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For starters, “Voices” is a fantastic song. It is the pop that was born and raised in the present, with the music of the best charts in the United States in the background. At the same time, it has a clear Eurovision mentality built into its DNA, with a gigantic chorus and key rise.
But it is not only the song with which Tusse wins the Melodifestivalen. Newcomer Art already contains all the right ingredients. His singing voice has courage and a lot of emotion. He has the charisma, the style, a message rooted in something genuine and a strong story. If the director of “Summer in P1”, Bibi Rödöö, hasn’t called you yet and offered you a place of honor, that conversation will come soon.
Now one becomes remarkable It took and surprised Tusse, who at the age of 19 has already won the two largest music competitions in Sweden, the opportunity to compete in the largest ditto in Europe. There, “Voices” has every chance of reaching a really good position. But the same can be said for a handful of other finalists this year, including Eric Saade and Dotter (who again this year lost to all three The Mamas by a negligible point!).
In terms of music, this year’s final was incredibly high. 19 of the 28 songs this year are on Spotify’s Top 50 list, meaning the season has generated more hits than can be found in the finale. Perhaps the breaking of the crown has really caused songwriters and artists to pause, reflect, and perk up to a new low?
Also in terms of content, the final was a pleasure and was taken into account by program management professionals Måns Zelmerlöw and Shima Niavarani. They managed to keep the tension going until the very end, although it was already pretty clear after the international jury points that Tusse would take it home. When it came time to report people’s points, it turned out that Tusse got all twelve viewers.
In the middle of the night, the onlookers turned remember once again that Christer Björkman is doing his – wait – last show after 20 years. She released her inner diva to the tunes of After Dark’s “La dolce vita” and the whole thing might have been really worthy about her departure and meaning for the competition if she hadn’t already been torn apart on the previous five shows.
Much has been said about this year’s Melodifestival and criticism of the program’s content has been justified. the has It’s been a changeable season with uneven scripts, to say the least with varying levels of humor, and generally messy shows with no clear thread. Some ideas have been brilliant (Oscar Zia, Pernilla Wahlgren, and Per Andersson, for example, may each have a permanent program item from next year, and preferably Shima Niavarani as well), other decisions completely incomprehensible.
That said, it’s actually quite surprising that it even turned into a Melodifestival this year. The conditions to make a luxury television program have not been optimal. With that in mind, SVT deserves high praise.
Read more:
Hanna Fahl: It should be a basis for Swedish success this year.
