Eurovision 2010s: 145 - 141
145. Samra -Â âMiracleâ
Azerbaijan 2016
We continue maneuvering ourselves through ironically lovable carcrashes. On todayâs menu we have this mĂŠlange of plated goldleaf and frizzy hairdo, from the fine vintage year of 2016. đˇ
Naturally, Samra kickstarts Postmodern Azerbaijan; a safe-sounding âmodernâ electropop song that is a barely disguised shitfest and overstaged accordingly <3 Of course the true unravelling only begins once Samra picks up her ~gilded~ microphone and starts beating together a misophonic nightmare. <3 Azerbaijanâs solution to the vocal mediocity? Force Samraâs dancers to provide backing vocals, the only people in the world (besides Hannah Mancini) who are even worse at singing than she is.đ We truly are not worthy. đ
________________________________________________________________
144. Getter Jaani -Â âRockefeller streetâ
Estonia 2011
OMG Getter <3 I donât think itâs hard for you to see why I stan her: She is probably... the most annoying entrant in this rankdown?đ Constantly shrieking, constantly mugging the camera, constantly pulling silly magic tricks, surrounding herself with literal pre-teen dancers (or um Russians, who are known to not age between 12 and 37). Topped off with your usual nonsensical LĂľhmus Lyrics: 1-2-7-3 DOWN THA ROCKAFELLA STREET.Â
_______________________________________________________________
143. Pastora Soler -Â âQuedatĂŠ conmigoâ
Spain 2012
Time for a little break from all the #2Hot2Trot garbage, so let me instead rate the weird anomaly that is âQuedatĂŠ conmigoâ one of the rare cases where Spain got it right? đ¤
Now, most entries around Pastora rank here because they were entertaining trainwrecks, but this doesnât apply to her. I rank Pastora this high because she wasnât a living, screaming mess. 2012 was a year of utter disappointment so the few songs that actually impressed me were like PURE OXYGEN. Itâs even more impressive that this entry came from Spain, of all countries: when Spain is never not loud and shrill, including when they send ballads (El <3 Dancing in the rain <3 Vuelve conmigo <3) and itâs nice to see them break character for once with a piece of cateyed realness. đť
It is only fitting, imo, to rank her in the middle of deafeningly loud insanity, like an oasis of tranqulity, so that you can, hopefully, experience the full potential of the Pastora Soler experience, which I personally found to be a vey pleasant and calming one. đ¤
________________________________________________________________
142. El SueĂąo de Morfeo -Â âContingo hasta el finalâ
Spain 2013
And now BACK WE GO to the deafening loudness Spain is usually known for! ESDM throw me for a bit of a loop, actually. Do I ironically stan *this* vocal mess? đ¤ I kind of do <3 Screaming Spanish ladies <3 Somehow avoiding last place lmfao. <3
Itâs a tough question because âContigo hasta el finalâ is in fact an AMAZING song. Yes, Ethno-folk banger <3 Bagpipes <3 Lowkey figments of epicness <3 This song just inherently feels like a ~journey~ through a magical world. Itâs very, very underrated.
So yes, I definitely WANT to stan what a barefoot-walking Kraljic-esque catastrophe Raquel was (âWID YOU ANTEEL DEE EEEEENDâ) but I mostly am frustrated that a song which I couldâve unironically adored has to be relegated to Ironic Love due to vocal imcompetence. It will only get worse from here on out...
________________________________________________________________
141. Nina Zilli - âLâamore è femminaâ
Italy 2012
...because Nina has the exact same problem as EDSM except here I donât even bother with unironic stanning. Iâm all for self-fulfilling prophecies, but not when Iâm the abused partner in a relationship.Â
Let us start with the good bits first: âLâamore è femminaâ is... one of my favourite Eurovision songs of ALL TIME. Like legit. Itâs one of only two songs that is on my off-season playlist. Itâs a glittering diamond compressed together from feisty jazz, female empowerment and endless hairspray, a song whose fierce intelligence burns brighter than Chinese firecrackers. Check out the studio if you havenât already. You wonât fall OUT OF LOVE with this song sent from above. đť
Which brings me to the giant elephant in the room: the live performance of âlâamore è femminaâ is GARBAGE. Nina and her backing vocalists were atrocious. So bad I canât even spin in my usual nihilistic spiel of worshiping badness for the heck of it. This beautiful song was ~wrecked beyond all recognition~ by awful acoustics and itâs TRAGIC.
Which brings me to the hardest question of all: Where do I rank this? Here, in the high light green, along the entries I rate as seven-out-of-tens, I think is the best spot. Any lower is an insult to the song. Any higher is sugarcoating how bad the live truly was. Mind, there is still SOME spunk and feistiness to be found in the live and I donât think the acoustics are Ninaâs fault. Everyone had bad soundmixing, with technical difficulties killing off monitors hither and yon. The technical failures just hit Nina harder than most. Itâs not much, but it gives the live a small silver lining.
So here we are, discussing one of two Eurovision songs whose studio version I prefer over the live performance, whom I ipso facto treat like a non-ESC song because the canonical version is too painful to live through. I donât really want to dwell on âLâamore è femminaâ being disappointing though. I still cherish the song itself, although the Eurovision version is sadly not as good. đ
PS: The other song I mentioned will go next, and by now you should be able to tell which one it is...
As if that cliffhanger werenât enough, the next update is the FINAL ONE for this tier :o Who will miss out on the unironic ~Love~ zone?