Now that we've got the first semi-final sorted out, it's time to take a look at what the second semi-final has to offer. Without further ado, let's move on to the entries!
1. Sarah Bonnici - Loop (Malta) 🇲🇹
Kicking off the second semi-final we have Malta and "Loop", an entry firmly in the dance-break-girl-bop category. It is sadly very hard not to see the song as a discount "Slo-Mo" as it rips off the Spanish 2022 entry pretty unashamedly, both musically and in terms of choreography.
Adding to the disappointment caused by the lack or originality, the track itself feels like an afterthought: the dancing is clearly the main focus with nothing about it connecting to the song or the lyrics. The entirely choreo-driven performance also leaves the vocals sounding strained.
All in all, this is little more than a disposable attempt at cashing in on that sweet dance-bop success of the past couple of years. It sounds like someone had Chanel on a loop.
★★
2. Besa - Titan (Albania) 🇦🇱
Albania is one of the countries I always look forward to the most since they tend to have a very unique approach to Eurovision. They oftentimes opt for female powerhouse vocalists with an ethnic flair which does sometimes feel predictable, but they do do that well. Indeed, 2024 sees another strong female vocalist representing the country with a song revamped beyond recognition, as is the Albanian way.
At this point, revamps are almost as embedded in the Albanian music tradition as their high-belting ladies, but the downside is that the revamps often lose the magic of the original versions and come with platitudes for lyrics (the neutering of "Përrallë" into "Fairytale" back in 2016 being the worst offender of this). I have mixed feelings about this year's revamp: on the one hand, the song structure is streamlined into a more coherent and modern-sounding track, but on the other hand, it now also has a more generic feel to it.
"Titan" is a mid-tempo power ballad seemingly about post-break-up self-empowerment, with the narrator declaring that she cannot be torn down: "I won't go down / I'll never break / Like a titan I'll be brave". Thematically, it's not reinventing the wheel as this is obviously a very popular topic in Eurovision songs. Singer Besa's vocals sound good based on the national final, but the song just lacks that little extra oomph that would make it stand out in such a crowded genre.
★★★
3. Marina Satti - Zari (Greece) 🇬🇷
An entry that will definitely stand out however is "Zari", an eclectic mix consisting of traditional Greek singing, reggaeton, and a Middle Eastern breakdown. Now, I tend to take a liking to the more experimental numbers so on paper, this should be right up my alley. It was hardly love at first listen though, and I was equal parts shocked that Greece would send something so unconventional, and irritated by the jankiness of the song and the "ta-ta-ta" chanting.
Yet.. I keep coming back to the song, almost as if to double-check that it was as odd as I remembered it to be. And somewhere along the way, it started to grow on me. In a way, "Zari" reminds me of an M.I.A. song (but like, a weird deep cut rather than one of the more accessible hits) in that it boldly zigzags across the line between fascinating and jarring. I'm still not sure whether I like it or not but it keeps earworming its way back again and again so that must count for something.
There are some great things about the song. The melodic hooks are instantly memorable (and do get stuck in your head) and although I didn't initially care for the reggaeton beat, the "E oe oe" parts at the end tie the elements together surprisingly nicely. Still, the instrumental breakdown in the bridge is a choice I don't understand as it sounds completely detached from the rest of the track.
But I don't know, there's just something entrancing about "Zari" that makes me feel that by Saturday, it will have gone up in my star rating even more. It's not everybody's cup of tea – hell, I'm not sure if it's my cup of tea, even – but at least it's not boring and expectable.
★★★½
4. Nemo - The Code (Switzerland) 🇨🇭
We then move on to Switzerland. While genre-blending seems to be a definite trend this year, no entry casts this net wider than "The Code" – the vocal delivery draws inspiration from pop, rap, and opera, and is set to an orchestral drum n' bass instrumental. Damn.
The song is every bit as frenetic as it sounds, further matched by the singer's presence. Sounding like a love child between early Marina and the Diamonds and perhaps Twenty One Pilots, Nemo is coming at you with all the energy of a theatre kid after four Red Bulls. Nevertheless, the vocals cannot be faulted and I have no doubts about Switzerland's chances of placing high this year. Should they be able to stage the performance in a way that supports the urgency of the song, this could very well end up being one of the most unforgettable moments of the year.
The lyrics of "The Code" are about the singer's journey to identifying as non-binary and breaking the gender binary (i.e. the titular code): "Somewhere between the 0s and 1s / That’s where I found my kingdom come".
★★★½
5. Aiko - Pedestal (Czechia) 🇨🇿
Czechia's entry is another addition to the post-break-up category. However, rather than a power ballad (like they usually are), "Pedestal" is an energetic pop-rock number with slight Paramore vibes and that sort of 00s/early 2010s indie vibe, partially explained by it being co-penned by Steven Ansell, one half of the UK alt-rock duo Blood Red Shoes.
The lyrics describe the narrator embracing self-love after leaving a dysfunctional relationship: "I need to learn to / put myself on a pedestal" sings Aiko, before pledging to love herself more. And she reasserts that a lot. Like, over 30 times during the course of the three minutes. Consequently, it becomes repetitive as a lyrical hook pretty quickly.
Also, I am not a psychologist but I dont think it's ever a good idea to put people on pedestals. Unreasonable expectations only beget disappointment and everybody screws up sometimes. Self-love is important, of course, and like an exceptionally tall lady once said, if you can't love yourself, how in the hell you gonna love somebody else? But then, maybe people don't usually turn to Eurovision lyrics for life advice to begin with.
Anyway, "Pedestal" has a good catchiness to it so with a proper staging, it should stand out nicely.
★★★
6. Kaleen - We Will Rave (Austria) 🇦🇹
This year, Austria wants to take us dancing. Everything about "We Will Rave" – from the genre-faithful vocal stylings to the cheesy instrumental – screams 90s Eurodance, but the song doesn't make a slightest attempt to give it a unique spin or update the sound to the 2020s. As a result, the song just comes across as a shameless throwaway pastiche trying to tap into some 90s nostalgia. That is unfortunate as there are hints of jungle music and a drum n' bass breakdown and it would've been interesting to hear the song lean more towards that direction.
I would also like to mention that I loathe the fake-out fade-out before the last chorus: the drum n' bass bit would've been a decently satisfying outro, but as soon as the audio starts to fade out, BAM – another repetition of the dull chorus. I found that fully unnecessary considering the little gap between the parts and if they insisted on having the chorus repeated one more time, the bridge should've flowed straight into it. I just don't get it as a a production choice as it kills the momentum and doesn't add anything.
★★
7. Saba - Sand (Denmark) 🇩🇰
Denmark has a track record of sending inoffensive middle-of-the-road entries that make for easy listening but struggle to leave an impression. For better of for worse, Saba's "Sand" fits right in.
"Sand" is a nice little break-up song that compares a deteriorating relationship to a sand castle washed away by the waves: "Sand, sand / I can feel you slipping through my hands / Sand, sand / Guess we built a castle out of sand". Singer Saba delivers a strong vocal performance and the bridge features mysterious-sounding strings that sort of evoke those on Madonna's "Frozen" (or last year's "Tattoo").
It's just that "Sand" can't quite shake off sounding like a generic, Melodifestivalen-esque entry that makes you wish there was something more to it. Perhaps there should have been more added variation in the last chorus, for example with the strings continuing from the bridge. Perhaps the storytelling needed a more creative analogy than sand slipping through one's hands.
As it stands, "Sand" is yet another serviceable but ultimately forgettable number from Denmark.
★★★
8. Ladaniva - Jako (Armenia) 🇦🇲
One of the best things about the Eurovision Song Contest is hearing music that authentically incorporates local flavours and showcases them for the world to enjoy. Armenia's 2024 entry "Jako" is a perfect example of this with its traditional instruments and immediate catchiness. The song has an infectious joyfulness that seizes your attention from the get-go and never lets up.
The "la la la" chorus could otherwise come across as lazy songwriting but it does kind of go with the Romani vibes of the song that are further accentuated by the Balkan-ish brass arrangements. There's even a fun call-and-response bit in the bridge for audience participation, which in this context feels organic and not contrived.
While I don't necessarily see "Jako" as a potential winner, with a vibrant, colourful staging it could very well become one of the highlights of this year.
★★★★
9. Dons - Hollow (Latvia) 🇱🇻
Things then slow down with Latvia's "Hollow", a typical piano ballad that starts minimal, then adds new instruments, and finally grows into a dramatic climax. The instrumental might be a tad on the formulaic side but what really sells the song are Dons's terrific vocals and he is clearly a competent singer. In the national final performance he is a little drowned out by the loud (presumably pre-recorded) backing vocals, so hopefully they dial them down in Malmö.
The lyrics are about dealing with external actors trying to impose their opinions and ways of living on others:
"It's killing me slow
Try to make me just another believer
Everybody just pretending they're preachers, preachers
It's killing me slow
Yeah I'd rather let them dig my grave shallow
Instead of selling out to something so hollow, hollow"
Altogether powerful stuff. While "Hollow" isn't a personal favourite of mine this year, it is crazy to me how the bookmakers seem to consider it the least likely qualifier from this semi-final. With a vocal performance this strong? That's wild.
★★★
10. Megara - 11:11 (San Marino) 🇸🇲
The Sammarinese preselection show Una voce per San Marino (UVPSM) is a bit of a meme at this point. Understandably, it might be hard to find new suitable representatives from a population of ~35,000 (they were once famously represented by the same singer three years in a row). Yet, they seem to love a big and lengthy contest. As a result, while this year's UVPSM had more than 130 participants, only seven of them were Sammarinese nationals.
With this in mind, you shouldn't be too surprised when the song kicks off in a foreign language, namely Spanish. Indeed, this year San Marino is represented by the Spanish rock band Megara. "11:11" is an energetic electro-rock song with plenty of attitude, kind of reminiscent of the Italian 2014 entry. Although competing under the flag of San Marino, the band spices things up with a flamenco guitar bridge, making sure that we know they're Spanish through and through.
I rather like the studio version but the national final live vocals leave a lot to be desired. I'm not sure if its an issue with the sound mixing or the singer's nerves (or a combination of both), but whatever it is, I hope it's fixed by the semi-final.
Fun fact: "11:11" was initially sent to the Spanish preselection show Benidorm Fest but was rejected by them. And then the same exact song went on to win UVPSM. Eurovision gods work in a mysterious way.
★★★
11. Nutsa Buzaladze - Firefighter (Georgia) 🇬🇪
Georgia is one of the biggest wild cards and risk-takers around so it saddens me to see them resort to dancey girl-bop stuff in order to try to end their admittedly nasty streak of six consecutive non-qualifications (the last time they were in the final was with 2016's brilliant "Midnight Gold"). "Firefighter" is an adequate but by-the-numbers take on the Eurovision trope, dance break and all, but that's about it.
The lyrics describe yet another woman who find herself in a decaying relationship (here likened to a burning house), but this one is determined to make it work:
"You know that I’ll be there
I’m running through these ashes like a firefighter
Put out the fire, put out the fire"
Good for her. Although the line about "rising from these ashes like a phoenix" is a pretty gutsy reference to make.
★★½
12. Mustii - Before the Party's Over (Belgium) 🇧🇪
This year, Belgium is represented by musician, actor, and Drag Race Belgique judge Mustii and his song "Before the Party's Over". Do not be fooled by the song title – the song is a dark, gloomy slice of pop, with the lyrics telling about a person escaping his problems with drinking and partying. He then connects with someone experiencing the same while on the dance floor:
"Are you still playing the game
or breaking the rules?
I can see all the pain
in the way that you move"
Musically, the track creates an effective dramatic arc, even if the last minute or so is just the same lines repeated again and again. There is fortunately some variation in the instrumentation to mitigate a sense of monotony. The backing vocals heard at the end apparently consist of fan-submitted recordings, which is pretty cool.
"Before the Party's Over" is a well-produced number that takes a more sombre look at party culture. I have high hopes for this one and feel that with a successful staging to support the drama of it all, this could go far.
★★★★
13. 5miinust x Puuluup - (Nendest) narkootikumidest ei tea me (küll) midagi (Estonia) 🇪🇪
Back in 2022, Moldova swore in the name of folklore and rock n' roll. This year, Estonia has chosen to rely on a fusion of folk music and hip hop. And the result is once again as bonkers as it sounds.
It's been more than a decade since Estonia last sent a song in their native language (the last time was in 2013), but they sure went all in with Estonianness this year. Got to love them for it!
"(Nendest) narkootikumidest ei tea me (küll) midagi" (Estonian for "We (sure) know nothing about (these) drugs") is a silly, entertaining song whose infectious vibes transcend language. It is in many ways similar to the aforementioned Moldovan 2022 entry "Trenulețul", but it struggles to match the impact as the latter. Based on the national final performance, "Trenulețul" also had a much more successful staging.
Regardless of whether they make it to the grand final or not, Estonia clearly came to have fun and that is conveyed in their entry. Also, my heart goes out to all the commentators trying to read out the song title, longest in Eurovision history.
★★★
14. Eden Golan - Hurricane (Israel) 🇮🇱
Israel has been a controversial one this year (to put it mildly) due to the ongoing Israeli-Palestinian conflict, both in terms of participation and then their lyrical content. Initially titled "October Rain" after the 7 October attack, the Israeli Eurovision entry was filled with thinly veiled references to the conflict that the EBU deemed too political for the contest. As a result, the song lyrics went through a slight rewrite, with "Hurricane" ultimately selected as the new song title.
The Israeli situation is a messy and complex one, not to mention one where no party has their hands clean. In no way is it as clear-cut as the Russo-Ukrainian War, for example. This blog is all about celebrating the Eurovision Song Contest and its music – not about offering a platform for convoluted geopolitical discussions – so for all intents and purposes, Israel has sent a competing entry and I shall be reviewing it.
Musically speaking, "Hurricane" is another one of those ballads that start with a simple piano backing and then incorporates more instruments on its way towards a dramatic finish. It's a tried-and-tested formula. Singer Eden Golan's vocals are excellent and I have no doubts that the live staging will be great. Will it qualify? Probably, but it will be divisive.
★★★
15. Gåte - Ulveham (Norway) 🇳🇴
You know that thing when your jealous stepmother transforms you into a wolf and banishes you into the woods, with killing your own brother being the only way you can turn back into a human? Well funnily enough, that's exactly what the Norwegian representative Gåte is singing about! And this is a topic that has gone pretty much untouched in Eurovision before, so go Norway.
Norway is another country that has opted for singing in its native language after a long while – in their case, the last time they did so was way back in 2006(!).
Drawing inspiration from a medieval ballad, "Ulveham" is a mystical folk metal track that is unique in its genre in the Eurovision context. It feels like a breath of fresh air from Norway after many years of kitschy Scanditronica. The band has a great stage presence, the live vocals are wonderful, and the part where the singer leans back during a lengthy note will surely be one of the most striking moments of the evening.
★★★★
16. Joost Klein - Europapa (Netherlands) 🇳🇱
Finally we have Netherlands with "Europapa". Joost Klein is clearly another one of this year's contestants determined to become a meme with his intentionally dorky look and goofy musical and visual elements.
"Europapa" sees the singer namechecking various European countries and country-specific references (sometimes in their languages), backed with a cheesy 90s Eurodance instrumental (seriously, what is it about that particular era in music this year?). It is a humour entry with a heart, as apparently it was inspired by Klein's father, who instilled an appreciation for open-mindedness and travelling in him and sadly died when Klein was very young. For my liking, the tribute – though touching – feels a bit tacked on at the end. It all just reads a bit pander-y to me. But I'm sure that it will tug on Europe's heartstrings all the same.
★★
Predictions
So, these were the songs of the second semi-final, but how will the cookie crumble for them? Let us make some guesses!
Certain qualifiers:
- Netherlands has been among the most prominent pre-contest favourites.
- Switzerland is a well-executed, genre-diverse entry that stands out and has similarly had a lot of hype on its side.
Likely qualifiers:
- Armenia has a fun, playful vibe to it and I can't see it not doing well in the televote.
- Belgium's party is fairly sure to continue on Saturday.
- Norway is a highly unique package that will appeal to the more rock/metal-oriented votes.
Borderline:
- Israel is divisive, but you can't vote against an entry, only in favour of one. This will work in their favour.
- Greece is more on the experimental side, but I think that it will still finds its voters.
- Austria is fighting for the same votes as "Europapa" and will probably pale in comparison. It might still scrape through, just about.
- Czechia risks being put on a shelf I'm afraid but could potentially stand out with its upbeat pop-rock vibes.
- Georgia and Malta compete for the same votes, with perhaps only one
(if any) getting through. Malta feels like a "SloMo" rip-off, so I'm
going to give this one to Georgia.
Thank you, bye bye:
- Albania is a just too generic.
- Denmark will be washed away.
- Estonia is fun but perhaps just not strong enough to advance.
- Latvia has strong vocals but just an alright song.
- San Marino might suffer from weak vocals if the national final show is anything to go by.
Those were my last-minute thoughts – thank you for reading and see you on Saturday!
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