they were going to do. Hopefully the EBU will fine them heavily. More a wishful thinking than anything else from my part. I wonder if the televoters were voting for the song or for the act?
Australia – a chick on a stick. And yes, I am aware this sounds awful. The staging was hiding the fact that there was no much of a song.
Azerbaijan – A good song with a staging that was more gimmick than inherent to the song. It got Azerbaijan back to the top 10.
North Macedonia – Eurovision, mostly the juries, rewards a well sung ballad. And for once, Macedonia did everything right and didn’t fuck up the staging.
Norway – Denmark 2018. Disliked by juries, loved by televoters.
Sweden – Again, they have a huge problems with the televoters. They refuse to admit it. They had a better televoters result than last year, though. But the Swedish think they do no wrong, so they send the same all s**t every year.
Switzerland – They were doing nothing wrong and they got a good result as a reward.
Russia – Performing less good in both constituencies than in 2016. And the song was just rubbish.
Italy – Performing better than expected A modern song can do well in Eurovision.
The Netherlands – I have theory about this win. As always with theories I have no facts to support it.
I think the Dutch were “offended” by the Israeli win in 2018. They perceived it as inferior to their song, or to anything they have sent since 2013. The Dutch wanted to win badly to prove they have it in them to win the contest. But they wanted to do it with a good song, to show that song matters. Which brings me to their staging. They won in spite of the staging and not because of it. At the end the Dutch got what they wanted: A win with a song that matter. And a good song it is. Although, hearing the song every day on the radio at least once an hour , is getting the song on my nerves.