There is a moment in Ulrikke’s Honestly (one of the 2023 MGP entries) around 0:55, where after a second of brief silence the orchestration suddenly drops all at once alongside a booming choir, punctuating the song’s soaring, thumping chorus in a burst of unadulterated pop deliciousness. I wanted to mention that because every year in the Norwegian selection there is a moment that just sells the whole competition to me. In 2022, it was the opening bar of Titans by Vilde; in 2021 it was the last minute of I Can’t Escape by Imerika (do yourself a favor and listen to this absolute marvel of a track). This year, after listening to all 18 entries, I did not get that moment. That isn’t to say that this is necessarily a weak selection – it is not – or that Norway is at risk of not qualifying (they are safe and they have options, as you’ll see below). But I left these songs with a lingering sense of unfulfillment – like a solid meal that didn’t quite scratch that itch. I also left these songs with the distinct feeling that Norway is not in contention to win ESC this year, but that’s not even entirely on these artists.
Stig Karlsen, the Norwegian head of delegation, spent the second half of 2023 annoyingly bemoaning the fact that ESC juries carry too much weight in determining the winner (in spite of a slew of stats that show this to be demonstrably false, starting from the fact that with the new voting system it is virtually impossible to win the contest if you didn’t land in the televote Top 2, whereas a number of winners weren’t even in the jury’s Top 3). Talks reportedly took place to try and convince the EBU to change the rules of the competition that ultimately led to nothing happening, because if anything, ESC juries actually need to be packed/expanded/diversified. Off the heels of a 5th place finish that once again saw Norway underperform with juries and hit with voters at home, what did Karlsen resolve to do this year? More of the same! So what we have here is once again a roster of televote-friendly and autotuned entries that, should they advance to the grand final, will be scored on a 60/40 televote/jury split. Isn’t the definition of insanity doing the same thing over and over expecting a different result? Anyway. We really liked these:
Let’s get something out of the way – this is a perfectly produced EDM stomper. It’s fun, it’s catchy, it’s fast, it does interesting things tempo-wise, and if chosen it will easily vie for a left-of-the-board finish in Malmö. That said…that’s all this is. KEiiNO’s unique brand of mixing pop with more local/ethnic soundscapes – yoiking, Sámi folk vibes – is compleretely absent here to make room for a much less distinctive techno/dance sound that is as proficient as it is ultimately generic. The lyrics are similarly rhapsodizing about being horny and having fun on the dancefloor – nothing wrong with that, but I can’t help feeling like it’s a marked downgrade from the chant for justice and equal rights in Spirit in the Sky (their 2019 televote-topping ESC entry) and even the archival meditations about life and death of Monument (their 2021 MGP track). This feels much more like a concerted effort to replicate the success of Cha Cha Cha by leaning more on the side of novelty (something I fear other countries will also attempt to pull off unsuccessfully) and inevitably, it doesn’t feel as special or interesting.
On balance, I think Norway should consider sending this. If a number of acts are attempting to take a page from Käärijä’s shenaningans, others seem to be more inspired by the dark pop sonorities and melodic structures of Loreen’s Tattoo, and Miia here is presenting an atmospheric, engaging pop midtempo about the hardships of a relationship with a beautiful orchestration and a bottom-heavy production that starts quiet and then ascends to an emotional climax. It works almost entirely, if not for a chorus that could have used a slightly stronger hook and the fact that the vocal itself – as competent as it sounds – isn’t powerful or interesting enough to reach the emotional heights the track is clearly aiming for. That said, this is probably one of two entries out of 18 to have a chance at a decent-to-strong finish with the juries at ESC which could give Norway a shot, assuming it is staged well and adequately sold to the voters at home (it feels as though there is a story to tell here, but I don’t know Miia well enough to speak on her live performing ability). It would be smart for Norway to choose this one even just for the sake of mixing things up a little bit.
Or just actually send this instead. It might not be as big a shakeup since Margaret already represented Norway at ESC in 2013 finishing 4th with I Feed You My Love (easily my winner that year) but this is just a really great, impeccably produced nugget of electronica that blends Margaret’s sensibility for a strong pop melody with a dark, almost industrial sound. While not necessarily as good or unique as her ESC entry from 11 years ago, Oblivion is also following in the footsteps of Tattoo in terms of sound and structure, and it features a wordless chorus which seems to be on trend right now (see Natalia Barbu with In The Middle over in the Moldovan selection – my Top 4 from that national final is soon to follow). I also see this one having jury appeal and lots of potential for interesting, arresting staging, and Margaret has already been tested in these waters and is clearly enthusiastic about making a comeback. I would welcome her back with open arms.
ESC Etc. 
Leave a comment