E
Emily Bootle
Guest
Is there a secret to winning Eurovision? The contest is famous for its chaos – and so it’s difficult to pin down why the winning songs of the past 20 years have been successful. Luckily, they can be separated into four categories that might help us be savvier about which of this year’s entrants could rise to the top. Read on to find out what makes the past 20 winners tick.
A classic and easily imitable category, featuring a resplendent leading lady and not much else. Think soaring choruses, sparkly skirts and non-stop vibrato.
A huge bop from Turkey featuring belly dancing, billowing fabric and a made-up English word. There are slightly eastern-inflected synth riffs and an almost reggaeton sounding chorus – but mostly this winner was defined by its lead singer and her main character energy, filling the room with her soprano belt.
Helena Paparizou channels Britney here. With her troupe of male dancers she does traditional Greek dancing in stilettos and a little sparkly dress – a blue-steel facial expression and impeccably blow-dried hair contribute to the pop diva energy and made Paparizou an icon.
A classic of the Eurovision genre, “Euphoria” leant into the emotive EDM that was big in the early 2010s. Loreen, barefoot and in a harem jumpsuit and kimono, twirled and writhed around an almost-black, empty stage. She’ll be back at Eurovision 2023, and is hotly tipped to win.
Conchita is perhaps one of the best-known former Eurovision participants. Her performance was iconic partly because of her voice – but mainly because she did not move an inch for its entirety. In a gold ballgown with a huge train covering her feet and much of the stage, Conchita simply stood and sang like an operatic leading lady – and was rewarded for it.
This entry from Ukraine took a much more serious theme than usual Eurovision fodder (the Second World War) but delivered it in usual Eurovision style (glamour and high camp). Jamala sang passionately in a floor-length ballgown, again holding the stage alone, all the while making a socio-political statement.
The Game of Thrones/Lord of the Rings/Grimms’ Fairy Tales type-songs, with melodies that remind you of castles and/or Pagan rituals. This category has enjoyed a huge amount of success at Eurovision over the years – and even if it doesn’t win, it’s often the most entertaining part of the night.
An entry that could qualify both for Pop Divas and Myths and Legends. Ruslana and her troupe are clad in bearskins and leather, looking like they wouldn’t be out of place in Game of Thrones’ Winterfell. With an energetic, folky string riff, this one gets the crowd jumping and summons courage for battle.
“Hard Rock Hallelujah” was a vibe shift from the three previous winners, which were all singalong pop tracks fronted by women. Here, Lordi and his band wore prosthetics and costumes to look like orcs, shredding guitars in a pop-metal affront on the senses. Very mythical, definitely legends.
Norway’s 2009 entry was sung by somebody who appeared to be a cross between the Artful Dodger, Mr Tumnus and a busker in Norwich. Alexander Rybak is in fact a talented violinist and vocalist who took his country to victory with this slightly bizarre Hansel-and-Gretel folk hit, complete with swaying maidens. Come for the fiddle, stay for the trad-style gymnastics.
You can tell Florence and the Machine was around in 2013 from this Danish woodland wonder. Another barefoot situation, this time one complete with a folk whistle opening and marching-band style drums. Emmelie de Forest is the perfect fairy queen.
One that most readers will remember: last year’s winning entry by the Kalush Orchestra of Ukraine. Pink bucket hat, mythical creatures, hip hop beats, stomping around – regardless of the political situation, this one deserved to win. Another folk whistle came into its own here, hinting that this could be helpful for success.
Competing with the Pop Diva as lone wolves, the Passionate Young Men are all over the place at Eurovision and occasionally rise to the top. Aquiline noses and unrequited love are the keys to success in this something-for-the-mums category.
This is a confusing winner for me. Clad all in white and, once again, barefoot, Dima Bilan writhes around on the ground singing about… well, love, I suppose. It’s an R&B slow-jam but somehow manages to incorporate intense violin-playing, as well as some ice-skating on what appears to be the world’s smallest rink. Key, I think, is the sadness in Dima’s eyes.
A close contender for the Pop Divas category but narrowly slotted into Passionate Young Men because it does, to be sure, feature a Passionate Young Man. It’s a Disney-movie duet for a couple also clad all in white, smooching around to a mid-tempo ballad doing operatic acting as they belt lovingly into each other’s faces.
Sweden’s 2015 winning entry was memorable largely because it was accompanied by animated stick-person dancers that interacted with its singer. But aside from its avant garde credentials, it slotted firmly into this category, with Mans Zelmerlow in tight long-sleeved top and leather trousers, looking down the camera with longing stares.
In 2017, Portugal entered perhaps one of the most tender Eurovision songs ever. With lovey-dovey lyrics in romantic Portuguese, it’s one of those rare Eurovision moments that actually feels heartfelt and genuine (about something beyond the performance itself). Salvador Sobral came on stage in an oversized suit, with a woodland background behind him, and gave us his heart.
Cord shirt and a piano? A decade after Russia’s Westlife-aesthetic wailing with “Believe”, the Passionate Young Man has upped his game. Little to say about “Arcade” beyond its rendition by the Netherlands’ greatest heartthrob since Van Gogh, but if you go in for Euro-ballads, you’ll be sure to love it.
The winners that defy taxonomy.
A beautiful 2007 combination of emo and normcore here, with Marija Šerifović clad in glasses and an oversized black suit. The song has fairly generic – if slightly intense – lyrics about lost love, but there is somehow a feminist vibe in the women that surround her onstage and eventually form a choir. A wistful folk tune on the flute has a Myths and Legends air, but the overall aesthetic is firmly unique.
Although “Satellite” could have just about made it to the Pop Divas category, it sits alone because of its invocations of Indie Twee, that period of music defined by almost-spoken lyrics (cf Kate Nash’s “You said I must eat so many lemons/Cos I am so bitter”), “quirky” singers, and eyeliner. Lena wears a bodycon dress and choker and sings under strings of blue lights about painting her toenails – the tongue-out emoji,
, personified.
No category for “cultural appropriation”, but eyebrows were raised at Netta’s interpretation of Japanese culture – her in a kind of Harajuku-Geisha outfit with cats covering the stage. This song was, you will remember, quite traumatic, the constant chicken noises overpowering the eastern-folk melody.
While the lead singer of Maneskin is definitely a Passionate Young Man, “Zitti e buoni” is miscellaneous because it is, above all, goth. The first winners after the pandemic, Italy delivered a Eurovision classic: high energy, high camp, and an entirely forgettable song about being insane. A very worthy winner.
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Pop Divas
A classic and easily imitable category, featuring a resplendent leading lady and not much else. Think soaring choruses, sparkly skirts and non-stop vibrato.
Turkey, 2003: Sertab Erener’s “Everyway That I Can”
A huge bop from Turkey featuring belly dancing, billowing fabric and a made-up English word. There are slightly eastern-inflected synth riffs and an almost reggaeton sounding chorus – but mostly this winner was defined by its lead singer and her main character energy, filling the room with her soprano belt.
Greece, 2005: Helena Paparizou’s “My Number One”
Helena Paparizou channels Britney here. With her troupe of male dancers she does traditional Greek dancing in stilettos and a little sparkly dress – a blue-steel facial expression and impeccably blow-dried hair contribute to the pop diva energy and made Paparizou an icon.
Sweden, 2012: Loreen’s “Euphoria”
A classic of the Eurovision genre, “Euphoria” leant into the emotive EDM that was big in the early 2010s. Loreen, barefoot and in a harem jumpsuit and kimono, twirled and writhed around an almost-black, empty stage. She’ll be back at Eurovision 2023, and is hotly tipped to win.
Austria, 2014: Conchita Wurst’s “Rise Like a Phoenix”
Conchita is perhaps one of the best-known former Eurovision participants. Her performance was iconic partly because of her voice – but mainly because she did not move an inch for its entirety. In a gold ballgown with a huge train covering her feet and much of the stage, Conchita simply stood and sang like an operatic leading lady – and was rewarded for it.
Ukraine, 2016: Jamala’s “1944”
This entry from Ukraine took a much more serious theme than usual Eurovision fodder (the Second World War) but delivered it in usual Eurovision style (glamour and high camp). Jamala sang passionately in a floor-length ballgown, again holding the stage alone, all the while making a socio-political statement.
Myths and Legends
The Game of Thrones/Lord of the Rings/Grimms’ Fairy Tales type-songs, with melodies that remind you of castles and/or Pagan rituals. This category has enjoyed a huge amount of success at Eurovision over the years – and even if it doesn’t win, it’s often the most entertaining part of the night.
Ukraine, 2004: Ruslana’s “Wild Dances”
An entry that could qualify both for Pop Divas and Myths and Legends. Ruslana and her troupe are clad in bearskins and leather, looking like they wouldn’t be out of place in Game of Thrones’ Winterfell. With an energetic, folky string riff, this one gets the crowd jumping and summons courage for battle.
Finland, 2006: Lordi’s “Hard Rock Hallelujah”
“Hard Rock Hallelujah” was a vibe shift from the three previous winners, which were all singalong pop tracks fronted by women. Here, Lordi and his band wore prosthetics and costumes to look like orcs, shredding guitars in a pop-metal affront on the senses. Very mythical, definitely legends.
Norway, 2009: Alexander Rybak’s “Fairytale”
Norway’s 2009 entry was sung by somebody who appeared to be a cross between the Artful Dodger, Mr Tumnus and a busker in Norwich. Alexander Rybak is in fact a talented violinist and vocalist who took his country to victory with this slightly bizarre Hansel-and-Gretel folk hit, complete with swaying maidens. Come for the fiddle, stay for the trad-style gymnastics.
Denmark, 2013: Emmelie de Forest’s “Only Teardrops”
You can tell Florence and the Machine was around in 2013 from this Danish woodland wonder. Another barefoot situation, this time one complete with a folk whistle opening and marching-band style drums. Emmelie de Forest is the perfect fairy queen.
Ukraine, 2022: Kalush Orchestra’s “Stefania”
One that most readers will remember: last year’s winning entry by the Kalush Orchestra of Ukraine. Pink bucket hat, mythical creatures, hip hop beats, stomping around – regardless of the political situation, this one deserved to win. Another folk whistle came into its own here, hinting that this could be helpful for success.
Passionate Young Men
Competing with the Pop Diva as lone wolves, the Passionate Young Men are all over the place at Eurovision and occasionally rise to the top. Aquiline noses and unrequited love are the keys to success in this something-for-the-mums category.
Russia, 2008: Dima Bilan’s “Believe”
This is a confusing winner for me. Clad all in white and, once again, barefoot, Dima Bilan writhes around on the ground singing about… well, love, I suppose. It’s an R&B slow-jam but somehow manages to incorporate intense violin-playing, as well as some ice-skating on what appears to be the world’s smallest rink. Key, I think, is the sadness in Dima’s eyes.
Azerbaijan, 2011: Ell and Nikki’s “Running Scared”
A close contender for the Pop Divas category but narrowly slotted into Passionate Young Men because it does, to be sure, feature a Passionate Young Man. It’s a Disney-movie duet for a couple also clad all in white, smooching around to a mid-tempo ballad doing operatic acting as they belt lovingly into each other’s faces.
Sweden, 2015: Måns Zelmerlöw’s “Heroes”
Sweden’s 2015 winning entry was memorable largely because it was accompanied by animated stick-person dancers that interacted with its singer. But aside from its avant garde credentials, it slotted firmly into this category, with Mans Zelmerlow in tight long-sleeved top and leather trousers, looking down the camera with longing stares.
Portugal, 2017: Salvador Sobral’s “Amar pelos dois”
In 2017, Portugal entered perhaps one of the most tender Eurovision songs ever. With lovey-dovey lyrics in romantic Portuguese, it’s one of those rare Eurovision moments that actually feels heartfelt and genuine (about something beyond the performance itself). Salvador Sobral came on stage in an oversized suit, with a woodland background behind him, and gave us his heart.
Netherlands, 2019: Duncan Laurence’s “Arcade”
Cord shirt and a piano? A decade after Russia’s Westlife-aesthetic wailing with “Believe”, the Passionate Young Man has upped his game. Little to say about “Arcade” beyond its rendition by the Netherlands’ greatest heartthrob since Van Gogh, but if you go in for Euro-ballads, you’ll be sure to love it.
Miscellaneous
The winners that defy taxonomy.
Serbia, 2007: Marija Šerifović’s “Molitva”
A beautiful 2007 combination of emo and normcore here, with Marija Šerifović clad in glasses and an oversized black suit. The song has fairly generic – if slightly intense – lyrics about lost love, but there is somehow a feminist vibe in the women that surround her onstage and eventually form a choir. A wistful folk tune on the flute has a Myths and Legends air, but the overall aesthetic is firmly unique.
Germany, 2010: Lena’s “Satellite”
Although “Satellite” could have just about made it to the Pop Divas category, it sits alone because of its invocations of Indie Twee, that period of music defined by almost-spoken lyrics (cf Kate Nash’s “You said I must eat so many lemons/Cos I am so bitter”), “quirky” singers, and eyeliner. Lena wears a bodycon dress and choker and sings under strings of blue lights about painting her toenails – the tongue-out emoji,
, personified.Israel, 2018: Netta’s “Toy”
No category for “cultural appropriation”, but eyebrows were raised at Netta’s interpretation of Japanese culture – her in a kind of Harajuku-Geisha outfit with cats covering the stage. This song was, you will remember, quite traumatic, the constant chicken noises overpowering the eastern-folk melody.
Italy, 2021: Måneskin’s “Zitti e buoni”
While the lead singer of Maneskin is definitely a Passionate Young Man, “Zitti e buoni” is miscellaneous because it is, above all, goth. The first winners after the pandemic, Italy delivered a Eurovision classic: high energy, high camp, and an entirely forgettable song about being insane. A very worthy winner.
Continue reading...