Is it time for Eurovision Song Contest’s Waterloo?
We’ve enjoyed over 60 years of unusual competitors, eccentric interval acts and the all important jury votes. In a world full of conflict, is the song contest still necessary?
When the plug was pulled on the Eurovision Song Contest in 2020 due to the Covid pandemic, the executive supervisor at the time, Jon Ola Sand, vowed it would come back stronger the following year.
And he was right. The kitschiest of competitions returned in 2021 with a worldwide ratings juggernaut of 183 million viewers — one million up on the figures for 2019.
It might be a night of camp, cheesy fun for some or Eurotrash hell for those who consider it an insult to real music, but there’s no denying its enduring, global appeal.
Granted, it lost its Midas touch for many years. Where once it was a huge platform to launch the careers of bands and singers like Abba, Celine Dion, Bucks Fizz and Dana, in more recent times it’s failed to replicate that star-making glory — until last year.
For Italian rock band Maneskin, winning Eurovision in 2021 has dramatically altered the course of their career.
Despite finishing in fourth place in the jury vote with the entry Zitti e Buoni, Maneskin won the public vote by a landslide.
That support gave them credibility; a degree of coolness even; that set the rockers apart from the big ballad singers, the novelty acts and the dated Euro-pop groups.
Maneskin went on to perform at festivals across Europe, charted in the States, opened for The Rolling Stones in Las Vegas and made history as the first Italian act to pick up three nominations in the MTV EMAs, beating the likes of The Killers and Coldplay to win Best Rock Act.
Can this year’s competition, due to take place on Saturday night in Turin, produce another international success story like Maneskin?
Ukraine representatives and members of Kalush Orchestra
Co Derry singer Brooke Scullion represented Ireland this year with her self-penned pop tune That’s Rich — and despite the plaudits for the song — it was knocked out in Thursday’s semi-final, which saw the number of countries whittled down to the final ten.
Afterwards, the Bellaghy woman was emotional but hopeful her stint in the contest might still prove to a launch pad for her performing career.
“Look it didn’t go our way tonight,” she said in a video posted to her Instagram page. “We are so, so happy with what we did and it just isn’t for me right now. But maybe in the future, maybe, bigger things are going to come. I’ve got an EP coming out, so who knows. Thank you so much everybody who voted... I couldn’t have done any more. I’m so happy, so thank you.”
In the lead up to the knock-out stages, questions had been raised over whether Eurovision should even be going ahead, given the ongoing war in Ukraine. Invading nation Russia has been banned from participating, while Ukraine’s entry, the rap group Kalush Orchestra, is currently the favourite to win.
Speaking ahead of her exit, Brooke was adamant that the competition organisers made the right decision to press ahead with the show, given its unifying potential.
“I think Eurovision is a moment to unite people — generations, old and young, friends and family — everyone watches Eurovision,” says 23-year-old Brooke.
“It’s the one night of the year that you can switch on and celebrate music and cultures from across the world.
“Even with Covid too, it’s amazing they’re able to host the event on a larger scale this year to give people something to enjoy and lift spirits.”
To those who ridicule the contest and deny its relevance or cultural influence, Brooke says that if it can make stars of Maneskin, it can do so again.
“I think Maneskin’s impact and ability to cross into the mainstream has made people sit up and take note of Eurovision again,” she says.
“At the end of the day, the fans are so passionate and proud, that they are keen to see others go on and do the same.
“For anyone who doesn’t take Eurovision seriously, I say think of the platform that stage gives an artist.
“I hope for me it’s going to open the doors to more opportunities for my career, which I’m so grateful for.”
Brooke performs on stage during the second semi-final of the 66th Eurovision Song Contest at Pala Alpitour on May 12, 2022 in Turin, Italy. (Photo by Filippo Alfero/Getty Images)
Brooke performs on stage during the second semi-final of the 66th Eurovision Song Contest at Pala Alpitour on May 12, 2022 in Turin, Italy. (Photo by Filippo Alfero/Getty Images)
In 2006 Belfast singer Brian Kennedy made it through the semi-final stage of the Eurovision Song Contest to the grand finale, with his own composition Every Song is a Cry for Love.
On the night, he finished in 10th place. The previous year the Irish entry, performed by Donna and Joe, failed to qualify for the final.
From 2007 — the year after Kennedy performed — until the present day, Ireland has only had one top 10 result and that was Jedward in 2011 when the twins finished eighth. And yet Ireland still holds the record for the greatest number of victories — seven wins including three consecutive triumphs in 1992, 1993 and 1994.
The country’s first win came in 1970, when 18-year-old Derry girl Dana won with All Kinds of Everything. Johnny Logan brought Ireland its second victory in 1980 with the ballad What’s Another Year achieving his second victory in 1987 with Hold Me Now. Logan also penned the ballad Why Me? which gave Omagh’s Linda Martin a win in 1992.
Kennedy recalls his time in the competition with much fondness and believes even the most cynical of viewer secretly enjoys the light-hearted fun of it all.
“Eurovision Song Contest viewers are divided into two camps,” he says.
“There are the absolute obsessives who hold parties and know all the fun facts and then there are those who pretend not to be interested but who really get caught up in it all.
“One of the things I remember most about taking part was that you suddenly become ‘Ireland’ and not ‘Brian Kennedy’. It’s like people identify you as your country and not by your name, but I felt a sense of pride in that.
“It’s fun and it’s mad but my God, after the last few years, isn’t that just what we need?”
ATHENS - MAY 18: Singer Brian Kennedy of Ireland performs at the semi-finals of the 2006 Eurovision Song Contest May 18, 2006 in Athens, Greece. (Photo by Sean Gallup/Getty Images)
ATHENS - MAY 18: Singer Brian Kennedy of Ireland performs at the semi-finals of the 2006 Eurovision Song Contest May 18, 2006 in Athens, Greece. (Photo by Sean Gallup/Getty Images)
The contest organisers maintain a neutral, non-political stance and have only banned acts on three occasions now due to political reasons.
Back in 2009, Georgia withdrew from the final in Moscow after their song, We Don’t Wanna Put In, was rejected on the grounds it was too anti-Putin. Georgia refused to change the lyrics.
Last year Belarus was banned over the lyrics of its song, which mocked anti-government protests in the country.
Kennedy strongly believes that the ESC organisers were right to go ahead with this year’s event as a ‘show of solidarity’ with Ukraine.
And he says he wouldn’t be surprised if the platform is used to make a political statement.
“If the Eurovision Song Contest had been cancelled this year, it would have been yet another thing Putin has destroyed,” said Kennedy.
“The people of the Ukraine need some light relief and to show the pride they have in their country.
“And also, this is a way for the rest of the world looking on to say ‘no, no, no, Putin. We’re not having it’.
“It’s not only a show of solidarity from Europe, but the rest of the world watching the show and I wouldn’t be in the least bit surprised if the stage was used to make a political statement.
“With so many millions of people around the world watching it live, that would be the perfect time to say something.”
Eurovision winner Linda Martin, however, thinks politics should be kept out of music.
“Had the show been cancelled this year, then that would have been caving in and really, music should transcend politics,” she says.
Eurovision winner Linda Martin has added her voice to the campaign against live hare coursing.
“What’s happening in Ukraine is horrific; tragic and maybe the show will go some way to lift people’s spirits.
“But I don’t think Ukraine should win just because of what’s going on. I dare say they will get a lot of sympathy votes and I totally understand that.
“But I don’t think it’s a great song to be honest and I think the song that wins should do so on merit.”
Before winning with Why Me? in 1992, Martin was placed second in the Eurovision final in 1984 with the song Terminal 3, also written by Logan. Triumphing in the contest gave her a ‘ladder up’ and allowed her to progress from nightly gigs around Ireland to playing regular concerts in Europe.
But while she agrees that Eurovision can still raise artists’ platforms, citing Maneskin as an example, Martin, who will deliver Ireland’s votes at this year’s final, believes the days of finding a superstar are over.
“I think if you’re entering the Eurovision to be a big superstar, that’s not going to happen now,” she says.
“Acts these days are seen and heard via platforms like Spotify. The UK’s entry this year (Sam Ryder) has a huge following on Spotify already.
“The days of finding the next Celine Dion, Abba, Bucks Fizz, Katrina and the Waves, are long gone. You’ll get the work and exposure but not a record contract.”
She also believes Ireland needs a return to variety and cabaret style gigs where artists can build up experience and expertise before throwing their hats into the Eurovision ring.
And while being a fan of Brooke’s bubbly personality and voice, she thinks Ireland needs to ditch the Euro-style pop and follow Logan’s well-trodden path if it’s ever to return to its halcyon days.
“I truly believe we have the talent here in Ireland but where can they be seen when we have no ballrooms or cabaret or variety shows to provide them with the necessary experience and exposure?” she says.
“Songwriters won’t throw a magic song into the hat if it’s being sung by an unknown. Contestants need to have that experience to be able to perform on a huge stage in front of millions of people.
“Ireland can come back, but it needs to stick with the good, strong ballads that won us the contest before.
“We can’t compete with the up-tempo pop songs. It’s not our thing. Leave that to countries like Sweden or Denmark.
“All we need now is to find the right people to sing the big ballads.”
