Tim: You’ve been to Norway, Tom – tell me, do they have a problem recognising key changes?
Tom: Not in my experience, but then my one time in a late-night club there mostly included regular US and British pop music, sadly.
Tim: Oh, shame. Well, anyway, we all know that excessive stage effects at the key change are nothing new in Eurovision (I love that one so much, I really do), but the multitude of massive spark fountains we have here seems to be saying “LOOK AT THIS THIS IS WHEN YOU GET EXCITED YOU MUST EXPLODE WITH JOY”. In fairness, it works—
Tom: Do you need a moment to clean up?
Tim: No, I pretty much contained myself—and adds even more to what is already a beauty of a key change.
Tom: It’s telegraphed way in advance, it’s got the proper ramp-up… but is it me, or does she miss that first note? That’s the trouble with carrying a key change just on voice.
Tim: Hmm – not quite sure. Having spent five minutes comparing this and the studio version, I can confidently state that there is a *very slight* difference – whether that counts as missing it entirely would be a judgment call. Still, it’s a cracking tune, and let’s be honest – it has everything a good piece of Eurovision pop should have, including lots of lengthy vocal howling (can’t think of a better word right now), a decent beat throughout, the aforementioned key change and spark fountain and fantastic use of the wind machine. I think in a general year, it could have worked, though to be honest I wouldn’t want to go head to head with Russia’s grannies with this.
Tom: I honestly think the grannies could take it.