Nu kör vi! (Here we go!)
Week 3 of the 60th Melodifestivalen (Sweden’s national selection) from Luleå in the far north began with hosts Lina Hedlund, David Sundin, and Linnea Henriksson singing a lively ditty about how anything can happen on a live TV show, with some examples played out on stage: a man dressed as a banana pulling a tablecloth out from under dishes, Lina walking a tightrope (lina), the hosts stopping to scold an “audience member” scrolling on his phone, David twerking, Linnea juggling, and all of them (and their backup dancers) doing a Riverdance line — and being interrupted by David’s mother calling in to complain about it. Finally, David was unable to resist saying a dirty word (pungkula, or “testicles”).
Song #1 was three-time finalist Mariette’s “Shout It Out,” which has been called “Coldplay style [with] an anthemic beat.” The up-tempo, bouncy song — co-writer Thomas G:son’s 60th (!) for Melfest —featured lyrics such as “Why keep it in when you can say it / Why think again when you can change things / Don’t hold back / Just shout it out.” The simple but (literally) flashy staging felt like an arena show, with Mariette striding about the stage and looking rocker-ish in a black tank top, black leather pants, black armbands, and an up-do of long dreadlocks, not to mention pulling out a multicolored guitar near the end. But personally, it struck me as not too special and rather familiar.
Song #2, co-written by 2013 Melfest winner Robin Stjernberg, was “Livet börjar nu” (Life Begins Now), the first of four Swedish-language entries this week (the highest number so far), sung by Albin Johnsén. The lyrics were just as encouraging as the first song: “Life begins every time you go to pieces / And you still manage to laugh because you have stopped doubting / Life begins when you are on the last battle / And it feels like the air has run out but you find breath.” But the vocals weren’t great, the backup dancers in their nightclothes seemed kind of aimless, the on-stage piano was never used (except to stand on the bench), and the lyrics got a bit repetitive in my opinion.
Song #3 brought us Drängarna (The Farmhands), a rock-pop-dance band described as a mix between Rolandz and Timoteij, making their Melfest debut after having a hit back in 1995. They performed the upbeat “Piga och dräng” (Wench and Farmhand), basically an Irish jig heavy on the violin, guitar, and accordion, accompanied by a flashy light show and four dancers (and the accordionist) leaping about in a traditional Irish dance and acrobatic moves. The sweet lyrics included “Summer nights scream our names / Over the meadows the sounds can be heard / Everyone sings the chorus of the farmhands / Because if you become my wench, I will be your farmhand.” I found the whole thing super catchy, an infectious sing-along that even Ireland could be proud of, even if it was a bit of a cheesy throwback. Quite irresistible, in my opinion.
Song #4 brought us “Late” (in Swedish, despite the title), sung by Amanda Aasa, the jury pick for Melfest from the show “P4 Nästa.” The songwriters called this an “up-tempo pop song with an international sound” and a mix between Billy Eilish and Ed Sheeran. I would not disagree: Amanda and her two female backup dancers, all in tight white outfits and slick hair against a yellow background, put me in mind a bit of Michela (Malta 2019). The lyrics were simple, about getting in too deep although it’s a mistake and realizing it too late: “You call too late and you know it / Finally I can see this / So dumb, I know, but too late.” The beat was catchy, and the vocals adequate. I found it appealing.
Song #5 was “Vem e som oss” (Who Is Like Us) by Anis Don Demina, the house saxophonist from two years ago who fell short at Melfest 2019 and is making his solo debut. He describes the song as “giving hope, energy, and joy” — and that it did! This bouncy hiphop number threaded with brass got high marks in our household for creativity and high spirits. It was probably the most fun to watch, with sophisticated graphics framing the live Anis (in his shiny purple velvet track suit) and lyrics on humorous, fast-moving magazine covers (“The arena smells of hockey sweat! Schlager is thicker than blood!”). Speaking of lyrics, the high-energy song had the most words (520) of any song in Melfest this year, for example: “Do everything I can to make mom proud / People with negativity, brother, we throw them out / First they talk shit but now they get it / And sing along to everything we talk about… For no one else will ever be like us.” Pudgy, adorable Anis and his four energetic backup dancers made the stage show into an irresistible aerobics class that you couldn’t help but sing and dance along with (“Shu, shu, vem e som oss! Shu, shu, vem e som oss!”). So much fun!
Song #6 calmed things down with a classic ballad: “Crying Rivers,” whose songwriters have also produced tunes for Jennifer Lopez, Eminem, and Britney Spears and describe it as having an “’80s George Michael feel.” The song was well performed, with a distinct R&B vibe, by Faith Kakembo (in real life an anesthesiology nurse), who wore a sparkling silver pantsuit against simple background graphics. “Oh, baby can’t you see / Stop crying rivers over me / You know love’s a motion / Goes where it wants to be / So stop crying rivers / Save them for ones who / really do deserve them.” Ballads are not my speed, so I found this sleepy, but Faith did deliver vocally.
After a short comedy interlude, song #7 brought the return of Mohombi (“Hello,” fifth place in Melfest 2019; also 2005), with “Winners,” a mid-tempo danceable tune in the style of Robin Bengtsson and Benjamin Ingrosso, with a touch of Latin or reggaeton influence. Embraced by a semicircle of light panels, Mohombi, dressed in all white plus a gray suede jacket, convincingly sold the song with a few Michael Jackson moves thrown in. “So why give my heart / Let down my guard / And show you my scars / Just to give up nah now, baby / Still not too late / Don’t let it be your greatest mistake / Without you I’m just a dreamer, dreamer / Together we stand like winners, winners.”
While the voting was taking place, another set of inductees to the “Melodifestivalen Hall of Fame” were flashed on the screen, including Arvingarna (ESC 1993 and five times in Melfest) and “Take Me to Your Heaven” (1999 ESC winner). Then Lina performed a Broadway-ish dance number, “Pizzazz,” about doing ordinary things (like shopping, exercising, eating, and bathing) with, yes, pizzazz. David presented clips of Melfest intermission acts from history.
Finally, the “resultat”: Songs #2 (“Livet börjar nu”) and #4 (“Late”) failed to advance. Among the top 5, songs #1 (“Shout It Out”) and #7 (“Winners”) advanced direct to the finals, while #3 (“Piga och dräng”) and #5 (“Vem e som oss”) will proceed to Andra Chansen. Song #6 (“Crying Rivers”) finished out of the running, in 5th place. The results break this year’s streak of Swedish-language songs finishing at the bottom (although with four this week, one was bound to get through). Personally, I would have liked the Andra Chansen songs to go to the finale, and “Late” and “Winners” to Andra Chansen, but sånt är livet (that’s life).
On to Malmö next week!