Eurovision’s so-called ‘Big 5’ come marching into the Grand Final often with no expectation of a respectable score. In 2022 there is a genuine confidence from three of them that they can bag a result to be proud of.
Callum Rowe ranks the five countries’ entries.
Malik Harris doesn’t give us much to go on with Rockstars. It’s so inoffensive that it becomes offensive. I want to feel an emotion listening to a song and I get nothing from this. The track lacks an infectious hook to grab my attention.
Harris has a very listenable voice so it’s a shame the song doesn’t match his talent.
Germany are destined for another near-bottom of the scoreboard result with Rockstars and that’s too good of a result for that song as far as I’m concerned.
First thing’s first, my initial thoughts on Fulenn have changed considerably since Alvan & Ahez won France’s national selection in March. I wasn’t full of compliments for the act’s Eurovision contribution but maybe it deserves some acknowledgement now.
Fulenn slaps you in the face from angles you might not expect and thus has the right capabilities to capture the attention of the audience. It packs pace and energy in bucket loads but I do still believe the track has too much going on and it confuses itself with the cocktail of sounds it offers. Altogether it is a song that mixes old and new and it would have been better if it had picked just one.
Spain have categorically turned around their Eurovision fortunes and that’s even before their act Chanel has performed in the Grand Final.
It comes to something when a song as strong as SloMo performed by a singer as confident and energetic as Chanel is only the third best of the ‘Big 5’ but the competition collectively set a high bar.
When I first reviewed SloMo I described the chorus as lazy, and I stand by that today because that’s exactly what it is. And that’s not to do the song a disservice. It’s infectious, smooth and sexy. It sells the song.
Italy seldom turn up to Eurovision with an entry that doesn’t deserve to be fighting for the win come the Grand Final. 2022 is no different with Mahmood & Blanco’s entry Brividi.
The duo have a harmony on this track – and on stage – that is respectable. Blanco’s maturity in his performance is admirable considering his tender age and experience. I love his confidence when he performs his solos.
Admittedly the track has lost the feeling of magic that its initial listen gave to me but that’s not going to do the duo any harm when it comes to the impact it will have on first-time listeners at Eurovision.
1. United Kingdom
Who’d have thought it? The United Kingdom are topping a non-dismissive or derogatory Eurovision ranking. Sam Ryder embodies what it should mean to represent one’s country and fly its flag on the world stage. Not only is he a representative for British Eurovision fans to be proud of, he’s easily the most talented vocalist the UK has sent to the contest in a generation.
His song Space Man is a real anthem and a true representation of the British music scene. In my review I described the production of the track as being “heavily layered with drums, piano, guitar and sound effects”. As I listen to the song time and time again, I keep hearing new elements that add to the production and, indeed, the enjoyment.
The whole track is grand. No stone has been left unturned when producing it and that should be applauded. Space Man deserves to be pushing hard for the victory at Eurovision in May.