Tom: Oh, no, really? We’re doing this? Admittedly it’s a classic, but not for the right reasons.
Tim: Well, you see, I said last week that in “many of the best Eurovision performances, the music is almost secondary to the actual choreography”, and I stand by that. Take this, from 2007, and to be honest I’m astonished we’ve not featured it already.
Tim: So points are award even before the singing starts, for hiring dancers who can jump up on one beat and land on the next, which isn’t the easiest skill to master.
Tom: Huh. Actually, yes, that’s quite a talent, and — UGH just as I wrote that, the man managed to miss a couple of notes and I actually twitched a little.
Tim: Fine, the vocal’s not great. BUT! The candles, the gravestones; the navigation around the ‘six performers’ rules by using mannequins. And even sound effects! When was the last time you heard howling winds on a song? NEVER. In fact, the thing I’m most curious about here is why the main guy isn’t more gothed up – he actually looks quite boring compared to the rest of them.
Tom: Both in makeup, and in how much he seems to be dedicated to the song. The woman is, for want of a better word, acting like she believes in the song. He just doesn’t. I’d like to think there’s always room for comedy entries in Eurovision, however much the rules try to keep them out of the final, but this doesn’t have the commitment of Lordi, the catchiness of Lordi, or… well, yeah, it’s not Lordi.
Tim: Much as I’d like to say this performance was widely acclaimed for its brilliance, I’m afraid I can’t: coming 20th out of 28 in the semi-final, it sadly failed to qualify for the main event. Still, though, it lives on in our hearts. Well, in my heart anyway.