Nov 16, 2025
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recency bias go brrr
Three Minutes to Eternity: My ESC 250 (#35)
#35: Ermal Meta and Fabrizio Moro -- Non mi avete fatto niente (Italy 2018)
“Perché la nostra vita non è un punto di vista E non esiste bomba pacifista”
“Because our lives are not a point of view, and a pacifist bomb doesn’t exist.”
(Before I continue, I find it quite weird I'm writing this now, because there is another song from Sanremo that year that I found out after the contest. I fell in love with it so deeply that had it won, it would've been my all-time favorite entry at Eurovision. But that's another story.)
From one peace song to another, we arrive to probably my favorite Italian entry post-comeback. "Occidentali's Karma" (#150), "Soldi" (#82), and "Zitti e Buoni" (#75) are all fantastic songs in their own right, but this one hits just a bit more.
You can’t choose just one lyric to represent Non mi avete Fatto Niente. I've floundered between "Il mondo si rialza/ol sorriso di un bambino" (the world will get up with a smile of a child) and "Galassie di persone disperse nello spazio/ma quello più importante è lo spazio di un abbraccio" (galaxies of people disperse in space/but the most important is that of an embrace) as the best lyric, as they show how much we have in common, and the resilience of humanity at large.
What I chose in the end not only combines that, but also advocates for peace above all. It also shows Ermal and Fabrizio's eloquence when talking about serious issues (Ermal with "Vietato Morire", Fabrizio with "Pensa" and "L'Italia è di tutti").
A grand piece about recent terrorist attacks across the world, it forcefully states that the people will continue to stand despite it all. It's interesting because when I started university for International Relations, one of the earliest topics was about ISIS and terrorism (which is, by the way, the use of fear to achieve political gains). Over time, however, I learned about domestic terrorism within the United States--one of which is rooted in white supremacy and has led to conversations about who gets recognized as the victims and who are the "predators" in this context.
Ermal and Fabrizio have different vocal takes on the song--the former is soft, melodic, and assuring, while the latter has a gruff tone which makes it all the more cathartic. I've heard people comment on Fabrizio "screaming" during the performance, but it makes sense here. Both of them stand out to the chaos that is the speedy backing track--while not easily melodic, it still has a rousing chorus which makes you want to scream it out loud.
Together, they created a performance that made me feel so much in three minutes. Unlike with Mercy (#94), the other major peace song in 2018, they manage to use minimalism to their advantage, by projecting the subtitles of their lyrics on TV. That way, their message was broadcast across the continent and people understood. For me, it was cool, but it was the duo's passion for their subject that stood out. The bridge was easily the best part--I only felt my heart warm up from that point on.
Too bad the juries couldn't note that--it came 17th with them, but got a solid third place with the televote, only a few points behind Fuego for second. That was more than deserved for a song of equal parts grit and eloquence, one that both reflects a moment and which stands the test of time.
Personal ranking: 2nd/43 Actual ranking: 5th/26 GF in Lisbon
My top 12 =)
Three Minutes to Eternity: My ESC 250 (#29)
#29: Ofra Haza -- Hi (Israel 1983)
“שמעו, אחיי, אני עוד חי ושתי עיניי עוד נישאות לאור רבים חוחיי, אך גם פרחיי ולפניי שנים רבות מספור”
“Listen, my brothers, I’m still alive And both my eyes still look into the light Many are my thorns, but also my flowers And I have countless years ahead of me”
Like with Kan (#31), Hi might be seen in bad taste if it was released today. However, unlike the former, Hi firmly celebrates the Jewish people's survival, and it's in more than just the vivacious and hopeful lyrics.
For the contest in Munich, where a lot of events relating to Nazi Germany occurred (the Beer Hall Putsch, the first concentration camp in Dachau just outside the city, the Munich Agreement of 1938), Ofra Haza and her backing vocalists strolled on stage and happily exclaimed that they were still alive despite all the bad the world has done with them. You wouldn't tell with the minor-key composition--the Israeli national anthem also has this combination--so you could hint at the pain hidden through the song.
Though already brazen in the studio cut, the orchestral version just amplifies it, from the brass to the string section. This happens through a lot of the 1983 songs (including #246 and #97 on this countdown, for example), but for Hi, it adds the sprinkles to a beautiful honey cake. The piano intro is emphasized a lot, followed by the verses, in which it keeps up the momentum. When it gets to the chorus, it just brings Hi to life! You could hear the musical punch it gives, especially compared to the studio cut.
And of course, Ofra's vocals gently carry the song, albeit with a certain bite. She sings of the Jewish people's determination to survive, telling how her grandfather sung this song to her father, and then to her now. Beyond the contest, she showed off her connection to her Yemenite roots; a year later, she released an album of Yemenite Songs which would be her breakthrough. The remix of Im Nin'alu was her biggest hit, though for a long time, I only knew her through her rendition of Yerushalayim shel Zahav (Jerusalem of Gold). It's absolutely beautiful.
Ofra Haza was not the first Yemenite Jew on the Eurovision stage, nor was she the last (three of Israel's four winners were of Yemenite descent) but was probably the most notable of them. Her career afterward mixed parts of her cultural heritage with modern music, which allowed a bridge between her two worlds. Ayelet Tsabari would later write this about her in The Art of Leaving (which I highly recommend):
"...in a world where the actors on TV and the singers on TV were Ashkenazi and the models in magazines were Ashkenazi, there was Ofra, the simple Yemeni girl from Ha'tikva neighborhood whose star shone brighter than anyone's, who made it against all odds, and who looked like me, or like one of my own prettier cousins." (39)
Basically, a lot of reasons why Hi should've won--rousing song, talented singer, beautiful orchestration and a clear connection to the country it's from. I have two more runners-up on this 250, but no other deserves to take the crown more.
Personal ranking: 1st/20 Actual ranking: 2nd/20 in Munich
Final Impressions on:
--1983: Germany's first hosting didn't showcase their world-famous efficiency, as the production was less than ideal. Marlene, their host, went over everything in English, French, and German, which extended the contest to the three hour mark for the first time. Plus she called the Norwegian conductor "Johannes Skorgan", haha. #allora.
But what the production lacked, the song quality more than made up for. I like just over half the songs; even the ones I didn't fancy had their charms (except Opera, haha). The German concert orchestra does a good job in interpreting them--if I did a personal list of favorite orchestrations of all time, I fear that I might overloading on this year when it came to the top.
The glaring flaw was with the winner--Si la vie est cadeau is a descent song on its right, and the verses were especially strong. It just falls flat by the chorus and doesn't convince itself after that (though Michel Bernholc did the orchestration). And as much as I iike French ballads, this one set the contest back quite a bit, which took until the mid 1990s to recover from.
--Israel: Just like their international reputation, Israel seems to be quite polarized in Eurovision. When they send good entries, like Hi, they are really good. But when they send bad entries, they are really bad. Of course, they have some average songs, but they don't stand out as much as those at the extremes. What I can say, regardless, is that they add a bit of spice to the Eurovision party, and we can all appreciate it for doing so.
My ESC Top 250 (#140-131), featuring not one, not two, but three somewhat politically minded songs; two different sides of Greece, and the beginning of the rockalypse.
Three Minutes to Eternity: My ESC 250 (#26)
#26: MaNga -- We Could Be the Same (Turkey 2010)
“I can see it in your eyes It doesn't come as a surprise I've seen you dancing like a star No matter how different we are”
*insert angry Turkish comment here*
Eleven years after its contest, you could see how angry Turkish fans are about this song losing to Satellite. Apparently, it's because it was their last successful participation before withdrawal, which led to the belief they would've stayed had they won. While I’m put off by the vitriol, I could see why they would be irritated, especially with this song!
It combines nu-metal (with the rapping and record-scratching), Turkish influences (in the intro with the strings and some of the tambourine), and a rousing instrumental with a strong production. Everything about it was very anthemic, from the powerful intro to the chorus (though there are several different versions of the song. The Istanbul take has a longer intro at the cost of the final chorus, whereas the Brussels version, performed in Eurovision, doesn't have the Turkish riff in the intro. I prefer the latter)
The lyrics encourage a potential romance, which is a bit cliched, but there will be undertones about racial unity amongst others (especially with Turkey withdrawing from the contest later on). Along with another major Turkish rock song two years earlier, there's also the metaphor of the EU hanging along, which is more apparent now that relations are even more strained and Turkey's become more authoritarian over the last decade. So despite the negativity on whether or not they should've won, there's a sliver of hope through these lyrics and the energy behind it.
That energy was well-conveyed on stage, where MaNga benefited from the lack of LEDs and instead told a story. Admist a dark, almost futuristic landscape, we see the band perform while a Power-ranger like figure hangs around in the background. In the instrumental bridge, where it starts taking itself apart and the camera pans to Ferman looking triumphantly at the metamorphosis, it was just nailed to the wall. Absolute perfection, and the girl revealed under it showcased the song for what it is all about.
As much as I am irritated by the fandom surrounding this one, I think We Could Be the Same is indeed a classic. Pulsating and with a bunch of interesting musical elements put together, it stands out from the rest of the crowd, while maintaining that showmanship from the 100% televote era. Nevertheless, it holds out with the hope that we could be the same (forever and not just for one night), "no matter what they say!"
Personal ranking: 2nd/39 Actual ranking: 2nd/25 GF in Oslo
Three Minutes to Eternity: My ESC 250 (#42)
#42: Eimear Quinn -- The Voice (Ireland 1996)
“Bring me your peace and my wounds, they will heal”
Ireland’s last winner was unexpected, as the country probably tried to not win again! It also showed in how a number of fans left the arena when it the result was clear, because it clearly misaligned with the music trends of the time.
Compared with most 1990s music, featuring dance music (later this year, we are introduced to the Spice Girls), alternative rock, and hip hop, The Voice is a Celtic-influenced ballad, with a low-key atmosphere and somewhat repetitive lyrics. While Enya found fame across the world through this style, it still mulls onto the Eurovision mold, which at that point is its own musical universe.
But I think it’s Ireland’s greatest winner, as it’s grounded in the traditions of the country and has a beautiful melody. It begins quite somberly, before a single drum and a lute come along, and a violin chimes in. While it does change from major to minor, it's done so cleanly I didn't really notice it. The whole song itself is great, though my favorite part was when the drumming increases and the strings darken. The climax after that is just so liberating and bright.
It tells a compelling story, one which sounds like it could fit in a fantasy novel. However, take a closer look, and it's about the nation of Ireland, which is tied to what’s going on at the time. (Hence making it surprisingly political) The Troubles still festered on, in terms of what Ireland could become (united as a Catholic nation, or divided with Northern Ireland as part of the United Kingdom). There was a ceasefire three months before this song took to the stage in Eurovision, only for the Manchester bombing to take place a month later. Yet hope comes along through peace (the Good Friday Agreement coming two years later), which led to Ireland strengthening what it could be--like joining the EU. Hence the lyric "bring me your peace" carries so much power in this context.
Eimear sounded breathy at times on stage, but she has the voice of an angel. (Twenty-five years later, her voice matured nicely, and the song remains as eternal as ever). She carries the song with poise yet a sense of innocence in it, because of the lightness of her voice. And while the song is seen as outdated in 1996, it has only aged as a fine wine since. With a sense of strength and grace also, The Voice is beautiful winner, and it deserved it too. (That being said, the televote would've probably knocked this a few notches--the battle between the top three would be quite tough because they are all new-agey songs, and may cancel each other out.)
Personal and actual ranking: 1st/23 in Oslo
Final Impressions on:
--1996: The one without Germany, but with a lot of filters. Despite having a solid production which is thanks to NRK's oil money (Ingvild also was a fantastic host!), the last year of the 100% jury era gets a mixed reception. There are people who like it lots because of the quality, and others less so because the slow songs do start blurring together. I'm in the middle of it--this was the first vintage year which I watched in its entirety (the first years I only focused on the songs, rather than sit through the entire 2-3 hours), and thought it was quite good, though I could understand why it might not be to everybody's taste. (Though it would make a good #Eurovisionagain) for that alone)
--Ireland: Somehow, they're still the country with the most wins, haha. That said, most of them were deserved, except for "Why Me?" (you'll find out who's my favorite of 1992 soon enough!), as the song felt a bit dull. They had a penchant for ballads which worked, but with the televote era, they withered just like the United Kingdom. But they sent some solid songs over the years, even with their non-winners.
I also have to give credit to the RTE--with the exception of 1971, which was quite anonymous--it has managed to host strong contests since then. Which is another reason why Ireland should get themselves together and aim for the win; the first is that Sweden is quickly nipping at its heels!
Three Minutes to Eternity: My ESC 250 (#40)
#40: Go_A -- Shum (Ukraine 2021)
"Заплетися, шуме, барвіночком Я тобі співаю весняночку"
"Shum, get twined with periwinkle I’m singing the spring song to you."
If you remember my "what could have been" segment before this top 50, Solovey was my favorite of 2020 and I was really happy to see Go_A represent their country this year. They had a unique take on electronic and traditional music and wanted to see where they went with it. Though the route to their song was a bit...funky.
In January, they released Shum--but it was the four-minute, version 1.0 for the song. I found it quite neat; I liked the mix of white-voice and the gradual build to a really exhilarating climax. It was at first considered for Eurovision, and then it wasn't, and then it joined a shortlist, and then it became Ukraine's entry. Of course, it became my joint favorite upon release...and then it was cut down to three minutes with a different set of lyrics.
At first, I found it quite clunky against the instrumental, though the latter flowed smoothly and retained the most important parts. Through the next several days, however, I listened to it over and over again. I loved the accelerated build and how it fit with this feeling of everything blooming again. It wasn't my favorite anymore, though I still loved it to bits.
What's also interesting was the contrast between Solovey and this one. Whereas the former is contained in the standard "verse-chorus" structure, and has a pretty consistent feel until the end, Shum is a lot more chaotic. Mixing techno with traditional Ukrainian lyrics, Go_A takes its inspiration from the coming of spring, with a melody imploring Shum (either "noise" or the god of the forest) to make everything bloom and get the world moving again. Inspiring, but also befitting, considering the pandemic and all.
Also, I feared this would fail to qualify, until the delegation revealed its staging. In another way, Shum managed to come to life in Rotterdam, with the contrast between Kateryna's ensemble and the cold winter landscapes. The minute before everything explodes is a total masterclass in camerawork and engaging the whole collective. With the final minute, everything goes nuts.
For this, Shum got rewarded handsomely--not only qualifying for the final, but also getting into the top 5, including placing 2nd in the televote. And it got a good amount of commercial success also, including topping multiple viral charts on Spotify, garnering millions of hits, and becoming the first Ukrainian-language song to appear on the Global Spotify chart at #69.
Not bad for the first Ukrainian-language song at the contest, not bad at all.
Personal ranking: 2nd/39 Actual ranking: 5th/26 GF in Rotterdam