We must travel back to 1995 to see Spain secure a stronger position in the Eurovision Song Contest, when Anabel Conde finished second with Vuelvemigo. Now, after 27 years of mixed results, often landing in the lower half or at the very bottom as with Manel Navarro in 2017, Spain’s entrant Chanel Terrero rose to third place with SloMo, a recommendation that proved timely.
The artist entered the stage with a confident, magnetic aura, radiating charisma. She delivered a performance marked by flawless choreography and staging. There wasn’t a single misstep in the routine. Chanel carried herself with assurance, dancing and singing with remarkable ease. Her intonation remained precise, stable, and powerful throughout, never wavering or distorted.
Chanel’s performance stood out in a year dominated by ballads and mid-tempo numbers. It was among the most infectious and danceable offerings of the edition, and visually striking. Spain’s staging played a pivotal role. A dynamic dance crew, sharp choreography, Chanel’s iconic presence in a crystal dress from Palomo Spain, and lighting effects that manipulated tempo to heighten drama all contributed to the memorable presentation.
Holy Chanel: Ukraine wins Eurovision, but Spain makes history with best score of 62 years
single print and bold presence
There have been a few diva years, with a notably masculine and straightforward aesthetic. The top two spots were occupied by male contestants. The first woman to reach the top ranks was Chanel, followed by Sweden’s Cornelia Jakobs, who delivered a remarkable solo performance with a powerful voice. Among many ballad singers, Greece’s Amanda Georgiadi Tenfjord stood out with a conceptual stage act, finishing in eighth place, while Serbia’s Konstrakta surprised audiences as well, with In Corpore Sano finishing in fifth place in many opinions.
Konstrakta emerged as one of the night’s pleasant surprises. Winners often emerge early, yet Ukraine swept the votes (439 points), narrowly surpassing the United Kingdom’s Sam Ryder by almost 200 points.
It was a narrative of moments more than a single triumph. Kalush Orchestra’s song Stefania would likely not have reached the semi-finals had the country not been at war. The public rallied behind the occupied nation and celebrated the electro-folk mix that echoes its cultural roots with a touch of hip hop. Still, the song was modest in comparison to the competition overall, and juries from several nations did not rank it as the favorite.
unpredictable results
Tele voting proved to be one of the most unpredictable facets of the Eurovision ecosystem. Serbia’s refined entry delivered 225 points, while Moldova’s prehistoric ska effort reached 253. Italy faced a rough turn of fortune, with Mahmood and Blanco always among the contenders thanks to their standout ballad Brividi. Yet the live performance did not match the charm they showed at Sanremo, and while the song might be among the festival’s best, the moment didn’t align with expectations.
The Chanel effect amplified across social networks yesterday. The artist even captivated critics who once dismissed him, proving his focus and dedication. He stood tall, smiling, and delivering the work he set out to do.