Spain Should Have Sent ‘Lo Malo’
As a reality show built around music (with a dash of Big Brother), Operacion Triunfo was a success. As a selection show for the Eurovision Song Contest, it falls a bit short. The months of time the public spends with the artists builds up familiarity in the viewer and there is a sense of voting for story momentum rather than an accessible song. Alfred and Amaia had their reality TV story and it dragged ‘Tu Cancion’ towards Portugal..
Meanwhile, another song from the show didn’t have the character momentum, but has stormed the Spanish charts and is ready to be the viral MedPop hit of the Summer. ‘Lo Malo’ was in full view, but young love got in the way.
The Netherlands Should Have Sent Any Other Track From Waylon’s Album
If you want my absolute guilty pleasure of the year, then Waylon’s ‘Home’ is breaking my post-Eurovision depression fuelled heart that misses my extended family:
From the top of the mountain, to the bottom of the ocean,
The places that we’ve been, or the places we’re going
The miles that we’ve travelled, the stones we’ve been rolling
The fires that I burned, and the world of uncertain
The one thing I know is… When I’m with you, I’m home
Instead they had five songs presented in a ‘National Final over a few days’ format for everyone to watch, with a ‘one man one vote’ system. The one man was Waylon, and the one vote was for ‘Outlaw in Em’. I realise that Waylon used Eurovision as an opportunity to promote his Nashville tinged album, but just like Bonnie Tyler’s ‘Rocks and Honey’ album with ‘Believe in Me’, he ended up choosing the wrong song. He then compounded the mistake with some misguided staging choices, arrogant press conferences, and an inability to listen to anyone with a viewpoint that wasn’t his own… much like his decision to not listen to anyone else and choose ‘Outlaw In Em’.
Sweden Should Have Sent Felix Sandman
If there’s one song that has been my earworm from the National Finals… that had a legitimate chance of winning the Song Contest, it was ‘Every Single Day’ from Melodifestivalen. Felix Sandman may have lost in the Friends Arena, but the subsequent domination of the Swedish chart, stopping ‘Dance You Off’ reaching number one, and Felix’s love for the Euovision fandom, highlights a performer that was more engaging and authentic. While the tight focus on Ingrosso’s “lean mean Sweidh pop grilling machine” may explain the poor televote, the real answer lies in Melodifestivalen’s app voting.
The MF jury aped the Eurovision juries, while the public voice (which signalled that Felix was stronger) was flattened out by the tight spread of online votes. The problem is clear, can SVT address it for 2019?
Norway Should Have Sent Alexander Rybak With Another Song
This is a tricky one to call. Looking at the options as presented in MGP, Norway didchose the package that had the best chance of winning. I think Rebecca would have struggled to escape the Semi Final, Stella & Alexandra would be fighting for the same audience as Eleni Fouriera and Netta, and Aleksander Walmann was a risk-free choice that would have made Saturday night but not reached the Top Ten.
The answer was always going to be Alexander Rybak. He did win the second Semi Final, but illness saw ‘That’s How You Write A Song’ slip down the rankings on the Grand Final. Norway needed a Rybak at full power to make up for a weak song. If the song had been stronger, then a Top Ten would have been within reach.
Latvia Should Have Sent Something From Aminata
As we have discussed before, the Supernova format used by LTV only works when Aminata enters, as Ben Robertson noted in 2016:
Supernova makes the winners even feel like losers, with the jurors critiquing each performance with such seriousness – they have to find flaws in the artistry. This doesn’t bring your big names back, missing part of its mission objective in restoring Latvian Eurovision glory.
Win or lose in May, Latvian Television needs to look at Justs’ margin of victory and realise the disaster their format almost created.
Nothing has changed. With a flawed format, you get a flawed winner. ‘Funny Girl’ wasn’t suited towards Eurovision, and that’s the fundamental issue with Supernova. Even ‘Soledad‘ would have stood a better chance.
Montenegro Should Have Sent An Internal Selection
It probably would have been best not to do Montevizija at all. Bradcaster RTCG could have taken the limited budget and made sure it was all available for the Eurovision staging.
The National Final had all the hallmarks of a big show, but with a number of issues. Having a super final when your entire final only consists of 5 artists to begin with seems a excessive. With a venue that did not have enough space for an audience, but not even enough space for each artists family to watch them did not help the atmosphere.
Why pick a hotel conference room when literally down the road is the Montenegrin National Theatre. Ok it’s not huge, but it’s at least built for putting on shows and an audience would have totally lifted the performers energy.
Or go with Slavko again…
Iceland Should Have Sent Dagur Sigurðsson
Iceland’s issue is the timeslot of its National final (and Eurovision itself). Because of the timezone difference, Söngvakeppnin is an early evening show with an audience that skews towards the younger generation. I’d argue that ‘Our Choice’ has a huge amount of potential but only if it was entering Junior Eurovision. As for the Adult version, it’s hard to look past Dagur Sigurðsson for 2018… and we hope to see Ari return in 2023.
San Marino Should Have Sent, Er, Well, We’re Not Sure…
All we can say is that if ‘1 in 360’ returns as the selection method, the rulebook needs to be written in ink and not changed multiple times during the journey. Then we’d get a National Final that San Marino could be proud of.
In the meantime, here’s some Valentina Monetta. Because.
We’ve already looked at the National Finals that got it right – read that article here. As for the big mistakes of the year, do you agree? Let us know in the comments!