Saturday Flashback: Louise Dubiel – Rejs Dig Op

“I cannot for the life of me understand why we didn’t feature it, because it’s wonderful.”

Tim: For no reason at all other than that it’s on my list of ones we didn’t have room for at the time, here’s a song that was deemed not good enough to represent Denmark at Eurovision in 2013 (for context, that’s the year Emmelie de Forest ended up winning it).

Tim: And I cannot for the life of me understand why we didn’t feature it, because it’s wonderful.

Tom: That’s a brilliant melody in the introduction and chorus — and the final chorus in particular — but I’m not sure about the rest of it. What tips it over to wonderful for you?

Tim: Admittedly I didn’t entirely think that until I checked the lyrics, but it’s basically “who gives a shit if you get knocked down, just get up and keep fighting” – those two main chorus lines are “You have to dance in the rain and never get enough; you must shine in the dark and always rise again”. And that message, with those military drumbeats, those swooshing lights and that wonderful key change are entirely fantastic.

Tom: And it would have been translated into English for the contest, almost certainly. You’re right: in another year, this might have been a serious contender. I mean, apart from the key change. I love it, but it’s pretty clear at this point that Europe doesn’t.

Tim: Obviously, in hindsight it’s clear the Danish populace made the right call, but this is still a blinder.

Saturday Reject: Louise Dubiel – Rejs Dig Op

“Try and keep your legs still.”

Tim: Back to Denmark, and another demonstration of what a highlight that night was. And here’s a challenge for you: try and keep your legs still while you watch this. (Starts about a minute in.)

Tom: Hmm. My legs stayed still, but it’s still a good track.

Tim: So, the drums give it a bit of a military feel (and make it a great song to accompany a forceful walk), but her looking like that and the backing singers with their wo-oh-oh-ooh-oh give it so much more of a party atmosphere, and I think it’s brilliant.

It’s also ridiculously amazing to dance to – I didn’t really get it so much the first time I heard it, but listened to it whilst waiting for a bus home one night and realised that my legs, all of themselves, were trying to do some sort of dance to it.

Tom: Really? Sorry to fixate on this, but I can’t see this working in a club: the BPM might work for some kind of modern impressionistic dance, but at 1am with a drunk crowd?

Tim: Oh, you’re right there – in a club this wouldn’t really work at all because there’d be arms and heads flailing and that wouldn’t suit it.

But the other night, it might have been slightly because I was on my way home from seeing Singin’ In The Rain so felt in a slightly dancey mood, but since there was no-one else around I though “sod it” and did my damed hardest to tapdance the shit out of this song, and it was BRILLIANT.

Tom: “Tapdance the shit out of this song”. Tim ‘Fred Astaire’ Jeffries, there.

Tim: Oh, and then there’s the key change.

Tom: It’s a good key change.