The Eurovision Fam team took some time over the long US holiday weekend to reflect on this past Eurovision year from a place of gratitude.
Alesia:
I am thankful for the Eurovision 2024 grand final juries. They did what they needed to do. They honored creativity. They elevated performers who shined vocally and visually.
I am thankful for Switzerland and Nemo. Switzerland’s renaissance at the Eurovision Song Contest has been exciting to watch, but if we’re being honest— they started playing it too safe and WAY too “jury-friendly”. When I heard “The Code,” it screamed jury winner? It screamed jury winner for all the atypical features it served. Switzerland’s internal selection process should be studied. They ensure their performers can bring the songs to life. They invest in their artists. Switzerland deserves this win. Nemo’s flawless vocals and creativity can serve as an inspiration for other artists to live their truth and not compromise their style and art for a “Song Contest.
I am thankful for Bambie Thug. Ireland needed a witch to conjure up some points, interest, and creativity— Bambie DELIVERED. Ireland now has the gift of momentum and I deeply hope they don’t fumble this blessed opportunity to reclaim their Eurovision crown.
I am thankful for the Eurovision fandom present and future. I am thankful for fans who celebrate music, honor artists, and love what they love fearlessly— regardless of trends and hype. I am thankful to fans who speak out boldly with care and mindfulness. I am thankful for fans who celebrate and honor the diversity in our community— even when we disagree.
Andrew:
The message(s) of empowerment from Eurovision 2024 competitors that continue to leave a lasting mark on global society (in a time where, in certain regions, it is very needed).
If there is anything to inspire hope as we head into 2025, it’s the messages of strength and inspiration coming from a number of Eurovision sources. It starts with Nebulossa’s “Zorra”, which calls out a number of double standards in society, and makes the justified claim that women are not simply “Zorra” but rather a demographic that has been largely marginalized and underestimated. By reappropriating the insult, it has caused many to revisit what it means to be a woman in the world, and in the case of Nebulossa, the musicians – and singer – of an anthem of female empowerment.
Speaking of power, Ireland made arguably the boldest Eurovision 2024 statement, issuing a worldwide warning for kings and princes to step aside, or prepare to be ambushed. Bambie Thug, as noted above, BROUGHT. IT. And that “it” was a worldwide movement to crown a non-binary witch. While considered “nightmare fuel” to some (well, at least one overprotective parent of a 3-year-old), the song and performance of “Doomsday Blue” brought forth a ruthless aggression not seen before on the Eurovision stage. It showed that size and stature matter not when you’re backing it with unbridled – yet darkly artistic – rage. While the hardware may be resting on the head of Switzerland’s Nemo, we bore witness to a spiritual reckoning and unforgettable run, and perhaps re-birth of Ireland’s mighty Eurovision prowess.
Elda:
First, I’m thankful for Raiven and Teya Dora, just because of how beautiful and esoteric their songs are!
With “Veronika”, we get something intriguing and dark–a little bit of electronic and a bit of classical. I didn’t really follow Raiven during her national final journey, so this was a really good first introduction to her overall work. More importantly was that she managed to qualify when the odds were stacked against her; while I wish more people appreciated her in the final, I’m glad she achieved her dream.
Like a lot of people, I’m familiar with Teya Dora’s “Dzanum”, so when she competed in PzE this year, I was curious. “Ramonda” is a pretty despairing song, and is an equally dark ballad. But the symbolism of the lila Ramonda, a flower which can be revived with a few drops of water after drying out, definitely stands as a neat symbol. We needed hope then, and also now. Also, it was an example of patriotism, in contrast to the nationalistic runner-up of the Serbian selection.
Finally, Marina! The ERT staged a coup when they got her on board, and everyone was expecting big things. “Zari” was somewhat not what had I expected, but learning about the different influences and how Marina wanted to show a new Greece intrigued me as time went on. It’s interesting to see how we (the foreigner) sees Greece vs how somebody who lives there does.
Kevan:
I am thankful for the continuing trend of Eurovision artists performing songs in their native languages. After a year away from the contest, 2021 saw non-English songs snag 4 of the top 5 placements in the contest. This was a strong and welcome reminder to the Eurovision community that televoters and jurors are able to connect with songs in any language when they’re well-structured, performed well, and have authenticity.
Three years later, the trend has continued with Armenian, Dutch, English, Estonian, French, Greek, Hebrew, Italian, Lithuanian, Norwegian, Portuguese, Spanish, and Ukrainian in the contest once again. We were also treated to our first appearances of Yankunytjatjara (Australia), Azerbaijani (Azerbaijan), and even a witchy sprinkling of Aramaic (Ireland).
When we dive deeper into the 2024 results, 10 of the 11 non-qualifiers (90.9%) in the televote-only semis contained English. Meanwhile, this was true for only 14 (53.8%) of the songs in the final. It really does feel like there is an ever-growing appetite for appreciating artists performing music in languages that feel more authentic to them.
In connection with this, we’re also seeing artists proudly being their authentic selves and taking “risks” that many suggest will lead to poor results. Non-binary artists Nemo and Bambie Thug are perfect examples of this. Prior to the contest, both were heavily critiqued for their styling choices and their proud expressions of their identity. After the contest, this conversation seems to have almost disappeared.
Here’s to a 2025 season filled with more authentic artists performing in an even wider variety of languages.
Brooke:
Is this where I get kicked off the Eurovision Internet when I say, “thank you for the music?”
At my core, I’m drawn to the Eurovision Song Contest because of the songs, not the contest. 2024 gave us an embarrassment of riches in that department. An incredible selection of tunes in more varied genres than usual (Ouijapop and happy hardcore, welcome to Eurovision! Please stay a while!) made it to the stage in Malmö, with elevated staging and performances to match that energy!
That’s not even taking into account all of the incredible music that was left behind at the National Final level. I needed a break from ESC after May, so I turned back to artists and songs I loved and discovered during the selection process. Santi Francesi will never leave my rotation, and they’re single-handedly (double-handedly, I guess?) responsible for my full immersion in Sanremo Giovani this year. I didn’t love UMK this year the way I did in 2023, but Jesse Markin’s PUMP is one of my favorite albums of the year! (NOW STREAMING!)
I’m thankful for Gåte, who still have one of my favorite songs of the competition, but who left with one of the least deserved last place finishes and accepted it with grace. (In 2025, I’d like to be grateful for juries who know what to do with incredible rock vocals.) I’m thankful for Ladaniva’s exquisite talent as well as the joy and camaraderie that they express in their music. So many of their videos are them hanging out and making music with friends, celebrating, enjoying food and sunshine, basically living my best day ever over and over.
So.
I say.
Thank you for the music. (Sinceramente.)
Augusto:
This year has been tough for me as a fan of Eurovision, because of all of the complexities that are intertwined with everything that surrounds the Contest itself. Here’s what I’m thankful for…
I thank Marina Satti and “Zari,” as through her, it was one of the rare occasions (probably the first one ever) when a musician/producer from my home country, the Dominican Republic, was credited for their work behind a Eurovision entry. Mediopicky, you’re an icon!
I also want to thank those brave artists who were very vocal about their support for the right causes in life this year, especially taking into consideration all of the drama and trauma that may come after such an ordeal. Mainly, to Nemo, Iolanda, Marina, Bambie & Joost. Thank you, thank you, thank you.
Also, I’d like to thank mis tíos Mery & Mark who form Nebulossa. They proved that age is nothing but a number. They also gave the girls, the gays, and the theys a whole liberation and empowerment anthem with “Zorra”. ¡España, siempre serás famosa!
Nemo, I’m not sure if you’ll ever read these lines, but I’d like to personally thank you for coming along and jumping into this crazy journey being your true and authentic self. Your visibility, authenticity, and powerful musical artistry are more than needed in today’s music scene. Thank you, Nemo, you deserve all of your current success and so much more.
Lastly, I am thankful for our Eurovision fandom. The majority of us, have become somewhat of a dysfunctional and sometimes crazy family, but in this turmoil of a year, we stood together for one main cause: keeping our favorite song contest as the safe space it’s meant for many of us for years. I want to thank all of those fans who attended Malmö and made themselves feel heard; I want to say sorry to all of those who experienced harassment by members of a certain team, such treatment is inadequate and violent; and lastly, even if the digital wars can be hectic at times, I want to thank to every single ESC fan who said something through their social channels.
I remain hopeful that for 2025 things will get better for all of us in Switzerland!
Happy Thanksgiving, Fam!