#esc 1994

For a majority of Finland's time in the Eurovision Song Contest, the nation has opted to sing in Finnish.

The nation sang exclusively in Finnish until 1973, when Marion Rung's 'Tom Tom Tom' brought English language songs into the mix. This was due to the fact that 1973 saw changes to the contest's language rules, allowing all participants to sing in any language of their choosing.

For four straight years, the nation only sent songs that were in English, but this streak was ended by the reintroduction of the language rules allowing nations to only sing in their national languages. Thus, the nation sang in Finnish (and Swedish once) until 1994.

However, the English included in CatCat's 'Bye Bye Baby' was simply the song's title repeated as a chorus.

Finland took a bit of a break from the Eurovision Song Contest after 1998, but when they returned, the language rules were no more, and thus began a streak of English language songs from 2000 to 2007.

After 2008, the nation sang in Finnish only four times, and tried their hand at singing in Swedish once more as well.

Käärijä's 2023 song 'Cha Cha Cha' marks the first time in eight years that Finland sent a Finnish language song to the contest, and it's the most successful Finnish language song in the history of the contest.

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It's almost necessary when talking about Dublin 1994 to mention the interval act.

Up to this point, interval acts have been some local song and dance, maybe some comedy intended to kill time while the jury votes are counted and verified and telecommunication links can be established to all the capitals of Europe. The downtime before the hosts can unveil their super-scoreboard and the whole glory of European friendships and animosities can be revealed.

In a sense, what Ireland chose in 1994 was exactly this. A group of traditional Irish dancers with some novel choreography with a mystical Celtic backing song. On paper this was absolutely nothing out of the ordinary.

But something clicked. The build from having Michael Flatley and Jean Butler doing their solos, to dancing together, to being joined by ranks of synchronised legs moving and tapping simultaneously on a stage was utterly hypnotising. Many remember this Eurovision purely for Riverdance when they can't remember who won or any of the other songs. Riverdance went on to become a trans-Atlantic success story and is one of the rare Eurovision exports that went world-wide almost overnight.

It also meant that from now on every Eurovision was going to have to match that. The interval act was now something to be talked about and anticipated.

#84: Evridiki -- Ime Anthropos kai Ego (Cyprus 1994)

“Νύχτα φωτεινή, και πάλι θα σε κρύψουν Τρέμεις σαν παιδί μήπως σ’ ανακαλύψουν Βάζεις τη στολή να μην σ’ αγγίξουνε Τα πώς και τα γιατί”

“A shiny night, you’ll get hidden again You shake as a boy in case they discover You put on the uniform so that No how’s and why’s can touch you”

For some reason, reading the lyrics of this reminds me of a story about domestic violence. The man putting on a uniform might be that of the police, so that he wouldn’t be caught beating his lover, but she has to remind him that she’s a human too.

In reality, Ime Anthropos kai Ego discusses about the divided Cyprus, though unlike with Panagia Mou, Panagia Mou (#133), it focuses more about the relationship between two people on different sides of the island. The lyrics on how they could say "I love you" but still kill the other is quite haunting, especially in this context.

That said, Evridiki’s second entry is my favorite of them--it tells a grand story which Evridiki sings very well (to the point when asked about who would be her biggest competition, Edyta Gorniak said that Evridiki was) Note how in the end she handles the final flurry of words as she tries to get everything in at once.

Some people mention that it drags on a bit, and I understand that, but the use of ethnic elements and the drama more than makes up for it. You could feel everything that Evridiki points out, and the orchestration does its job in containing that atmosphere.

(Also, we should thank RAI for withdrawing, because if Italy remained and competed with Passera, Cyprus would've gotten relegated because of their poor result in 1993. Haha)

Personal ranking: 2nd/25 Actual ranking: 11th/25 in Dublin

#83: Zala Kralj & Gašper Šantl - Sebi (Slovenia 2019)

“Ko so tvoje misli polne lahko poslušaš, kako mi bije srce Ko težko je tvoje breme, k meni se lahko zatečeš”

“When your mind is full You can listen to my heart beating When your burden is heavy You can take refuge in me”

Serene, intimate, and pure. The atmosphere created by this song is a universe onto itself, one in which Zala and Gasper step in and inhabit on their own world. I don't get chills from basic ambient music that often, but this one really takes one in.

It's not only the peaceful music which makes Sebi so strong; it's also the poetic lyrics which light a candle to a cold room. I like the sincerity and sweetness in it; I get the sense of comfort in being in somebody else's space. There's nothing more sacred and honest than having someone to confide to, and Zala and Gasper delivers in spades.

Sure, the way they stare at each other is a bit strange, especially when you note Gasper's movements, but I can’t help but get enveloped in their universe. The use of galaxies help convey that feeling of safety and peace in a quite space, and it just makes my heart warm up to see them comfortable with each other. Gasper giving Zala a gentle kiss in the end was just the cherry of that cake.

(Also, they have a great backlog of music; check out both Come to Me and Origami! I like the former in particular because of the Lordesque lyrics and cuteness).

Personal ranking: 3rd/41 Actual ranking: 15th/26 GF in Tel Aviv