We reach our final Big Five post (in this series, at least) – we have arrived in France! Poor, tired, finally successful France. Since 2006, France has tried over and over using genre after genre to succeed, seeing success a mere three times, but achieving historic lows, including its first-ever last place. Sad days for a once great titan of Eurovision, it is tied with the UK and Luxembourg with five victories, four second places (including a lost in the 1991 tie-break), and 13 other top five finishes.
2006 – 22nd place with Il Etait Temps performed by Virginie
2007 – 22nd place with L’Amour a la Française performed by Les Fatals Picards
2008 – 19th place with Divine performed by Sebastian Tellier
2009 – 8th place with Et S’Il Fallait le Faire performed by Patricia Kaas
2010 – 12th place with Allez! Ola! Olé! performed by Jessy Matador
2011 – 15th place with Sognu performed by Amaury Vassili
2012 – 22nd place with Echo (You and I) performed by Anggun
2013 – 23rd place with L’Enfer et Moi performed by Amandine Bourgeois
2014 – 26th place (last) with Moustache performed by TWIN TWIN
2015 – 25th place with N’Oubliez Pas performed by Lisa Angell
2016 – 6th place with J’ai Cherché performed by Amir
The genres of the French entries: ballad – pop rock – indie – French ballad – stadium anthem – operatic aria – pop – rock – rap – ballad – pop. Not too much repetition there. Only 2009, 2010, and 2016 have been deemed successes. Et S’Il Fallait le Faire was the first French song in the Top Ten since 2002, 2010 was the highest selling single from ESC that year (after Satellite), and 2016 brought France back to the Top Ten after years of frustration and threats to leave the Contest. 2008 remains popular and is one of the few Eurovision songs to be used in commercials – but it is remembered mostly for being the first (and so far only) 100% English langauge (save two lines) entry from France. This is notable because, like Portugal, France was always seen as being in the “never English” camp. And, indeed, English all but disappeared from French entries until 2016 ~ J’ai Cherché was mostly French with a refrain in English. But why has France been so unsuccessful? In 2011 it was the big favorite to win, 2012 was supposed to be its big moment, 2013 was supposed to be Amandine Bourgeois’ big breakout party, and 2014 was supposed to get Europe dancing. But each song failed. Sure, the running order has something to do with it, 2013, France got lost as first on the night and in 2015, as second; but in 2016, France was buried in the first half and had to compete with some of the most memorable entries to date. It’s also easy to blame a bias against non-English entries, though 2009 was entirely in French. Or, just an anti-French bias, though, arguably, Africans receive much more prejudicial treatment throughout Europe and 2010 brought one of the most commercially successful French entries to date. No, the biggest issue facing France is much more fundamental.
So, what has gone wrong?
I am going to argue that, despite what some commentators may have you believe, the issue is not the songs that France has been selecting (though, there could have been stronger choices over the years), the biggest issue with France in Eurovision in recent years has been the staging. Let’s take a look at three examples: 2007, 2012, and 2015. L’Amour a la Française was the artsy, uber-French entry in 2007. It should have stood out – and on the album it does. The song is fun, catchy, and easy-enough to sing along to, even without knowing French. The issue was the staging. From the crazy outfits (there was a stuffed cat!), the bright pink, the spinning camera, the fake running, it was something…to forget. It was all just too much – an issue that we saw again the following year in Belgrade. I said this before and I’ll say it again, many of the French entries seem to be jokes that the rest of the non-French audience just doesn’t seem to be in on. In 2012, France continued to “more is more” approach.
While I loved the dress Anggun had on, the acrobats, lights, streamers – it was not just too much, but it took what should have been a really strong song and mired it with all this unnecessary baggage that just distracted the viewer and made us want just turn it off, particularly when we think of some of the simple, yet powerful songs that did well – such as Albania, Estonia, and Germany.
But what about 2015? When France sent a simple yet powerful song with an equally as simple yet powerful staging (I still get goosebumps every time I see the drummers appear). But, the song appeared in second spot. The song was generally received as an outdated, boring ballad (poignant, yet boring). I think people were moved by the staging, but it was not enough to overcome its running order position and general reception. Likewise, in 2011, when France was the heavy favorite, a poor jury performance and an overly simply staging stopped Sognu‘s chances of success.
How can France improve 2017?
2016 brought success to France for the first time since 2010. This was done on the back of a contemporary song performed by a charismatic, personable, attractive singer. Unfortunately, despite a decent running order position, France topped out at 6th place. As you know, I predicted that France was going to win (several times)- and this was one of the better, outside odds going into Saturday night. What happened, France 2 stuck Amir out there, all by himself, on this huge stage, with this random backdrop. No backing dancer to help him communicate the story of the song. No visuals to make it look as if he was searching all over the world. Nothing but him and some simple camerawork. Imagine if France 2 had actually invested energy and innovation into the staging – we could be heading to Paris (or a different city!).
Anyway, going into next year, France can take some steps to strike a balance between the craziness of 2007 and the oversimplicity of 2015. The genre of the song doesn’t matter as strongly – we have seen all sorts succeed in recent years. If France wanted to dive into its culture, but with a modern twist, they could send a nouvelle chanson song. Think traditional French-style ballad (like 2009) but with a modern, indie spin. One of the better (I think) artists in this genre is Star Academy semi-finalists Olivia Ruiz; check out: J’Traine des Pieds and Elle Panique. And, if you doubt her English-language chops, she hit number one in the French charts with a cover of ABBA’s hit Gimme, Gimme, Gimme (A Man After Midnight) alongside two of her competitors. Something that could give France a distinct, yet catchy sound, would be something in the vein of her biggest original hit Belle à en Crever(below). Look at the video, the animation style is very French without being inaccessible, the song is contemporary, yet distinctly Française.
Alternatively, France could continue the same theme from this year – something very contemporary but less distinctive. La Voix winner Kendji Girac would be a great choice. His background is Catalan and Gitano – and this comes through in his music: Andalouse and Color Gitano. And his biggest hit, Cool. Like the Catalan language, his music sounds as if it blends the best of French and Spanish styles into a modern, urban beat. Even though I couldn’t find an English language song for him (which actually might make him more appealing to France 2), earlier this month, he did release a single, Sonrisa (below) from a yet-to-be-determined forthcoming album. Perhaps France 2 could convince him to use a different song from the album for Eurovision next year?
What’s the worst thing France can do?
Well, in addition to choosing one of the above acts (or someone like them) and then giving them a wretched staging, France could also return to the tradition of choosing a very “French” artist that then gives us a staging that no one understands. For example, Minou makes great music! But their music videos are a bit….different. I like Hélicoptères and Alphalove, but the music videos are very eccentric, too eccentric for Eurovision.
Likewise, France 2 could an amazing artist that allows them to design the staging for them. Only to give that artist another lackluster staging like this year. Very few people have the charisma of Amir. In just a few months, Amir became the best ambassador to Eurovision on behalf of the French in years! He went to preview concerts, was on news broadcasts all around Europe, did all these covers of Eurovision songs from around the continent (and history), and just did everything a performing artist could do to build a positive reputation. Unless France 2 chooses another artist of Amir’s personal qualities, another plain staging will result in a poor result.
France is seen as the center of modern Western culture, for better and for worst. Unfortunately, this does not seem to transfer over to Eurovision. It seemed for a long time, France was resting on its laurels; it was only in recent years that the broadcaster (France 3 from 1998-2014 and now France 2, again) has decided to actually try to be successful. It took a few Contests, but France finally climbed back into the Top Ten. If it wants to stay there, it needs to invest, not just in a strong song, but in a strong staging!
So, what do you think? Can better staging be the solution to France’s woes? Or do they run much deeper than that? How should France select its entries – or is internal selection still a good idea? And, more importantly, can France harness more points from its Romance language brethren, Belgium, Italy, Spain, Portugal, San Marino, Moldova, and Switzerland next year?
Be sure to check out my analyses on the other Big Five countries!
Today we move on to Germany. The only Big Five country to win since the rule was introduced, Germany had a wave of success at the turn of the decade, but promptly fell back to bottom of the scoreboard.
2006 – 15th place with No No Never by Texas Lightning
2007 – 19th place with Frauen Regier’n Die Welt performed by Roger Cicero
2008 – 23rd place with Disappear performed by No Angels
2009 – 20th place with Miss Kiss Kiss Bang performed by Alex Swings, Oscar Sings
2010 – 1st place with Satellite performed by Lena
2011 – 10th place with Taken by a Stranger performed by Lena
2012 – 8th place with Standing Still performed by Roman Lob
2013 – 21st place with Glorious performed by Cascada
2014 – 18th place with Is it Right? performed by Elaiza
2015 – 27th place (last) with Black Smoke performed by Ann Sophie
2016 – 26th place (last) with Ghost performed by Jamie-Lee Kriewitz
Germany has had a wide diversity of entries, from swing (2007, 2009) to dance (2013) to country (2006) to R&B (2015) to polka-pop (2014). Sadly, despite the relative strength of each entry, most have fallen on the wrong side of the scoreboard. 2010 was a standout year for Germany, as Satellite stormed to victory, making Germany the only Big Five country to win since the rule was introduced in 2000. Lena became only the third person to attempt to defend her title the following year, and got tenth. Finally, using the same formula that selected Lena, Germany chose its entry for 2012 and retained a position in the Top Ten.
So, what’s gone wrong?
The easiest answer would be that Stefan Raab is not involved. Every entry he has touched – 1998 (songwriter), 2000 (songwriter and performer), 2010 (producer), 2011 (producer), 2012 (judge for the selection show) – has gotten Germany into the Top Ten. But why? Why was the period from 2010-2012 so successful and every other year before and since have not been? Stefan Raab brought more than a producer’s touch to NDR, he brought a marketing machine. Satellite was common on radios across Europe ahead of the Contest. By the time the Contest came around, it was already a popular tune that felt familiar to viewers. Taken by a Stranger and Standing Still weren’t played as much, but still had a strong marketing plan around it. In 2013, Cascada, a popular dance-pop group with a worldwide following (arguably, the biggest name at the time of their participation in Eurovision in recent years), took the German banner to Malmö. Perhaps NDR thought that Cascada’s name alone would generate points, perhaps they thought the betting odds would protect them, perhaps they did not anticipate Natalie Horler’s (the lead singer) lackluster vocal performance – regardless, NDR did not promote Glorious as they should and now seem to be trapped in a broken system of lackluster promotional efforts. 2014 and 2015 had news coverage that focused much more on the selection than the song itself. Every marketing piece for 2016’s entry was 100% focused on Jamie-Lee’s interest in Korean culture. Perhaps it was to preemptively head off questions about the staging, but, like 2013-2015, it meant the song was still relatively unknown.
This is the issue. The story is bigger than the song…in a song contest. See the issue here? Stefan Raab, yes, promoted his artists, but never lost sight of the main focus: getting the song in front of viewers.
How can Germany improve in 2017?
Return to a winning formula. In 2010 and 2012, NDR (and ADR) used Raab’s format Unser Star für Oslo/Baku. The process is simple; Unser Star conducted a talent search, the top singers then compete in a typical talent show format, the final two compete with the same songs. Each artist’s best song is chosen to moved into a super-final. The people and the judges then select the best of the two. This ensures that strongest song-artist pair is selected.
We know Lena’s version of Satellite, but here is the version by Jennifer Braun, the other Unser Star finalist in 2010. Though, the super-final featured Jennifer Braum singing I Care for You.
Likewise, in 2012, Roman Lob’s final competitor Ornella de Santis had a version of Standing Still. Her super-final song, though, was “Quietly.”
All of this to say, Germany needs to return to this method of choosing its entry. NDR doesn’t even need to bring back Stefan Raab for Unser Song to work, just the concept. Given the recent string of poor finishes, Germany needs to return to a formula that works!
What’s the worst thing Germany can do?
Continue with its current format of Unser Song; which is essentially just a traditional national selection. Actually, the worst thing Germany can do is have yet another selection controversy. Whether its a winner abdicating the trophy or an internal selection gone awry, NDR needs to have a solid format that locks in the winner. Germany can no longer allow its song to be outshined by the story behind its selection.
There are almost 82 million people in Germany, I’m sure there are plenty of them who would love the chance to fly the Duetsche colors in Ukraine. Bring back Unser Star and return to the Top Ten.
What do you think? Is an undiscovered artist who emerges as the champion at the end of a crucible of a reality television talent search the answer for Germany? Should NDR and ADR just break down and beg Stefan Raab to come back from retirement to run things again? And, more importantly, can Germany reclaim points from the German diaspora throughout Central Europe?
Be sure to check out my analyses on the other Big Five countries!
We now head to Italy, arguably the most success Big Five country since it returned to the Contest and joined the group in 2011 with four out of six entries finishing in the Top Ten. Overall, Italy has two victories, two second places, and eleven other top five victories since 1956.
2011 – 2nd place with Follia d’Amore (Madness of Love) performed by Raphael Gualazzi
2012 – 9th place with L’Amore É Femmina performed by Nina Zilli
2013 – 7th place with L’Essenziale performed by Marco Mengoni
2014 – 21st place with La Miq Città performed by Emma Marrone
2015 – 3rd place with Grande Amore performed by Il Volo
2016 – 16th place with No Degree of Separation performed by Francesca Michielin
As I said above, Italy has been the most successful Big Five country as of late, topping the Top Ten totals of each other country since 2011 (France: 1, Germany: 2, Spain: 2, UK: 0) and hasn’t finished below 21st unlike the others which, other than Spain (25th place), have all been last at least once. Italy has seen this success with jazz, ballads, and even opera. But, the Italian record is not spotless. They have twice fallen toward the bottom of the scoreboard – once when they had a poprock number that was halfheartedly performed with a mess of a staging and the other when a young, eccentric singer took a pretty, but boring, song with a questionable staging to ESC.
So, what has gone wrong?
Honestly, Italy could have won in 2011 (#1 among the juries), 2013 (one of the top betting odds and remains one of the most popular entries to date), and 2015 (#1 in the televote). Why has Italy not been able to close the deal and hoist the crystal microphone? Apathy.
RAI took its time returning to the Contest and has shown little interest in winning. Italy won JESC in 2014 then promptly refused hosting the Contest and sent a weak song to ensure that it would not win again. They seem to be equally disinterested in winning and hosting the adult version. Success in 2011 was a complete surprise and was brought on by the juries. RAI has not made the mistake of allowing their artists to have a strong jury performance since. In 2013 and 2015, seemingly easy victories were prevented by relatively weak jury performances. I was in Vienna for 2015. Il Volo were unenthused on Friday night (for the jury show) and were clearly using it as a mere warm-up. On Saturday, however, they took it to eleven and gave, without a doubt, a winning performance that made the arena standstill in awe. It’s clear to see why they won the televote. Grande Amore would have sent the Contest to Italy if RAI had directed Il Volo to ensure Friday was a full-strength show. Likewise, in 2013, reports were of a mostly aloof Marco Mengoni that had an overall air of disinterest. Throughout the entire performance, jury and televote, he barely made eye contact with the camera, despite various angles that were utilized for him to do just that. Denying his smolder to the audience cost him, and Italy, the victory.
What can Italy do to improve in 2017?
Well, it’s obvious: care. RAI needs to do some soul-searching. If it doesn’t want to win, then why is it competing? Just to perform well and feel superior to the rest of Europe? Why not win and then throw the “best” ESC to date?
There is not an artist recommendation for Italy. No, only a chastising for the RAI producers.
Shame, shame on you RAI!!!
So, if Italy wants to win, what can it do? Once an artist and song are selected (San Remo still works) the artist should be coached to smile and act like they care about the Contest (such as they did this year), they need to promote and send it around to the various pre-Eurovision concerts (as they did this year), and they need to give strong, powerful performances for both the jury and the televised shows (as they did this year)….
But, if this happened in 2016, why did they achieve such a low placing? The song had a swell of fan support and slowly was picking up speed in the betting odds ahead of the Contest. Well, the answer comes in the form of staging. Italy tends to go for a simple staging (except for 2013, which was a hot mess). The problem: No Degree of Separation didn’t go for a simple staging. There were screens with digitized effects, there were sparkly brown overalls, and a pond theme that did not match the song.
Here’s No Degree of Separation at Eurovision in Concert that sparked its rise in the betting odds.
Michielin has an eccentric personality and probably fought for a more interesting staging, but RAI did not direct this creativity in a positive way. If they did, perhaps we would have gotten a staging more like the music video.
Instead of reigning in Francesca Michielin’s vision and pushing for a simple staging (that was more in line with the simplicity of Eurovision in Concert) or one in line with the music video that compliments the song, RAI allowed for the confusing production that we got this May. Again, if RAI had wanted to win, they would have worked with Michielin to craft a staging that would have allowed for the song to shine. Instead, RAI allowed it to die.
Again: shame, shame on you RAI for not trying harder!
What’s the worst thing Italy can do?
Depends on who you ask. RAI? Winning.
For the thousands of ESC fans in Italy and around the world? To allow another great song to fall prey to apathy by not allowing the artist to perform at their full potential for the jury final or by not channeling an artist’s creativity into a successful presentation.
Italy, unlike so many other countries, does not have a problem with the quality of its entries – the songs or the artists – the problem lies with the hearts of those in control at RAI. Once those hearts are changed, I imagine we’ll be back in Italy without haste.
What are your thoughts? Do you think that RAI needs to care more? Do you disagree that their songs have actually been strong enough to win? And, more importantly, why has San Marino not given Italy 12 points since 2011 and will the #SanMarinoPlan help with this?
Be sure to check out my analyses on the other Big Five countries!
We turn our gazes today out west – to Spain! Debuting in 1961, España has had mixed success through the years, winning in 1968 and again on home turf in 1969, but rarely tasting much other success, having only two second places and six other top five finishes. This is well-reflected in Spain’s recent finishes, as the country has been up and down, but rarely achieved its full potential.
2006 – 21st place with Un Blodymary by Las Ketchup
2007 – 20th place with I Love You Mi Vida performed by D’Nash
2008 – 16th place with Baila El ChikiChiki performed by Rodolfo Chikilicuatre
2009 – 24th place with La Noche es para Mi performed by Soraya
2010 – 15th place with Algo Pequiñito performed by Daniel Diges
2011 – 23rd place with Que Me Quiten Lo Bailao performed by Lucia Perez
2012 – 10th place with Quedate Conmigo performed by Pastora Soler
2013 – 25th place with Contigo Hasta el Final performed by El Sueño De Morfeo (ESDM)
2014 – 10th place with Dancing in the Rain performed by Ruth Lorenzo
2015 – 21st place with Amanecer performed by Edurne
2016 – 22nd place with Say Yay! performed by Barei
Spain’s biggest strength is also its biggest weakness. There is an intense desire to use Eurovision to display Spanish culture, whether its showcasing the Celtic roots of Galicia (2013), bringing idioms to life (2010, 2011, 2016), or simply displaying contemporary Spanish pop music (2006, 2007, 2009, 2016). It is this emphasis on culture that leads to the inevitable, annual discussion of whether or not the entry should include English. Honestly, language isn’t the issue. The composition and staging display the culture just fine. Don’t get me wrong, I appreciate the incorporation of Spanish (or one of its dialects or a regional language) into the entry – but is it worth the fuss that we see ever year? In 2016, the Minister of Culture nearly disowned “Say Yay!” because it was entirely in English despite the composition and the presentation displaying Spanish culture. Likewise, the international fans are quick to blame the Spanish language for the nation’s lack of success, forgetting that two of Spain’s most successful entries in the past ten years were entirely in Spanish and the last was 50/50 with English. And this is why the emphasis on culture is a weakness for Spain – instead of unifying the country behind an entry that celebrates (at least a segment of) Spanish culture, each year there seems to be a firestorm – the public seems to whine about every entry, it’s either not “Spanish enough” or its the “wrong” kind of Spanish, etc. And, complaining from the public is typical, but it seems to be led by the government. It’s hard for RTVE to garner support when the government whines about the entry for not adequately representing “Spanish” culture. Spain is a diverse country, rich from the influence of many people groups (many Western European countries are diverse, but Spain is one of the least integrated countries, where the various groups tend to stay separated) – Catalonia, Galicia, Majorca, Canary Islands, Andalusia, etc. No one entry will be able to capture every aspect of every culture within Spain. The sooner that this fact is accepted, the easier it will be for RTVE to garner public support.
So, what has gone wrong?
The issue of culture surely puts RTVE on edge, as they have to try hard to win over the doubters within their own country in addition to trying to win the hearts of Europe. Add the fact that it was the last of the Big Five to join the Contest and the least successful, and you get a situation where entries come off as desperate. 2007 and 2015 are great examples of this. Both were songs that were meant to capture the essence of contemporary sound, both went into the Contest with decent betting odds and a lot of attention. However, both had stagings that were too elaborate, so much so that it took away from the song. These overly-elaborate stagings come off as desperate for votes and we all know that desperation is a turn-off. 2016 was in a similar situation, but had betting odds that were on a downhill trajectory throughout the month of May and had the unfortunate task of performing after Russia’s show-stopping presentation.
What can Spain do to Improve in 2017?
It’s tempting to say that Spain just needs to send another diva. Spain’s two Top Ten songs were both ballads. But, 2008, arguably the most memorable and popular song, was a pure gimmick act. All three songs had something in common that the other seven we’re examining do not: authenticity (you could argue that 2013 was authentic, but was not performed very well). No one expected Rodolfo Chikilicuatre to have a strong song, but he went out there and got people dancing and laughing and enjoying the song. Even though there were other entries that have done better than 2008, this is still one of the first (if not the first) Spanish songs most ESC fans will name. Why? Because Rodolfo was true to who he was and basked in his oddity and made us want to join him in it. 2012 and 2014 have similar stories. Both were very traditional ballads that should have been lost in Contests with more dynamic entries and news stories that dominated headlines (“Russian grannies!” “Azerbaijan’s spotty human rights record!” “Loreen is literally everywhere in Baku!” “Denmark has gone broke over this Contest!” “Conchita is queen/the devil!” “Russia vs. gays!”), both songs maintained relevance and had powerful, heartfelt emotions that few entries have matched – and none of the other Spanish ones have.
The focus for Spain, more than anything, this year must be on a singer who is truly authentic and can convey this through their singing. 2008 showed that this doesn’t have to be a ballad, even something uptempo can work. Furthermore, don’t overcrowd the staging. The singer should stand out. 2008 basically recreated the music video, Rodolfo singing with his crazy dancers. 2012 was Pastora standing still in a beautiful gown with minimal light work. 2014 was Ruth Lorenzo singing with wet hair and a rain backdrop. 2017 needs to be minimal – no crazy camera work, no magic tricks, no major choreography – just a strong song performed well by a singer who knows who knows themself. I don’t know why, but I have a feeling that 2017 will be won by a singer-songwriter type (think Germany and Belgium 2010, Germany 2012, or Netherlands 2016). Spain can bring this kind of authentic entry to the Contest. I’m not quite as up on Spanish music scene as I am on the British one, but I did find two artists that I think would do well for Spain.
Lantana is singer-songwriter and actress who predominantly makes piano-driven ballads. She has been critically acclaimed and has a strong following. Her biggest hits are La Noche de los Muertos Vivientes and Ex-Corazón. She is also known for being a bit of a performance artist (using the stage to create living art pieces of which she is a part). Which means she would create a staging that compliments the song. And for those wondering if this would be too crazy and distracting, here is a clip from a concert in Berlin (I chose a performance of my favorite song by her, Perdón).
Another artist that I think could do well for Spain is Luis Ramiro. Like Lantana, he tends to produce passionate ballads that are presented simply. He has also been critically acclaimed and has won several awards for his work. One his most acclaimed songs is Dos Coplas earned him a Young Creators Award. One of my favorites is Magia. The reason I think he can be successful thanks to the fact that every song he creates is stirring. One of his most recent singles is Contigo.
Both of these artists perform exclusively in Spanish (as far as I can tell). There’s one benefit to having an internal artist selection – it allows the broadcaster to take a hand-off approach. Think Netherlands 2013. TROS wanted Anouk to be their representative. She accepted on the condition that she gets full control. She chose a slow, haunting ballad and had one of the simplest presentations of the year. RTVE could offer the same deal to Lantana or Luis Ramiro (or a similar artist). Then, the entry is no longer representing ALL of Spanish culture, but is now just the vision of one Spaniard fighting for their people. It’s much easier to rally around one person who is fighting for you as opposed to trying to convince everyone that this three minute song is a representation of who you are.
What’s the worst thing Spain can do?
In reaction to the controversy over 2016’s full English-language entry, Spain decides to go full tilt in expressing Spanish culture. They have an artist and an entry more focused on culture than on success (i.e., Portugal just about every year). Think about if the RTVE sent a flamenco song, or a Sardana song (to make nice with Catalonia). It would add wonderful diversity to the Contest and I would love it but it would fail – hard. Just ask Finland how successful their Finnish tango entries are (not very). Again, this is not to say there’s something wrong with putting your folk cultures on display; Eurovision, to some degree, is meant for this. However, don’t put your folk cultures on display with the expectation that they will win. The last pure folk song to win the Contest was…arguably The Voice (Ireland 1996).
Essentially, Spain needs an artist that can take their experiences and life and authentically translate them to the Eurovision stage. This can even be done with a contemporary interpretation of a folk style; how many winners have won with this equation? 2016, 2009, 2006, 2005… Putting the entry in the hands of a singular artist who can set a vision for the presentation is the solution that Spain needs at this time.
Your thoughts? Is a singer-songwriter the right path for Spain? Is Spain right to focus so much on language? And, most importantly, under the new point system, can Spain still harness a big chunk of votes from Portugal (who returns next year)?
Be sure to check out my analyses on the other Big Five countries!