TheEurovision Song Contestwas watched by around 163 million people last year – meaning there are potentially 163 million different opinions on what makes a perfect entrant. Do you go for a soulful ballad, guaranteed to leave Europe misty-eyed and full of love and peace? Or do you opt for a cheesy extravaganza, complete with saucy takes on regional costumes and eye-popping staging that will have the entire continent (and Australia) raving in their living rooms? Forensic musicologist at Boston's Berklee College of Music Joe Bennett has analysed hundreds of Eurovision finalists, identifying two dominant musical styles. One is the "Euro-banger" - high-energy, 120+ BPM songs with kick drums and synth-heavy production, like Sweden's winning entriesEuphoria (Loreen, 2012)andHeroes (Måns Zelmerlöw, 2015). The other is the slow-burning ballad - typically around 70 BPM, such as Portugal'sAmar Pelos Dois (Salvador Sobral, 2017)and theNetherlands' Arcade (Duncan Laurence, 2019). There is a cliché that Eurovision songs are only about love and peace – reinforced by a song performed during the 2016 contest's interval about writing a perfect Eurovision song, calledLove Love Peace Peace. According to Bennett, there is some validity to this, with every Eurovision song falling under six broad lyrical themes: "love, unity, self-assertion, partying, history and songs about making music". He adds that "songs of self-assertion or lyrical self-empowerment do very well" - as seen with Austria's 2014 winnerRise Like a Phoenix (Conchita Wurst). Acts might be tempted to go over the top on staging, but this may not be the way to secure victory, according to our experts. Songwriter Thomas Stengaard co-wroteDenmark's 2013 winner Only Teardrops(as well asthis year's UK entryWhat the Hell Just Happened by Remember Monday). He puts his success down, in part, to its simple staging, which he says made it easy to remember. "If you asked a kid to draw that staging, they could. It was a girl with no shoes on, two guys playing the drums and a flute guy. Very simple, but it worked." Vocal coach Carrie Grant, wholed the UK's jury in 2014and came sixth in the contest as part of Sweet Dreams in 1983, agrees. "There is nothing worse than having an artist whose stage has lots of money but their performance doesn't warrant it," she says. "It makes that performance seem worse." The 2014 winner (and Carrie's personal favourite) was Conchita Wurst – the first act to win the contest without backing singers or dancers on stage since 1970. What made Conchita stand out was that she was a bearded drag queen. Carrie believes Eurovision fans love things that are quirky and that "embrace the LGBT community". But she adds that Conchita wasn't a gimmick but instead "a brilliant singer who could deliver what we call in vocal coaching 'money moments'". Minor-key songs increasingly dominate Eurovision. Bennett debunks the idea that "major equals happy, minor equals sad", adding that "minor keys are more a shorthand for emotional depth". In 2023, 85% of finalists performed in minor keys, according to the Press Association. In the last 20 years, only two major-key songs have won - 2011'sRunning Scared (for Azerbaijan)and 2017's Amar Pelos Dois. Professor Elizabeth Hellmuth Margulis, a researcher in music cognition at Princeton, highlights source sensitivity – our instinct to associate a song's sound with its intended context. A few bars of a techno song, for example, and we have a mental image of a dark nightclub, and of the sort of DJ who might perform there. This means certain minor keys now immediately signal "Eurovision-ness" to audiences. Remember Monday's What the Hell Just Happened was written at a songwriting camp, with multiple songwriters working together at a countryside retreat to write the perfect song for this year's UK act. The song was intentionally written in a major key to stand out in a sea of minor-key songs - similar to the UK's 2022 second-place entry,Spaceman by Sam Ryder(B Major). Repetition is important to make a song stick in the mind, says Margulis. But songs should avoid being too repetitive. Margulis says that what particularly makes a song catchy is "not only when they are heard repeatedly, but also when they throw in some kind of surprise twist". Bucks Fizz's 1981 winner for the UK,Making Your Mind Up, is a classic example. First, the song changes key, quickly followed by amemorable costume changein which the female singers' skirts were ripped off to reveal shorter skirts – a joint visual and musical twist. Earlier Eurovision winners were often mocked for their nonsense lyrics, like Sweden's 1984 winnerDiggi-Loo Diggi-Ley, but Bennett argues this highlights Eurovision's strong focus on melody. "Eurovision really needs big melodic hooks. You want people across Europe to be singing that melody. The need for a very accessible, catchy chorus is essential." Key changes have long been a way to introduce novelty into Eurovision songs. The 2000s saw multiple winners follow this formula, including Olsen Brothers'Fly on the Wings of Lovefor Norway (2000), andSerbia's Molitvain 2007. But as Bennett points out, though they are still present in around a fifth of finalists, no song with a final chorus key change has won since Molitva almost 20 years ago. Stengaard's song for this year's UK act Remember Monday is certainly full of surprises. BBC music correspondent Mark Savage said the song featured "a dizzying array of key changes and tempo shifts". The song is the songwriter's answer to the question he asks himself whenever he writes for Eurovision: "How do you stand out in a contest where everyone wants to stand out?"
How to win Eurovision, according to the experts
TruthLens AI Suggested Headline:
"Experts Analyze Key Ingredients for Success in Eurovision Song Contest"
Bbc News
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TruthLens AI Summary
The Eurovision Song Contest is a global phenomenon, attracting around 163 million viewers in the past year, and as a result, it generates an array of opinions on what constitutes the ideal entry. Experts suggest that there are two primary musical styles that dominate the contest: the high-energy 'Euro-banger' and the emotional slow-burning ballad. The former, exemplified by Sweden's winning entries such as Loreen's 'Euphoria' and Måns Zelmerlöw's 'Heroes', typically features a tempo of over 120 beats per minute, while the latter, which includes Portugal's 'Amar Pelos Dois' and the Netherlands' 'Arcade', tends to hover around 70 BPM. Furthermore, the themes of the songs tend to revolve around six broad categories, including love, unity, and self-assertion, with songs that convey messages of empowerment often performing particularly well. The staging of the acts is also crucial, with simpler presentations proving to be more memorable and effective than overly extravagant ones, as highlighted by songwriter Thomas Stengaard's experience with Denmark’s 2013 winner 'Only Teardrops'.
Additionally, the use of musical keys plays a significant role in the contest's appeal. Recent trends indicate that 85% of finalists have performed in minor keys, which are perceived to convey greater emotional depth, despite the common belief that major keys are happier. This shift in musical choice suggests a new understanding of what resonates with audiences. Repetition and surprises within a song are also essential for catchiness, as demonstrated by past winners like Bucks Fizz's 'Making Your Mind Up', which combined musical and visual twists. Although some elements, such as key changes, have seen a decline in winning songs, they continue to feature prominently in entries. The latest UK entry, 'What the Hell Just Happened' by Remember Monday, exemplifies the necessity of standing out in a competitive field, as it employs various key changes and tempo shifts to capture the audience's attention. Overall, crafting a successful Eurovision entry requires a careful balance of musical style, lyrical content, and staging simplicity, alongside an understanding of audience expectations.
TruthLens AI Analysis
The article delves into the strategies and insights shared by experts regarding how to succeed in the Eurovision Song Contest, a highly popular event viewed by millions worldwide. By analyzing musical styles, lyrical themes, and staging strategies, it offers a comprehensive breakdown of what has historically resonated with audiences.
Understanding Audience Appeal
The article emphasizes the importance of musical styles that cater to a wide range of tastes. Joe Bennett identifies two main categories: the "Euro-banger," characterized by its energetic beats and upbeat tempo, and the slow-burning ballad, which tends to evoke deeper emotional responses. This segmentation illustrates an understanding of audience preferences, suggesting that entrants can optimize their chances of success by aligning their music with these identified styles.
Lyrical Themes and Their Significance
Highlighting the recurring lyrical themes in Eurovision songs, the article indicates that topics such as love, unity, and self-assertion resonate strongly with audiences. This reflects a broader cultural narrative that transcends individual countries and taps into universal emotions. The mention of songs that promote self-empowerment indicates a trend toward content that not only entertains but also inspires, which may further enhance public engagement.
The Role of Staging in Performance
The insights from Thomas Stengaard point to the significance of simple yet memorable staging. This suggests a strategic approach where less can be more, emphasizing that complex visuals may detract from the core message of the song. The preference for straightforward visuals that are easily recognizable could influence how future artists plan their performances, reinforcing the idea that the song’s quality should take precedence over extravagant staging.
Potential Manipulation and Public Perception
While the article provides valuable insights, it also raises the question of whether it is steering public opinion toward specific ideals about what makes a successful Eurovision entry. The focus on certain themes and styles may inadvertently limit the diversity of creative expressions that participants feel empowered to explore. This could create a homogenized image of what Eurovision represents, which may not reflect the true variety of musical talent available.
Implications for Future Eurovision Entries
The conclusions drawn in this article could shape the evolution of future Eurovision participants. Artists might feel compelled to conform to the identified winning formulas, which could stifle innovation. Furthermore, the emphasis on certain themes and performance styles might lead audiences to develop specific expectations, influencing how they engage with the contest in future years.
Trustworthiness of the Article
The information presented appears to be credible, as it is based on expert analysis and historical data from past Eurovision contests. However, the potentially manipulative angle regarding public perception raises questions about the broader narrative being constructed around the competition.
In summary, while the article offers a solid foundation for understanding the dynamics of success at Eurovision, it may also subtly promote a restrictive view on creativity and expression in music.