Not to be counted out is host country Denmark with Basim. The Swedish singer, already a star at home, pulls it off with aplomb. Nielsen's song, "Undo," is a song that sounds simple but - like an ABBA hit - is difficult to sing. "This year, Sweden went traditional: blond and ballad-y," said long-time German ESC commentator Peter Urban. In terms of genres, Conchita Wurst faces direct competition from Sweden's Sanne Nielsen. It's unfortunate that so much attention is being paid to her beard at the expense of the powerful voice that delivers her emotional ballad "Rise Like a Phoenix," which could be used in the score to a James Bond film. There's no doubt that Conchita already has star status at this year's contest in Copenhagen. Neuwirth is just as polarizing at home in Austria as on the ESC stage. Danish ESC moderator Pilou Asbaek has dubbed her the Queen of Austria, but universal glory is unlikely for Wurst - played by cabaret artist Tom Neuwirth. But one contestant who can hardly count on the more conservative members of the continent is Conchita Wurst. If the young women can win over audiences with their warm and friendly stage presence, a few of the points are sure to come from Eastern Europe. Apparently it's the tune itself with its accordion backing that seems familiar and pleasant to them. Informally polling journalists in Copenhagen suggests their neo-folk song "Is It Right?" plays especially well with Eastern Europeans - although many were unaware that Elaiza frontwoman Ela Steinmetz has Polish and Ukrainian roots. Germany's Elaiza, on the other hand, are taking a different tack, avoiding big stage effects.
When it comes to party anthems, Greece will only face serious competition from France's Twin Twin with their song "Moustache." Greece's track "Rise Up" is already getting people dancing in ESC clubs in Copenhagen. Plenty of acrobatics to go around - Greece's Freaky Fortune on stageīut when Greece's Freaky Fortune featuring RiskyKidd started jumping around on a trampoline during the May 8 semi-finals, there was no turning back: this year's Eurovision Song Contest is officially a gymnastics tournament.
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Azerbaijan's Dilara Kazimova puts her alter-ego on a trapeze, while last year's Azerbaijani entrant performed in a Plexiglas container. In the case of the Russians, it's a huge see-saw, while Ukraine's Mariya Yaremchuk is accompanied by a massive gymnasts' wheel. It's remarkable what some countries - particularly from Eastern Europe - conjure up on stage in order to deliver as big a show as possible.
#The sing off finale 2014 full#
Eurovision has a large gay following, turning up in full force at the live event in Copenhagen as well. The response surely had less to do with the on-stage theatrics or voices of the 17-year-old singers - more so with Russia's role in the Ukraine conflict as well as its laws against the broadly defined target of homosexual propaganda. On May 6, when it was announced that Russian twins Anastasia and Maria Tolmachevy would advance to the final, this year's Eurovision got its first hint of a scandal that couldn't be overheard: loud boos from the audience. Compared with the rehearsals, both countries' performers really went all out.
But Jon Ola Sand said in Copenhagen that he is hoping for a good performance from both Russia and Ukraine after the two rounded out a direct duel during the first semi-final round. The head of the Eurovision Song Contest isn't blind to the continent's momentary political state. The show must go on - Ukraine crisis or not.
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