It’s a highlight of many a national final season for Eurovision fans, and tonight, Melodifestivalen draws to a close once more in Stockholm, with twelve acts fighting to be selected as the Swedish representative at Eurovision 2020. But we must know – which of these acts are our team backing tonight?
Here, Boris, Daniel, James, Roy and Sean review the twelve Swedish hopefuls…
Victor Crone – Troubled Waters
Boris – 8 – “Freshly liberated from the shackles of Tomi Rahula, Victor Crone now finds himself selling B-tier Eesti Laul contraband to the masses (“Troubled waters” sounds precisely like “Kui tuuled pöörduvad” at certain intervals) complete with all the Crone staples of “doofy personality”, “dork dancing”, “being beloved by dog people and nobody else” and of course “insisting to sing high notes completely out of his vocal range”. The perfect breeding ground to cultivate an appreciation for this – admittedly very charming – antropomorphic labradoodle. I’M ON MY WAY THROUGH TROUBLED WATEEEE*voicecrack*”
Daniel – 9 – “This staging makes me feel similar vibes to Heroes 2015, and I say that with my most unbridled support. I usually am more hesitant about country-pop, but I cannot deny the charisma that Victor Crone has. I think this is a bit hard because I love Victor Crone and his song Storm grew on me so much last year so now I have an undeniable like for his music. I liked the song, like a lot, it is such a feel good song that is so highly elevated by the scenography. I might be inflating but I really am a fan of this song.”
James – 5 – “Oh great. Crone’s back with his naff Nashville pop sound and his dopey weather metaphors. Is he that cynical that he believes anything from Sweden will qualify?”
Roy – 5 – “The thing is, I am not a fan of returning artists at all.. If I’m honest, this song is better than Storm in my opinion. It is a bit more Melfest-friendly and I wasn’t surprised when it qualified to the final. The song itself is a bit mediocre and would be a bit of an “album-filler”. Victor’s voice also isn’t necessarily one that I gravitate towards either. Anyways, I am happy for the lad that he finally gets to live his dream to be in a Melfest final!”
Sean – 6 – “The staging is decent but I can’t look through the distraction tactic it provides; this is a serviceable country EDM fusion that does little to excite or bring something different to the table. Victor was much better last year with the out-and-out banger – this year I feel like his ropey vocals and lack of stage presence is harder to hide with this song.”
Total = 33 (avg. 6.6)
Paul Rey – Talking in My Sleep
Boris – 5 – “This year’s token Melfest ballad tries very hard to be a maudlin, classy, cerebral journey of heart-ache, but instead finds itself largely disjointed by Paul Rey’s interpretation of the Svala Dance. The effect is… mildly amusing? I guess?”
Daniel – 8 – “I think this song had to go to Andra Chansen because it came in a strong semi-final, but honestly this song in almost every other semi-final would have qualified directly. This is my way of saying that I think this is a high quality song and has a beautiful message tied to a modern yet recognizable beat around it. I think this song gives something special to this year’s contest, and while I do not think it is a winner, this song reaches the standard of Swedish music production quality and that is something Paul Rey can be very proud about.”
James – 6 – “Nice crotch thrust towards the audience at the bridge! And I was surprised that he stepped it up after a minute-and-a-half of a dull Ed Sheeran and Sam Smith retread. I thought I was going to have to make a load of crap “Well that sure put me to sleep!” jokes, but he woke up and gave us a song of two halves. The first half I didn’t really care for, and lyrically I do have some issues – it’s a break up song, she’s told him to move on, but he’s thinking about her in bed at night while sleeping and God knows what else. The lyrics don’t suggest Rey moved on, which contradicts the powerful switch up in the second half. If his lyrics had the spirit of “I did find someone better than you” it would pair better and would be a perfect indie-pop song with a narrative and track that does more than a slight hint at overcoming heartache.”
Roy – 7 – “Probably the strongest voice of the selection this year. Yes the lyrics may be bordering a little on cringe, but this is genuinely a great ballad. The staging is maybe what’s hindering Paul the most. He is basically alone on the stage and it looks a bit like he is freestyling in his movements. If they thought of this a bit more then it could have gone “Direkt til Final”. It is maybe a tad basic too, but the vocal-delivery is Top-Notch and I would love to see Paul back with an even better song in the future!”
Sean – 7 – “Paul’s vocals remind me of the raspiness of the talented Tom Grennan, so I’m down for his vibe. He does well to carry the song by himself on stage, and while it’s nothing remarkable I can appreciate the emotiveness of his voice and the genuine feel of his performance. It isn’t strong enough to win Melfest though.”
Total = 33 (avg. 6.6)
The Mamas – Move
Boris – 6 – “A burst of talent confined inside a painfully generic non-descript gospel song. I am of the opinion that the Mamas absolutely should win Melfest. I am also of the opinion they should with a song that does them the justice they deserve. “Move” is not that song. “Move” is a cage. Its paint-by-numbers limitations restrict the potential of what the Mamas could actually achieve, which I believe is much more than what they’ve shown us so far.”
Daniel – 6 – “I think this is a great and soulful song like something that Alicia Keys or Lizzo might do. It has a great rhythm and a strong vocal tone. There is no denying that the Mamas have a spectacular vocal control and make the song look so seamless. All of this said, the song at its core is still pretty basic and very much an expected beat. I think that their strengths somewhat fall sort with a composition that does not bring anything different than what is in Eurovision and even from John Lundvik’s last year. We still love the Mamas though.”
James – 8 – “American gospel meets Swedish pop. This leans a little more towards the former now that the Mamas have moved on from John Lundvik. This should keep Sweden in the favor of the national juries if they select The Mamas. “Move” is a safe choice, and that is not to deny the underlying qualities of this song or the talents of these singers. They’re three charismatic ladies and absent a clear frontrunner with the fandom this year, “Move” might also do some business with the televoters, too.”
Roy – 6 – “Look, we’ve had this entire thing last year already. I may have even preferred this song to last year’s winner. It is a good follow up from what they gave us last year and I am all for this kind of music. The fact that we literally had them at Eurovision last year is a massive reason for me to not pick this. To be quite honest, I wasn’t a superfan of last year’s song either. It is good, but would prefer others.”
Sean – 8 – “I’ve heard this a couple of times now, and it’s between this and Felix that I’d be prepared to back Sweden with this year. It may not be the most original song but The Mamas just exude charisma and presence, their vocals are on point and the whole gospel pop feel of the performance is perfectly executed. It’s a modern take on this type of track, incredibly catchy and feel-good and I can see it being a hit with both juries and televoters. This is the sensible option, Sweden!”
Total = 34 (avg. 6.8)
Mohombi – Winners
Boris – 3 – “I don’t know how this song does it, but “Winners” somehow manages to make uptempo dull and even a chore to sit through. It almost as if Sacha is trying to telegraph the same vibe, by sticking Mohombi inside Sevak Khanagyan’s henge and calling it a day.”
Daniel – 5 – “I think that this song has a super catchy hook, I cannot stop humming it all day. That being said, it is rather cliché in the verses and the build. It still has a strong musical composition that I really appreciate for being both chill and epic simultaneously. I will say that of all the staging, his was probably my least favorite, I see the intent behind it but it looked a bit cheap, especially for Melodifestivalen, with it looking more like lights from a quinceanera than anything else. I liked his falsetto voice but it did not transition well into the final chorus. Overall, not my favorite song from this year’s competition.”
James – 7 – “Mohombi is a hard one to judge. I like his voice, the songs he’s involved in are usually catchy and fun. “Winners” is no exception. But there’s a lightness to his act, in that his presence seems easy to bulldoze, like those soft rock singers of the 1980s whose names we can never remember but whose compositions remain in the back of our minds as faint whispers. Maybe he’d be better paired with R&B or soul, as he seems as out of place here, getting lost in the middle of this mid-tempo dance pop track.”
Roy – 6 – “What I like better about this song is how Mohombi shows a lot more of his vocal capabilities. His voice sounds Mello (pun intended), and in general this song enhances his voice a lot more than last year’s effort. I am a bit uncertain if I like this drop. Last year was a bit more unique than this one and this sounds a bit more general and basic. His staging this year is also a bit mehh. I feel like having Mohombi in Eurovision would be really cool, but he should totally come back with a better song.”
Sean – 7 – “Sevak Khanagyan called, he paid good money for that prop! This has an interesting mix between latin-style guitars and stadium-sized Scandipop which works quite well, but I feel a little underwhelmed by the staging. Benjamin Ingrosso flopped hard with Europe’s televoters with a much stronger overall package, and while this is an enjoyable listen it doesn’t do enough to stand out for me.”
Total = 28 (avg. 5.6)
Hanna Ferm – Brave
Boris – 7 – “It’s highly amusing to me that Christer & cronies thought *THIS FREAKING SONG* was going to win Mello and Eurovision. Ladidadidadida woo hoo do I have news for you: “Brave” is garbage. It utterly fails at the female-empowerment it tries to emulate. Like, “BRAVE NOW, F***ING SLAPPED A RABBI I’M SAFE NOW” is a popular misheard lyric trending on social media right now. We stan Laurell Barker’s completely inability to write good lyrics without the use of AAVE and blaccent. (isn’t it cute how people still pretend Laurell is capable of producing any good music without piggybacking on somebody else’s intellectual capital?). I am mostly amused by the trash factor of it (which is sky-high), but with the caveat that almost all of it is at the expense of Hanna and Laurell.”
Daniel – 7 – “I think this is your very prototypical girl anthem that is done in a very professional manner. This song has nothing that really excites me personally, but I need to recognize that it pretty much excels in every category: musicality, vocal performance and staging. While I personally am not screaming for joy, I know this song delivers on the tenants of a strong Eurovision performance. I will say, though, there is like a certain dated element to this song (it through me back to end of 2000’s pop).”
James – 4 – “What is so brave about this bang average pop song? The “Woohoo” going into the chorus makes it sounds like Hanna’s got the hiccups. At the bridge she’s singing like she’s out of breath? Why? It’s not like the pedestrian two verses and choruses prior gave her much of a workout. Lyrically, it’s a generic self-belief ballad about facing your own demons, etc. Another victim of the Jimmy Jansson quantity over quality approach to 2020.”
Roy – 5 – “I feel like this is so much less interesting than people make it out to be. This to me sounds like your typical X Factor/Idol winner song. The Who-ho is a cool element, but the song to me is just a tad too basic. Hanna also doesn’t fully know how to behave on the stage yet. Her movements and the way she plays with her dress, although probably rehearsed, are a bit random and awkward. There is loads of potential in this girl, but this is not it for me!”
Sean – 5 – “This would’ve wiped the floor with the competition in Melodifestivalen 2008. We’ve moved on from this point though (and Sweden CERTAINLY have) so this just feels like flashy filler rather than a serious contender for the Melfest title. The presentation of the song is messy and while Hanna does a decent enough job, she doesn’t really sell the song well enough for my liking.”
Total = 28 (avg. 5.6)
Méndez ft. Alvaro Estrella – Vamos amigos
Boris – 6 – “I stan and support Méndez’s endless endeavors to stay musically relevant despite a complete inability to sing, rap, dance or possess any form of stage presence. He just seems like a nice guy who’s fun to hang out with? Bless his amateur heart. Oh and Alvaro is fine I guess. “Vamos amigos” is fun, but my attention during this Melfest lies elsewhere.”
Daniel – 5 – “Every national final needs to have one of those Latin-inspired songs. This is one that unites Latin beats with Swedish music production. I love to see representation, that makes me super happy. Beyond that the song is a very standard-fare song with a bit of reggaeton vibes embedded but in its totality just another pop song. It is also is slightly dated, sounding like a lot of the Latin songs from the mid 2010’s and not the more modern tunes. I think this song is overall good, just a song trying really hard to be what we expect from Latin flair.”
James – 5 – “Scandinavian doing Latin always ends up sounding crap, and this is no exception. Every cliché the Northern folk subscribe to about the Spanish or South Americans is thrown in here. Now I am not slating Sweden for going Spanish (their neighbors Norway have done Ghana really well these past two years in national selections), but this particular example is a dud. The song title is “Let’s go friends,” and it has the goofiness of Dragon Sound’s “Friends” from the soundtrack of Miami Connection from 1985. And considering the Swedish have been doing their damnedest to resurrect the Miami sound of the 1980s (Mitch Murder), I wish they’d continued that trope instead of this naff retread of a Cuban pop song Jimmy Jannson heard at baggage claim in Key West once.”
Roy – 2 – “This just sounds really amateuristic… It is like Alvaro Estrella was asked to sing a little bit and then, OUT OF NOWHERE, Chorus. No build up towards it, just thrown in at random. That vibe carries throughout the song, it feels like it was just thrown together. The live performance of both lads could have been a lot better too. The staging is a bit weird and kind of gloomy for a song like this. I guess it is fun, but this isn’t good unfortunately…”
Sean – 6 – “Méndez was grossly underappreciated with the excellent “Everyday” in 2018 so I’m pleased he’s taking another crack at Melfest this year. It’s not as strong an entry as “Everyday” and doesn’t keep the intense catchiness of that song, but he brings a similar party atmosphere and if this isn’t the entry for Sweden in Rotterdam, at least him and Alvaro brought some latino flavour and colour to the competition!”
Total = 24 (avg. 4.8)
Dotter – Bulletproof
Boris – 9 – “In typical Melfest fashion, perhaps the best entry out of all 28 was completely overlooked by the press on Christer’s payroll until OOPS the fans responded positively. Like, what would you like me to even say about Dotter? Rewatch the performance, it speaks for itself. I will however note that my hopelessly gay ass has now started copying Dotter’s hand movements and mannerisms AND vocal quirks – in addition to already copying the hairflips – whenever I put on Bulletproof for another bout of bedroom karaoke. If it were Sweden’s ambition to tie with Ireland’s win record, this is the entry they should select. ALL ABOARD TO DOTTERDAM!”
Daniel – 10 – “I mean how can I not start with my favorite part, the visual spectacle and lighting galore. This, as Melodifestivalen loves to give, is a pristine pop song. It is dynamic and has unique tinge to it (while still remaining within the confines of a great Swedish pop song). For example that high note sounds so ethereal and helps the song come out as an even stronger contender. Did I mention the lighting, this song really brings a new element not seen before which should be the mantra of 2020. Phenomenal song all around.”
James – 6 – “This is bulletproof only in the sense that it’s like plopping a dollop of butter in a cup of coffee. It’s not as bad as you think it’s going to be, but it’s not going to change your life either. To be honest, I am not sure why the fans are going crazy for this one other than the competition is fairly weak this year? She’s not really a complete package as a performer yet, and the song as a composition is nothing to speak of. And her pronunciation of words with “u” in is a little off (“boo-lit-proof”). That being said, it’s still a couple months away to May, and with Sweden’s budget, a few tweaks here and there can ramp this up into a bulletproof entry.”
Roy – 7 – “I guess this is the favourite? I can see why, but still I am not fully sold. At one listen I love it and another time I am really not feeling it. Also, can we give her the award for worst staging concept ever? Not only does she blind herself she may blind the audience too and it just doesn’t really look as good as you’d want it to. She has an incredible voice and she is very likable, so I would be happy if she wins, it just isn’t my favourite.”
Sean – 6 – “I’m fully aware this is the favourite in Melfest this year, but I really can’t see why. It has a cool Nordic coldness to the synths and Dotter’s voice, and the staging is certainly striking, but it just feels like a missed opportunity to really pack a punch. It’s using flashy lights to distract from a generic pop track. Also, those poor, poor people in the front row…”
Total = 38 (avg. 7.6)
Robin Bengtsson – Take a Chance
Boris – 2 – “I will be honest. The idea of Robin Bengtsson winning Melodifestivalen (again) terrifies the crap out of me. It’s not like I think he’s particularly good this year either. “Take a chance” is a silly, subpar song and Robin is still the same Westworld-like android we’ve always known him to be. And yet, I can’t shake the feeling that he might win, because E’s Fit, Innit? Melodifestivalen has a horrible track record of denying their talented female artists the limelight they deserve, discarding them for disappointingly safe (male) options. Even in this powerful, full-on-feminist editions I retain a feeling of doubt – SEE THIS IS WHAT YEARS OF BAD MELLO WINNERS DO TO A MAN!!! WHERE THE HELL IS ULRIK MUNTHER because at least he would have been able to turn “Take a Chance” into something worthy of my affection.”
Daniel – 7 – “Robin is back! This is one of those perfectly orchestrated pop songs that is dynamic and has a pretty-boy voice behind it. The staging and visuals are spectacular, like for a more calm pop song, they still manage to be rather dynamic. This song is full mainstream and high-quality production and it knows it. I do prefer his entry from 2017 because this song is a tad bit repetitive and it is not as captivating but nevertheless it is still a great entry. Will Sweden go with another male pop song? Probably.”
James – 8 – “Oh for goodness sake, is this another stalker ballad ala James Blunt’s “You’re Beautiful?” There’s something about the staging (the silhouette of the female dancer with blue being the dominant color) that suggests Bengtsson is doing a Blunt here, having a dark daydream about some random girl he sees on the train. Bengtsson never meets her or talks to her, only watches her from afar and in the second verse another dude shows up for a kiss (darker shade of blue is the lyric he uses to discuss the mood). The chorus is the usual guff about flying above trees and carving names in history, but he never meets this girl in the mundane real world. Bengtsson actually pulls this off as well as Blunt (though I wouldn’t say he matches the masterclass that is The Police’s “Every Breath you Take”), and that it’s catchy as all hell should make us all feel ashamed when we start singing out aloud. A subtle, yet deceptive pop ballad, more dark than meets the ear.”
Roy – 6 – “This has grown on me a lot. In the beginning I was really disappointed and thought it was too unremarkable. After more listens it rose in my rankings. I still feel like the song just kind of drags on and Robin kind of loses my interest after 2 minutes. It is a cool new song from him, but this should not win.”
Sean – 6 – “Sure, this is much more interesting than the song that eventually carried him to Kyiv, and I appreciate the fact the scenario is set in the UK (yay, we’re relevant again), but I was never confident in Robin’s ability to carry a performance on his own. The song suits him and his vocals, but it’s all missing a little spark or glimmer of personality to elevate it to the next level.”
Total = 29 (avg. 5.8)
Mariette – Shout It Out
Boris – 7 – “Lawl, how amateur <3 Mariette has always been a hugely overrated entity in Melfest (Why do people pretend “A Million Years” was the shit while it was possibly the most bland non-effort of a song ever. Who makes up the body of OGAE international? Lemmings? Sims with the ‘Easily Impressed’ trait?), so it is hilarious to me that *this* is the song she fell out of favour with. “Shout it Out” is legitimately Mariette’s second best song and perfectly fine. However, it is also less competent than Mariette’s previous entries. I think the negative response mostly has to do with the Basics not being able to cope with the sheer idea that Mariette 1) is merely a human capable of being imperfect 2) owns the worlds ugliest guitar <3 Thank you for ‘sucking’, Mariette. Thank you for showing the world you’re a normal, relatable human being after all.”
Daniel – 8 – “I am a big fan of this song, this is Mariette at one of her best. The song has an inherent epicness to its presentation and to the build. It is a bit cliché, but it also is quality and I will say quality triumphs over derivativeness. Her presentation is simple but tasteful and I appreciate that a song already filled much sonically movement, takes a more pared approach to the presentation. But it is still magnificent, like the shadow in the light is one of my favorite parts (as opposed to the guitar which I could have lived without). I think overall this is a great package and I would not be sad to see her go to Rotterdam.”
James – 3 – “A messy, overproduced self-belief banger that drowns out the singer expressing said self-belief. It also sounds dated. The lyrics are a salad of phrases heard in better songs. And the staging with the guitar is an embarrassment. My guess is from the songwriter list, this is a case of too many cooks spoiling the broth. I’d actually be interested to hear the first draft before it was punted on to another writer for a refresh.”
Roy – 4 – “By far Mariette’s worst attempt at Melfest to date. Not only is this staging a nothing, but the song is a lot more linear and less alive than all of her other attempts. This just doesn’t stand out in any department to me. I guess Mariette’s likability and good voice have carried her through to the final, but if it was up to me, she wouldn’t have been a “DTF”. I would love to see Mariette at Eurovision, but definitely not with this song.”
Sean – 7 – “Of all of the serial returnees in Melodifestivalen (listen, Sweden – there are FAR too many. Please get some new artists) I have to say Mariette is one of my favourites and gives us the more interesting entries. This has a shouty, in-your-face brashness that sets it apart from the other competitors and a real energy pulsing through it. Should it win? No, but Mariette brought us another piece of Melfest quality.”
Total = 29 (avg. 5.8)
Felix Sandman – Boys With Emotions
Boris – 0 – “”Boys with Emotions” has been a running theme through 2020’s NF season, but I couldn’t ever have anticipated however that the *actual* song called “Boys with Emotions” would be this Iconically Bad and this Ironically Good. It is SUCH a disaster, with SVT literally having to pit it against a post-modern Hokey Cokey in AC to ensure its qualification. However, it has come to my attention that SVT actually like this song and think it could stand a chance in ESC and boy do I have news for them: the only reason why anyone tolerates this utter carcrash of a song, with its unironic face-slappying and mantra-chanting straight out of Jonestown, Guyana, is because it’s the most hilariously bad song to ever be released in Melodifestivalen. The *only* way in which “Boys with Emotions” succeeds at mental healthcare is by providing a performance so inappropriately self-serious, over-the-top and stupid that the only possible physical response is to burst out laughing at it. Make no mistake, I greatly enjoy the ineptitude of it all, but I honestly cannot give more than 0 to any entry that completely deludes itself into thinking it has any musical (or social) merit while in reality it’s a bare step above a laughing stock. Sometimes cold showers are necessary.”
Daniel – 7 – “There is a lot of hype around this song and I totally can see why, there is an interesting song with a very promising artist with ample amount of swag and a socially aware message. Sonically speaking, this song is fun and super modern, but there is a missing wow factor. The wow factor is mostly done from the staging (definitely influenced by his close friend Benjamin Ingrosso) which I will say is one of my favorite from this year. I do have to give the song points because of the subject matter that is rarely dealt with in music and it is done so from a commercially viable method. I think this song has a lot of good things going for it, I wish it pushed the envelope it little bit further.”
James – 1 – “This song only elicits one genuine emotion: rage. Other than it being a hopeless, incompetent and counterproductive performance of the sentiment it’s trying to express, I will say no more than it’s the worst song of the 300+ I’ve listened to this national selection season.”
Roy – 5 – “If these lyrics were any good, this could have been a decent dark-horse for a high placement, maybe win. But holy damn these lyrics are written with little imagination. The subject is fine, but the structure of these sentences and the choice of words are very painful to listen to. Felix is talented, but this is not it.”
Sean – 9 – “This is current and effortlessly cool, tackles an important subject matter and brings something different to the table. I love the minimalist production of the choruses and the visual performance is strong. I’ve seen people mention his vocals as poor, but this isn’t the type of song you need to be a wonderful singer to pull off. I wasn’t a major fan of Felix previously but I’m mightily impressed with this one!”
Total = 22 (avg. 4.4)
Anna Bergendahl – Kingdom Come
Boris – 10 – “Flying on the wings of “Ashes to Ashes”, Anna Bergendahl has once again provided us with a wonderful journey of introspection, self-discovery and nature-inspired similes. The sea and the desert, the pain of failure and bliss of success, the growth and the depression, all dance hand-in-hand as Anna re-examines herself and profiles herself as the ultimate underdog. My brain & gut think Dotter should absolutely win Melfest if Sweden want to win ESC. My heart however, belongs to Anna, whose song is a testemony of someone who – at least in a Eurovision context – had to overcome the dark mark of failure and pupa’d herself into an admirable, empowering presence. It is entirely with sincerity that I say that Anna Bergendahl’s journey is an inspiration to us all.”
Daniel – 8 – “Anna is back and my, my, is she here to make a statement. We were all so happy to see her have a redemption ark last year but now she is taking a step further and now stands as the second most likely to win Melodifestivalen. The song is great and despite my lack of fondness for this more Carrie Underwood style country pop, I think this is a strong track. Her vocals are on point, the staging is dynamic and her styling is exquisite. I think she truly holds a chance to do well and make a statement in Stockholm.”
James – 7 – “No idea what this is about. Is Anna a savior to take us lonely ones to the Promised Land? As Anna’s sole non-qualifier for Sweden at Eurovision, would she be Moses, who led the Jews out of the wilderness but who could not return himself to Israel? Either way, I’d join. She’s a solid pro, this song is catchy and has a tempo high enough for us to move our feet to the walls of Jericho.”
Roy – 3 – “I still don’t see the appeal in a song like this. To me this song just drags on and on and on. I do not like her vocal tone at all, I am not a fan of her aura and presence on the stage and I think the lyrics are a bit shaky too. This is just an upgrade of what she gave us last year. So +2 for the upgrade, -1 for creativity, still is a 3.”
Sean – 5 – “I’m glad Anna has had her redemption in Sweden, but this just blends into the background like a million other songs in selections this year, and in Sweden in particular. I’m sure it has avid fans but I struggle to muster up the words to describe this, it’s just painfully average.”
Total = 33 (avg. 6.6)
Anis don Demina – Vem e som oss
Boris – 8 – “Yet another entry overlooked by the completely unbiased and knowledgable press people (isn’t it cute that everybody still pretends they know sh*t about ESC?), Anis is of course a neutron BOMB of Macklemorian energy, condensced into the form of a shaggy, corpulent, tracksuit-wearing Iranian millennial <3 “Vem e som oss” is loads of fun and I wouldn’t be half sad if it shock-won mello (which it won’t because it will finish last in the jury vote.)”
Daniel – 7 – “This is a Swedish Macklemore if I have ever seen it. His song is just so addictive and so interesting. He is not afraid to do his thing and really combine rap in an interesting manner with a super hype up song. The staging is super engaging and might be one of my favorites because it plays with satire and does something totally different. The musical composition is varied and entertaining. I think overall this is a fun song that really represents a good time.”
James – 7 – “There’s some great shout-along parts (“Shoo! Shoo! Vem e som oss!”). This song represents a different type of hip hop based slick pop that the Swedish excel at in America but rarely want to send to Eurovision. I would not have thought rapping in Swedish would work, but it does here. Fun, up tempo, different from the rest of the field.”
Roy – 9 – “I know a lot of people compare this to Macklemore and it may have similarities, but they aren’t similar. In any other year I would not rank this as high as I am, but in a year where there is little to no distinctive difference between most of the songs, this BANGS!!! Anis is such a likable guy and he brings a massive party to the stage. He is also singing in Swedish which is a massive bonus for me. The staging is a little weird, but I genuinely love it a lot. His vocals are perfect unlike a lot of other rappers and I legit struggle to find true flaws in this.. When he performed this in Andra Chansen he put a massive smile on my face and Anis is my winner of Melfest by an absolute landslide!”
Sean – 8 – “Is this a sample of “Can’t Hold Us”? Is this even allowed? Let me forget the legalities for a second and appreciate this slice of fun though. The staging is creative, Anis don Demina has a fantastic stage presence and it’s refreshing to hear some upbeat Swedish rap. If this was in English it could become an international hit.”
Total = 39 (avg. 7.8)
Let’s see what this means for our Melfest ranking…
- Anis don Demina – Vem e som oss – 39
- Dotter – Bulletproof – 38
- The Mamas – Move – 34
- Victor Crone – Troubled Waters – 33
- Paul Rey – Talking in My Sleep – 33
- Anna Bergendahl – Kingdom Come – 33
- Robin Bengtsson – Take a Chance – 29
- Mariette – Shout It Out – 29
- Mohombi – Winners – 28
- Hanna Ferm – Brave – 28
- Méndez ft. Alvaro Estrella – Vamos amigos – 24
- Felix Sandman – Boys With Emotions – 22
Do we envisage an upset later tonight? Our favourite by one point is Anis don Demina with “Vem e som oss”, but will Sweden be picking Anis or someone else this evening?
What do #YOU think – who should win Melodifestivalen tonight? Share your thoughts with us on our forum HERE or join the discussion below and on social media!
