Jorge González lives with Eurovision as a constant possibility. At 35, the idea to pursue the festival seems to have been on his mind from the start. When he turned 18 and began climbing, he vowed to represent Spain no matter the cost. He hasn’t reached that ultimate goal yet, but he narrowed the gap at Benidorm Fest with a performance that surprised audiences and judges alike. It felt like a Eurovision illusion, a trompe l’oeil that drew in plenty of support even though other acts offered stronger competition. He proclaimed on the orange carpet last Sunday that he had a powerful song and outstanding dancers. Third time’s the charm, right? Maybe this will be the year for Jorge.
There was a tense edge to his persistence, one that allowed him to stay on the radar despite the inevitable ups and downs. His remarks, such as addressing fat phobia while noting the rejection that can come with looking well-groomed, stirred controversy. An interview with Malbert again placed him in a tricky spotlight. He reminded audiences that he grew up in rough surroundings, fighting for a dream he refused to abandon. Since releasing three albums, Your Face Looks Familiar has kept him in the public eye, and Jorge returned to the Eurovision preselection circuit with renewed energy. Questions now turn to whether he can secure a fifth attempt alongside Almacor, St. Pedro, María Peláe, and Nebula, all connected by the numbers.
Eurovision doesn’t want ‘bitches’: Will Benidorm Festival favorites have to change their lyrics to enter the festival?
2008 | ‘Jealousy’
Operation Victory marked a turning point in 2006 when the singer signed his first record deal as soon as he hit the streets. That debut album, though niche, hinted at the potential that would eventually unfold. After 17 seasons, the door opened to a market waiting for new voices. The idea of joining Eurovision returned, and D’Nash’s 20th place had RTVE on alert, a prelude to Spain’s later misfortunes in the competition. The selection process split into two stages: an online casting and an in-person gala where the public could vote via a MySpace-style setup, with ten finalists advancing. Jorge presented Jealousy, written by Jaime Roldán, known for his work with Chayanne and Cristian Castro. It was described as strong, Arabic-inflected with flamenco elements, and capable of selling well. Still, the popular vote did not favor him, and La Casa Azul could not secure a spot against Coral Segovia and Rodolfo Chikilicuatre in Belgrade.
2009 | ‘If I came to make you fall in love’
The journey didn’t stop. In Eurovision 2009, the format again blended online previews via MySpace with a new twist: the songs would compete by genre. Jorge entered the Latin category, placing third in the televised semi-finals and earning a final spot through a bronze finish. He finished ninth overall with four votes as Soraya Arnelas won with The Night Is For Me, which solidified Spain’s position at the bottom of the chart for that year. In hindsight, he rejected further attempts: “The same afternoon they offered me this again, but this is something for which the fish has already been sold.” A decision to walk away reflected a clear boundary between opportunity and commitment.
2010 | ‘My love’
Nevertheless, he kept moving. In 2010 he released a new song, My Love, created by Daniel Ambrojo and choreographed by Nito Solsona. The contest’s merits were modest, yet the effort persisted. He spoke about hopes for a strong, visible performance and the chance to make a meaningful impact in Norway. The national selection proceeded with digital voting, narrowing the field to a handful of finalists. Ultimately, Diges won amid controversy, while Spain briefly rose from a deep hole to 15th place. Jorge remained a contender in the national conversation about future entries.
2014 | ‘Even if the world ends’
The resilience showed again in 2014 when RTVE internally selected the contestant pool for a single gala to choose Spain’s Eurovision representative. The decision rested on a 50/50 jury-to-public split, with the public vote prevailing in a tie. Even If the World Ends showcased a blend of Latin electropop that could stand out amid a trend toward ballads. The song finished third, and the producer Dabruk later collaborated with acts like Juan Magán, Natalia, and Beatriz Luengo. The Eurofan contingent emphasized that even a modest show of support from the European audience matters deeply, a reminder of how passionate the fan base can be. This entry stood as a strong option, potentially influential across the Continent.
2024 | ‘Hot’
Ten years on, the road back to Benidorm Festival arrived at a moment when the market had shifted and newer generations were less linked to his name. Experience, however, remained a valuable currency. He handled the semi-finals pressure with surprising composure. Inside Hot, Eurovision references abound, recalling moments like the North Macedonian entry Ninanajna from 2006, Belarus’ hum solayoh from 2013, and Cyprus’ Devil from 2021. The track may not be groundbreaking, but it carries a familiar rhythm that has resonance with audiences. The song’s performance, compared to other finalists, shows a notable staying power on platforms like Spotify and YouTube, despite not being among the top plays. Will the result align with public interest? That question lingers as the journey continues.