Tim: Here’s one that Australia didn’t have a huge amount of time for; I think that was a mistake.
Tim: SO, first chorus, I’m thinking this is missing something. I don’t know what it is, but there’s something that’s not quite there.
Tom: Yep, that’s what I was going to say. It’s Eurovision: I shouldn’t be drifting away to another tab on that first chorus.
Tim: It’s okay, it’s fine, should qualify to the final. From then until the final chorus, I’m still okay with it – it’ll manage, it’s fine.
Tom: Right! Good voice, half-decent composition.
Tim: But then BLIMEY, you thought Beyoncé hit some high notes in Love On Top, you ain’t heard nothing yet.
Tom: That is an astonishing whistle register. And as Eurovision gimmicks go, “astonishing high notes performed live” is pretty decent. She elevates an okay-ish track to “huh, yeah, I remember that”.
Tim: And that moment there, that single moment, would have single handedly made it one of the best clips of the night for the interminable recaps. It doesn’t matter that the rest of it is just above average – it matters that that final bit is utterly and inordinately ridiculous.
Tom: But I don’t think anyone would have voted for it based on that recap. Because that recap wouldn’t remind you “oh, yeah, that was the song I really liked”: it’d remind you “that was the woman who hit the piercing high note”. And I don’t think people would vote for just the high note.
Tim: Oh. Oh, yeah, good point.