There was a time when Eurovision was almost a musical genre, but that has already blown up, this is ‘millennial’ promiscuity, and there it is to corroborate this first poker finalists from the Benidorm Fest. It’s hard to ask for more variety: severe electronica and tremulous confessions on the piano, neo-flamenco with latex and industrial metal from movie cataclysm. No one will be able to invoke, seriously at least, that classic so typical of prejudice or misunderstanding, the “everyone sounds the same”.
Well no, none of the nine semifinalists looked like another, although there were recognizable clues and borrowed ideas. But if the four selected agreed on something, it is in the identification with the drama, the inner torment, a certain transversal anguish that who knows what is telling us about the time we live in. Latinity more heartfelt than banal, reluctance to “I love you & rdquor; automatic and cheesy choreographies. If they can be blamed for something, it will be, in any case, that their rhymes are affected, rather than silly.
The three votes have shown a remarkable coincidence, raising the canary Agoney to the top by combining the melodramatic chorus in falsetto, thick electronics and the dry gag of the “burn! & rdquor;, with props of flames. It is the most exciting song of the ‘pack’, and it would give an unprecedented profile to TVE if it reaches the Liverpool final. As, otherwise, the subject of Megara, an up-to-date metal number, with views of the Metaverse and video games, a powerful voice and a distressing tune with minor chords.
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Also breaking the mold (in the Eurovision context), Alicia Climent from Madrid, Alice Wonder (and not Alice Cooper, as the presenter Rodrigo Vázquez let slip: a gazapo that honors him more than anything else), he also expressed his cosmic suffering, although his song got entangled in the transition from his ‘minimal’ piano to the alleged high end, besides sounding pretentious. and what to say about Fusa Nocta and his angular commitment to ultra-modern ‘jondo’, although with a somewhat confusing staging: ‘sadomaso’ plastic and a white utility vehicle that, apparently, was there as a tribute to his grandfather.
Out of focus was, by the hair, a Aritz with Chanel airs and a certain perfume of banality. At the moment disco-diva of Sharonne it lacked some musical identity, and in the tail were the rather mundane tunes of Melen, Twin Melody and Sofia Martin. But, with this second Benidorm Fest, TVE confirms a feeling that had been lost in other times, that it has once again wanted to win the Eurovision Song Contest.