What does the Eurovision 2018 line-up tell us about the musical direction the contest is taking?

I have personally heard a lot of things in the past days about this year's Eurovision. Fan-favourites entries are starting to stand out among the pack, and the betting odds are beginning to take a stand. In any case, a comment I’ve have come across lately in the different social networks is that this year's Eurovision overall quality is somewhat weak compared with past editions. Today, I am here to refute that. Besides, I will analyse how the contest is evolving from a musical perspective, and what are the most distinctive entries that could become major influences for a new range of songs in the upcoming years.

Let's begin by taking the assumption that anyways, this edition was cursed from the beginning to be filled with boring, monotonous ballads following Salvador's victory and its "anti fast-food music" speech. Now, think about only one "intimate", "non-firework", plain song that is here, downgrading the level of the contest, because of Sobral's triumph. And please, don't just go for the obvious Ireland or Iceland somehow underwhelming sort-of-ballads (not in my opinion, but for the majority of the fandom) that statistically appear in an even higher percentage any other year. And don't bring me the argument that the more delicate, authentic attempts of Montenegro or Spain are consequences of "Amar Pelos Dois". Sobral did not invent that genre and the European local music sub-cultures are rich enough to explode that kind of music beyond that. Sobral just made classy ballads in a native tongue more exquisite.

What Salvador's victory have actually done is bringing diversity. But not only that. His main achievement has actually been to help the different countries participating at the festival overcoming their fears. Showing them that you can be proud of doing your own thing or trying a totally different thing regardless of the result. This year’s line-up includes pop, house, ballads, opera, rap, indie, hard rock/heavy metal, rock, R&B, EDM, electronic, soul, jazz or folk among others. And none of these genres are taking into practice in a dull way. There is so much quality in the pack. We are, dear eurofans, facing the most diverse year with one of the highest average quality level ever.

But now let’s focus on those entries which are either bringing something new for the contest or are taking the lead in the direction Eurovision is taking. Let’s start with the category of “Eurovision-evergreens”; those entries that could have been competing any time in the last 15 years and would have gotten a similar result. These songs are ideal for the conventional fan who loves Eurovision as what it had always represented as a way to entertain yourself and bring you good memories, without thinking about the contest and its possibilities in an ambitious way. In this section, we could remark the efforts of Moldova, which brings up an eastern gipsy-influenced upbeat entry that reminds to some of the most iconic ethnic bangers brought from this country ("Hora din Moldova" in 2009 or "Lăutar" in 2012). Denmark, on their own, are bringing one of those songs that you might not love, but most probably, you will at least like. Epic, powerful and motivational entry that most likely, will reach the final. While Russia and Azerbaijan are bringing two of those Swedish wannabes productions that play safe looking for appealing everyone but inevitably, come out as rather generic. Or Finland bringing a banger that sounded already dated in 2008, but takes the crown of bringing what you would truly expect from Eurovision. In any case, there are a bunch of entries this year for those nostalgic souls who want Eurovision to remain as what it had been for the last two decades.

However, for those of us that are more ambitious and trust in the advancement of the festival; this edition is serving us with somewhat more interesting packs. Now I am going to analyze how a number of entries bring, in a lesser or more significant way, something new from a musical perspective. Let’s start by Germany. “You Let Me Walk Alone” seems like any other Eurovision emotional ballad. However, if we analyze it in detail we can find out why it is a particularly special 2018 song. First of all, any other beautiful Eurovision classic ballad would have had more eagerness to either focus on a powerful voice, a structure that intentionally builds up to climax or a touching melody that stands out. While “You Let Me Walk Alone” is a more intimate, sophisticated attempt following the trend established in the last years of having the personal real emotions expressed by the singer as the main appeal, instead of the previous characteristics. Not only that, but the German song sounds rather smooth and international, it has major Ed Sheeran’s influences and could be topping the charts of any country, whether it succeeds in the actual contest or not. And if that’s not enough, this song also represents one of the most distinctive features of the “new Eurovision”, being meaningful and having an important message. Cause every other classic ballad would seek for the appeal of voters with a generic love story. “You Let Me Walk Alone” does not look for the appeal of the voters, the singer looks to share the pain after the loss of his father. Message over the song, message over the result. That’s the new Eurovision.

Another song in the line of Germany, but even elevating those characteristics to a major extent is the Portuguese. I am not going to compare it to the elements of previous Eurovision ballads as I did with Germany, as Portugal takes it those a whole new level. I have to admit that I am not the biggest fan of “O Jardim”. However, I have to acknowledge that it is unique in its own way. And to a major extent than in the case of Germany, it fully relies in the leading singer’s emotions to make this entry work. On the contrary to Germany, it wouldn’t top the charts cause it is way too modern and experimental for that, which is better for the contest. But above all, it resembles Germany in its message of a song dedicated to a lost one.

But as we are dealing with the meaningfulness in the “new Eurovision” let’s focus on two of the main reasons why this year’s edition is a historical step forward in the development of the contest. But before that, let’s take a look back in the past winners. Cause no one writes the history of the contest better than the winners. In 2016, Jamala brought a song that criticize the oppression Crimean citizens suffered in the 1940’s, and quite probably relating to the current conflict between Russia and Ukraine. Last year’s winning song didn’t have a political message whatsoever, but Sobral’s “S.O.S Refugees” message on the semifinal winners Press Conference was controversial and rather meaningful. These past two political-ethical acts seem to have laid a stone for what had happened this year.

Two of this year’s entries are arguably the most harsh and meaningful songs to ever participate in the contest, and they come from two of the main Eurovision historical powers. I am indeed talking about the songs France and Italy are bringing this year. In the case of France, they’re bringing “Mercy”. With iconic lyrics such as “there was nothing to lose. Oh no, nothing but life” or “I am all those children who were taken by the sea”; this song narrates the story of “Mercy”, a baby who was born in the sea after fleeing her homeland. But the main goal of this entry is to protest again the whole European Refugee crisis. The musical side of the song is also rather interesting. You could think this could have an either heartbreaking, intimate or fierce tone, bearing in mind is a protest song. On the contrary, this has a quite alternative feel to it, with one of the most advanced and differentiated sounds of the edition. Being another example of how experimental entries are rising in the contest and showing how things could look like in the upcoming years.

In the case of Italy, they bring the even harsher and more serious “Non Mi Avete Fatto Niente”. A build-up song that dramatically deals with the issue of terrorism and any kind of violence. Among its touching lyrics we can find “In Nice the sea is red for fires and shame with people on the asphalt and blood in the sewer” or “And this enormous body that we call earth wounded in its organs from Asia to England”. In this case. the musicality is more of what you would expect from this type of songs. As I previously said, heartbreaking, intimate and fierce, more in the line of “Wars For Nothing” (Hungary 2015), the other main Eurovision protest song in the last years. Anyways the result France and Italy, and to a lesser extent Germany and Portugal achieve this year, will dictate the actual role meaningful entries will play in the new Eurovision era.

Coming back to the musical side of the different entries, let’s focus now on the evolution of sounds, arrangements, atmosphere and whatnot of the most distinctive entries in that affair this year. Let’s keep on with those entries we can compare with recent successful songs. I am talking about the Czech Republic. As it seems that “Lie to Me” is somewhat the continuation of last year bronze medallist “Hey Mamma”. Fresh, sassy, contemporary R&B meeting Hip-Hop song. But “Lie to Me” goes beyond Sunstoke Project effort. It shares different elements with their song (style, theme, structure, and even the saxo beat) but is not a copy at all. The song and show Mikolas brings is even more infectious than “Hey Mamma”, he is even more charismatic and the song is even trendier. Not only it’s comparable to Moldova 2017, but also to some of the most popular musical artists in the world charts. If I previously said that “You Let Me Walk Alone” could top the charts, then “Lie to Me” would surely top them if sang by one of these artists and if well-promoted. And some of these artists could be Jason Derulo (any of his songs), Jennifer Lopez (similar style to “Ain’t Your Mama”) or even Drake. It could achieve the Top 3, but I think is gonna be more difficult to repeat the success from last year’s Moldovan entry (although I couldn’t have foreseen the result from “Hey Mamma” and I feel “Lie to Me” is a better song).

There is another entry that needs a section by itself. In my opinion, it is the most perfected song of the year, without even being my favourite. It has a superior quality to it and it feels even more 2018 than any other entry I’ve listed before. I am talking about “Dance You Off”, the song Sweden is bringing this year. In this case we cannot draw direct connections between this entry and previous ones in the contest (as far as I’m concerned). But we can actually compare this to some successful tunes in the current western music charts. This has clear influences from Daft Punk, the latest work by The Weeknd and even the direction the songs by Bruno Mars are getting. In the last two years, there has been a wave of songs influenced by the disco-pop dance sounds from the 80’s, especially those from Michael Jackson. And the previous global artists I mentioned have all been “affected” by this trend. And now, “Dance You Off” is bringing that one trend to Eurovision at its finest. Incredibly well-produced, everything about this entry is just so appealing and infectious. What I most hope for, is not a great result for Sweden, but for Sweden to set a cornerstone for entries to earn some courage and send this kind of entries. I don’t mean more countries should send this specific trend, but they could take a look into what’s currently succeeding worldwide concerning music and take it into the contest.

The last main category I am reviewing might be the most distinctive section of the year; "darkness". Yes, you read that right. This edition features a number of “dark” entries that are actually building up on the footprints left by some entries in the last years. Not only these entries might dictate the musical route the contest is taking, but they somewhat follow what other entries in previous years have dictated. But what I mean by “dark” entries? Those songs with a sort of intriguing tone to it, a diversity of sounds on it, an underlying exquisite quality, a vibe that makes it feels different to anything else in the contest and a great production to strengthen all of these features. Other characteristics from “dark” entries would be that they predominantly sound American, although they don’t sound as they would necessarily be topping the charts as some of the previous songs I reviewed because they are way too unique, different or advanced. Also, some of these entries sometimes do really well in the contest. Some examples of “dark” songs entries in the last years are: The Netherlands 2014 (perhaps the pioneer on this trend the contest is following), Latvia 2015, Norway 2015, Estonia 2015, Belgium 2015, Estonia 2016 (although they gave a lesson on how to destroy a song with their staging), Israel 2016, Latvia 2016, Armenia 2016, Belgium 2017, Bulgaria 2017, Azerbaijan 2017 (although the “darkness” from the studio version was lost live in my opinion), and Finland 2017 (still baffles me how this didn’t make it to the final).

Some of this year’s entries take that “darkness” from previous editions to another level. Among them we can find Austria. They’re bringing “Nobody but you”, a song that although might not have the most mysterious feel ever, mixes successfully different genres such as pop, soul and gospel. It’s greatly produced and it feels different than anything else, yet it sounds current and international. Also, it has a pretty unique and distinctive instrumentation and build-up structure. Another entry we could classify in this section is the Croatian one. “Crazy” feels definitely mystical and different. The song has a low-toned, smokey melody which is rather interesting by itself. But what really elevates this entry is the rest of the song, which makes this a rather complex masterpiece. The arrangement, instrumentation, structure and production of the song is what truly makes this unique. The rhythmic base and electronic arrangement sound quite expensive. Besides the song sounds jazzy, symphonic and intriguing, while it feels contemporary and commercial at the same time. Probably the most advanced entry of the year in terms of musical complexity.

The more we look into the different entries, the “darker” songs we find. One of the ones that truly stand out in this category is Belgium, with one of the “darkest” entries in the history of the contest. The title itself; “A Matter Of Time” already suggest that “darkness”. In this case, everything around the song feels intriguing and rather James Bond-ish. Both the melody, the instrumentation and the lyrics are quite smooth and subtle and the work as a whole is exquisite and sophisticated. It basically accomplishes every single characteristic any “dark” entry could have, possibly making it the perfect “dark” song. And there’s still one more entry that take the Belgian “darkness” even further. I am talking about Bulgaria with their entry “Bones”. At first, this might come out as a simpler song than the previous one I reviewed. However, if you dig more into it, this goes beyond being merely “dark” or intriguing. It feels mystical, spiritual and universal. Besides it’s quite special and unique. We’ve never had such a distinctive pack in the contest. And the whole theme, production and harmonization by such an eclectic group is only going to elevate this even more.

I’ve left one last entry uncategorized, because it is so unique and multi-faceted that it could fit in most of the categories I previously presented. At the same time, it’s not the most relevant case for this article, as this is an insight in the songs that could become cornerstones in the musical direction the contest is taking; while this song is so different and incomparable that it cannot serve as a major influence for future entries. I’m obviously talking about Israel and their entry “Toy”. As one of the most distinctive and creative songs in the history in the contest, what it could actually serve for, as Salvador did last year, would be to encourage artists and countries to be themselves in the contest and not being scared to innovate. In any case, “Toy” truly adds up to this year’s richness and diversity

If, after reading this insight, you still think this is such a horrible edition, and you feel that the contest is completely going backwards and losing its direction, then I’m not gonna try to convince you anymore. After all, as a musical contest, Eurovision is ultimately judged on everyone’s subjectivity, and I cannot do anything else than showing my view and elaborating on my perspective.

In any case, thanks for reading this long post, and I hope you enjoyed it!!!