Eurovision Song Contest 2022 #3

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I just downloaded Maneskin's Supermodel and Subwoolfer's Give that wolf a banana.
They are on my Mp3 as we speak.
I tried to resist but what the heck.

Only other Eurovision song I have on my MP3 is Bobbysocks 'Let it swing and let it rock and roll' from 1985 - they were Norway as well.

I just love the diversity the contest gives us.
 
emm said:
I hope our success this year (I didn't love the song tbh but he seems like a ncie guy, just not my cup of tea) means that we also make more of an effort next year, for years our entries have been so lacklustre
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I think it was a particular agency the BBC used this time round, who provided the singer, promoted the song around Europe etc (I may not have all these details correct) - I'd have thought they would do this again next year.
 
LucyEyelesbarrow said:
I think it was a particular agency the BBC used this time round, who provided the singer, promoted the song around Europe etc (I may not have all these details correct) - I'd have thought they would do this again next year.
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They better do. Because the viewing figures were insane. The UK engagement with Eurovision is at its highest, we might as well try to win because we would love it. And I really want to see us host it. Can't wait for all those filler bits when Europe goes to ad breaks that the BBC produce good quality content for, compared to Italians making hand gestures for three minutes.
 
LucyEyelesbarrow said:
I think it was a particular agency the BBC used this time round, who provided the singer, promoted the song around Europe etc (I may not have all these details correct) - I'd have thought they would do this again next year.
Click to expand...

It was TaP management that the BBC outsourced it to this year (they donated their fee to Ukraine which was nice). I think it was a bit of a perfect storm TBH. Sam had recently got "TikTok famous", was on the up AND willing to do Eurovision (he does seem to be a big Eurovision fan), he absolutely relished doing all the promotion and his personality got him a lot of support. Having better management definitely helped but we still need to talent to want to do it. So we'll see... Maybe Olly Alexander (who was turned down this year) will still want to do it 🤷‍♀️
 
DanDanTheIceCreamMan said:
It was TaP management that the BBC outsourced it to this year (they donated their fee to Ukraine which was nice). I think it was a bit of a perfect storm TBH. Sam had recently got "TikTok famous", was on the up AND willing to do Eurovision (he does seem to be a big Eurovision fan), he absolutely relished doing all the promotion and his personality got him a lot of support. Having better management definitely helped but we still need to talent to want to do it. So we'll see... Maybe Olly Alexander (who was turned down this year) will still want to do it 🤷‍♀️
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Olly Alexander would be good, but I think it is more fun to have someone who is not really well known
 
DanDanTheIceCreamMan said:
It was TaP management that the BBC outsourced it to this year (they donated their fee to Ukraine which was nice). I think it was a bit of a perfect storm TBH. Sam had recently got "TikTok famous", was on the up AND willing to do Eurovision (he does seem to be a big Eurovision fan), he absolutely relished doing all the promotion and his personality got him a lot of support. Having better management definitely helped but we still need to talent to want to do it. So we'll see... Maybe Olly Alexander (who was turned down this year) will still want to do it 🤷‍♀️
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From what I understand TaP management sees Eurovision as a pretty big deal and were 'in it to win it', at least for their artists. Realistically, Eurovision is a great way to kick start someone's career since they have so many opportunities to promote themselves. Sam is obviously not a full newbie but this seems to have helped him get into the mainstream radio

I honestly don't think we need to send anyone famous. People with good/decent songs and vocals who are willing to go through promotions and enjoy them are the best bet

I really hope we've learnt a lesson from this year and don't go back to sending average entries
 
For some extra context, TaP used to manage Dua Lipa until recently. They also have artists like Leigh-Anne Pinnock, Lana Del Rey, Ellie Goulding, Caroline Polachek etc. under their belt. They’re known for having really good promo and radio deals, so Sam definitely has a bright future ahead of him.
 
Merpedy said:
I honestly don't think we need to send anyone famous. People with good/decent songs and vocals who are willing to go through promotions and enjoy them are the best bet

I really hope we've learnt a lesson from this year and don't go back to sending average entries
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Yes - agree with both points. Someone too 'famous' carries other baggage into Eurovision, and we do need to send proper Eurovision-type songs written specifically for that competition. And put the leg-work into promotion and social media following.

Just because we produce a lot of home-grown musical talent in general does not mean it automatically translates to doing well at Eurovision. This is where we've been arrogant in recent years. It's a specific competition that needs a specific approach.
 
LucyEyelesbarrow said:
I think it was a particular agency the BBC used this time round, who provided the singer, promoted the song around Europe etc (I may not have all these details correct) - I'd have thought they would do this again next year.
Click to expand...
TAP were the Talent Scout that chose Sam Ryder & his song Space Man but after that their job was done. Their criteria was an excellent live vocalist with an authentic song who could create a buzz for eurofans. They didn’t see Eurovision as the end goal like the BBC. TAP wanted the BBC to jump through hoops such as ensuring the song would be on Radio 1 & 2 (first time since 1999).

Sam’s a signed artist (since 2021) and his record label, Parlophone/Warner, saw Eurovision as a platform for him post-lockdown and put in a lot of money for his promo tour and staging to help his post-contest career. I read it was 4x the amount the BBC had for the staging alone.

Based on what Lee Smithurst from the BBC said on the EuroTrip Podcast, I’m not convinced the BBC could’ve replicated the success without the record label.
 
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Revisiting my favorite ESC songs from the past years - I posted about Margaret Berger's Feed You My Love (and my love for this song) here before, but I came across Kedvesem by ByeAlex (Hungary) again. Forgot about how obsessed was with that song!!!
 
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