Ballad overdose: has Eurovision stopped being fireworks to get serious?

resounding removal San Marino over second semi-final from Eurovision The festival orphaned one of the most magnificent offerings in its history. Dressed in a cowboy hat and see-through Gucci overalls, Achilles Laura At Pala Alpitour in Turin, he captivated the audience with the kiss on the mouth of guitarist Boss Doms and, above all, his final dance on the back of a red-quilted mechanical bull. But it’s a monumental fire and brilliant spectacle that, as in the first semi-final, was frighteningly left out of the final. Rumella Hajirepresentative AlbanianFilled with folk rhythms and obscene gestures, his resounding ‘Sekret’ – including hands up to the groin – was deprived of early success to the monumental anger of many European fans.

Does Eurovision cease to be modern and daring when it always, or almost always, is? the ultimate paradise of a fun and bias-free music lifestyle? Review of the 20 finalists from the two semi-finals, great presence of ballads or songs of high callwhen not severe, the exceptional ‘Brividi’, Mahmood & Blanco (Italy), ‘Hold me closer’, Cornelia Jakobs (Sweden), ‘Saudade, saudade’, Maro (Portugal), ‘De diepte’, S10 (Netherlands) and ‘ Not the same’, Sheldon Riley (Australia), issues about heartbreak, absence, teenage anxiety, or bullying There is little or no room for the frivolity, flamboyance and glitz we usually associate with the Eurovision brand.

In a year that may seem prone to light and debauchery, after two long years of pandemics and the dark occupation of Ukraine in the next room, The 2022 edition has lost a large portion of its most outrageous, refreshing and entertaining offerings along the way.. In the first semi-final, in addition to the aforementioned Ronela Hajati, two nice disco-vintage songs emerged from the back door: ‘Eat your Salade’ by City Zeni (Latvia) and ‘Disco’ by LPS (Slovenia); ex-hard rock a la Michael Schenker, ‘Intention’ by Smart Music Project (Bulgaria); or a live review of ‘The show’, Reddi’s (Denmark) top girl rock. In the second semi-final, something similar would happen when the jury and the public vote sanction Michael Ben-David’s (Israel) LGTBI anthem ‘IM’, in addition to Achille Lauro’s ‘Stripper’. Brooke’s (Ireland) shiny pop ball ‘This is rich’. But neither better nor worse If the ceremony on Saturday thickens, at a certain moment it can get rid of boredom It is based on hyperballads and grand plot ambitions.

Goodbye to the ‘fan divas’

Of the 25 songs that will compete in Turin this Saturday to win the award-winning Crystal Microphone, but eight (other than Chanel’s intense ‘SloMo’, of course) come out of the canon of ballad or slow-cooked rhythm: The Rasmus (Finland) rock anthem ‘Jezebel’, WRS (Romania) the impressive ‘Call Me’, We Are Domi’s (Czech Republic) infectious electro-pop ‘hit’ ‘Lights off’ and the playful toy disco-pop ‘Give that wolf a banana’, Subwoolfer (Norway). Of course apart from that three proposals with a distinct folkloric character(favorite): ‘Stefania’, Kalush Orchestra (Ukraine), ‘Fulenn’, Alvan & Ahez (France) and ‘Trenulețul’, Zdob și Zdub & Frații Advahov (Moldova) all festival naive and affectionate.

One more detail: After becoming big icons of the festival over the last two decades, the so called ‘fan divas’ seem to have sung the swan song Eurovision-2022. You already know: women with magnificent voices and destructive manners, scenic power, Mediterranean voice and above all, long hair in the wind: Cypriot Ivi Adamou, Azeri Safura, Ukrainian Ani Lorak or Greeks Kalomira or Helena Paparizou, pick a star actress from another time. This year the divas’ offer was already falling, only Andromache (Cyprus), the aforementioned (again) Ronela Hajati and, far from the usual ethnic outbursts, Emma Muscat (Malta).

Which stand alone, in its subcategory hip strikefor… Chanel.

Source: Informacion

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