We have to go back to 1995 to find a better position for Spain in the Eurovision Song Contest, when Anabel Conde came second with ‘Vuelvemigo’. Now, after 27 years of painful results in which, on most occasions, we were in the second half of the table or, directly the last, as happened with Manel Navarro in 2017, the Spanish representative, Chanel Terrero, has reached third position with her proposal ‘SloMo’ .
The artist came out on stage with a winning attitude, giving off charisma, showing her butt and executing the choreography and staging of the song with pinpoint perfection. Not a single mistake in the number, not a single glitch. Chanel brimmed with confidence, she danced and sang spectacularly, her performance combined that difficulty, that of moving at a frenetic pace without losing her vocal tone, something she did without apparent effort. She could even contort, that the intonation was always in her place, untainted and forceful.
In a year marked by baladons and mid-tempos, Chanel’s performance inevitably drew attention. It was one of the catchiest and most danceable songs of this edition and it was visually overwhelming. For once, the staging of Spain rose to the occasion. A powerful dance corps, a powerful choreography, the totemic presence of Chanel with her crystal dress from Palomo Spain and lighting effects that allowed time to be accelerated or slowed down.
male and straight edition
This has been a year of few divas. A quite masculine and hetero edition. The first two positions have been occupied by men. The first woman on the table was Chanel, followed by Cornelia Jakobs from Sweden, one of her favorites, who defended a beautiful song on stage alone with her impressive voice. It is not surprising that, among so many men singing ballads, the representative of Greece ended up standing out, Amanda Georgiadi Tenfjord, who came in eighth position, and one of the surprises of the edition, the Serbian Konstrakta, who with her conceptual performance of denunciation ‘ In Corpore Sano’, came in fifth place.
Konstrakta was one of the few gratifying surprises on a night in which the winners were always from the beginning. Ukraine unsurprisingly swept the televote (439 points) and beat second placed Sam Ryder of the UK by almost 200 points.
It was a circumstantial victory. The Kalush Orchestra’s song ‘Stefania’ would surely not have made it to the semifinals if the country had not been immersed in a war. The public turned to support the invaded country and celebrated its electro-folk mix, which appealed to its cultural roots with a rapper touch. But the song was the least of it. They could have submitted any topic, and they would have won just the same.e, despite the fact that the professional juries of the different countries did not place it as a favorite.
unpredictable tool
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Televoting has proven to be one of the most unpredictable tools in the Eurofan universe. The same as a proposal as refined as the one from Serbia and its metaphorical hand washing obtains 225 points as the Moldovans and their prehistoric ska reach 253 points. The big loser of all these ups and downs was undoubtedly Italy. Mahmood and Blanco with their beautiful song ‘Brividi’ were always among the favourites. But their performance was not up to the task and they did not show the chemistry that had characterized them when they won Sanremo. It may have been the most beautiful song of this festival, but that, at this point, doesn’t matter anymore.
The Chanel effect collapsed social networks yesterday. The artist has ended up winning over even those who scorned her below Rigoberta Bandini when he triumphed at the Benidorm Fest. He has shown that he is above absurd controversies and has focused on work, on what he had to do. And always with a smile.