Eurovision 2022 and The Rasmus: A Critical Look at a Long-Running Band’s Return
The participation of the Finnish rock band The Rasmus in the international Eurovision Song Contest of 2022 drew mixed reactions from critics. One notable voice, Evgeny Babichev, described the move as a loss for the event, suggesting it carried a tinge of controversy rather than a straightforward artistic statement. The remark was reported by News.ru and cited in discussions about whether the choice reflected genuine artistic intent or a calculated appearance on a global stage.
According to Babichev, The Rasmus entered the competition not out of a spur-of-the-moment surge of inspiration, but to refresh attention on their latest album. He argued that the timing of their Eurovision bid seemed linked to publicity goals rather than a clear musical strategy, a perspective that frames the entry as a commercial grab rather than a pure artistic submission. This line of thinking positions the band as navigating a complex space between enduring notoriety and contemporary relevance in the crowded pop-rock landscape.
Babichev likened The Rasmus to a recognizable hit factory—one of those groups that produced a signature song capable of becoming an anthem. He noted that the era where a single tune could be instantly hummed by audiences is a memory for many veteran acts, and while The Rasmus had material that showed strong production, the overall output over time appeared fragmented. That fragmentation, in his view, may have tempered the public’s ability to fully rally behind them in a competition dominated by newer, trend-driven material.
Despite the praise some fans reserve for the band’s early achievements, the critic asserted that The Rasmus had not managed sustained, consistent success across three decades. This viewpoint emphasizes the tension between a long-standing catalog and the need to continually reinvent a band’s voice in a shifting musical world. It also raises questions about the expectations placed on acts with enduring catalogs when they re-enter major contests that tend to favor current flows and immediate resonance over legacy appeal.
In Babichev’s estimation, it was regrettable to see a group with a substantial international footprint appear in a competition that, in his view, sometimes elevates pop-for-a-night performers over artists with a deeper, more varied catalog. The critique targeted the broader dynamic of Eurovision as a platform where acts from different generations meet, compete, and are judged by a rapidly changing audience that increasingly skews toward trend-driven sounds and viral moments. The implication is that The Rasmus, with a more rock-leaning identity, faced an uphill battle against contemporary pop phenomena that dominate the event’s cultural conversation.
When the final results came in, The Rasmus finished 21st out of 25 entries. The placement underscored a complex reality: even a band with significant ongoing recognition can struggle to translate a legacy into a standout Eurovision moment in a field packed with diverse styles and national pride. The result prompted renewed conversations about how veteran acts are received in a contest that continuously seeks fresh energy while also honoring longer artistic histories. This tension highlights the differing metrics by which Eurovision success is measured—chart performance, cultural resonance, and fan engagement all playing critical roles.
In the days surrounding Eurovision 2022, other notable voices weighed in on performances from various acts. For instance, Lena Katina, known for her work with t.A.T.u., spoke about perception and personal expectations tied to such high-stakes showcases, prompting discussions about how performers interpret their own legacies on a global stage. The broader discourse also touched on perspectives from successful artists in other genres, illustrating how the event acts as a crossroads where art, popularity, and career strategy intersect in public view.
Looking back, observers note that the Eurovision experience can hinge as much on presentation, timing, and storytelling as on raw musical prowess. The Rasmus’ 2022 entry becomes a case study in how established acts navigate a platform that prizes variety, novelty, and immediate impact. The fandom surrounding songs like In the Shadows remains a powerful memory for many fans, even as new generations discover these sounds through streaming, live performances, and the evolving language of modern pop-rock. The broader takeaway is that Eurovision serves as a lens into how bands with long histories adapt to changes in audience taste, media ecosystems, and the relentless tempo of the digital music era.”