Kategori: News

#Eurovision truth part 1: Is Melodifestivalen successful because it’s Sweden’s Eurovision selection show?

It’s that in-between time after the end of Melodifestivalen and the start of Eurovision, and we’re all bored. So Schlagerfiasko is bringing out the inner geek for a series of the nerdiest posts ever seen on this blog. It started last week after I’d (David) had a beer and decided to begin my now-infamous ‘#Eurovision truth’ rant on Twitter. It got a lot of people talking, with lots of agreement – but there was plenty of contention as well. So I’m going to expand on my 140-character limit to explain a few of my points further. And this first one requires GRAPHS (stick with it)…

Little disclaimer – I’d had a glass of Riesling as I collected all these figures together. I think everything is correct, but do tell me if you disagree.

 

 

 

2013 has been a hugely successful year for Melodifestivalen, with outstandingly high viewing figures for the four heats (see the figures here). The show continues to generate massive amounts of publicity for itself (and is there any such thing as ‘bad publicity’?) and everything is marvellous. Which it is.

But my cynicism creeps in (okay, it barges through the door) when I hear Eurovision enthusiasts declaring how countries should follow Sweden’s example to choose their Eurovision entries, and how everyone would have success if they just did a 6-week song competition, or something similar. So how’s that working out for Sweden?

Mello röst 2

This year’s final had 4,130,000 viewers – the second highest since 2002*. Brilliant. And you can’t really argue that Melodifestivalen was ever ‘in trouble’, as some have, when, at its lowest point since 2002 it had 3,592,000 viewers for the final in 2009. On the grand scheme of things Swedish, that is definitely huge.

* I’ve not researched figures before 2002, because the festivaler before that didn’t involve public voting to a comparable level as it has done since 2002. Otherwise, 2013’s contest would be the third-highest rated, with 2000 in second place and 2006 at the top.

Where it gets interesting is when you compare the overall voting figures to the viewing figures. To keep it simple, I have taken the total number of votes counted in each final for this example. That obviously doesn’t factor in anyone who might have voted more than once, so these are definitely not precise comparisons – but they do give a realistic perspective on how viewers feel about influencing the result of the show. I haven’t factored in the influence of the international jury, either, because that was frying my brain. Neither have I considered the various rule changes between 2002 and 2013. This is just a simple survey. To what extent this is skewing my findings maybe a reader can tell me.

So, in 2013, there were 1,644,628 votes counted. That’s a lot of votes. But think about it this way: 1,644,628 out of 4,130,000 viewers means that if every person who voted did so just once each, then 39.82% of the audience felt strongly enough to do so. Again, that’s a sizeable chunk – but if this were a political contest, then such a turnout would arguably not be hailed as a success.

Looking at the percentage of voters compared to the total viewing figures for every final since 2002, then 2008 was the most successful year, with just under 60% (again, don’t forget that it is highly unlikely that each voter voted only once, so the actual percentage could probably be estimated to lie somewhere between 45-59%, maybe – but we will probably never really know for sure).

However, it is difficult to make the case that, as viewing figures increase, then more people are interested in voting for a winner – that they actively care about the final result. From an initial 24.89% in 2002, voting levels have varied. Between 2002 and 2008, it certainly was the case that increasing proportions of the audience were voting year-on-year. But as viewing and voting figures dived in 2009, so the voting proportions began to become less certain. In fact, only 2012 saw a year-on-year increase since 2008 (and a substantial one, from just over 36% to just over 50%), before decreasing again this year.

It’s interesting to look at the heats and andra chans rounds separately from the finals.

Mello röst

There’s a consistent pattern of increased voting in andra chans rounds – only 2003 saw less votes as a percentage of the audience. (Andra chansen 2002 did not feature public voting.)

Meanwhile, voting in individual heats hardly suggests active viewer engagement with the voting process. This year, only 9.15% of the audience voted in deltävling 1 – the lowest proportion of any heat in this sample group. Deltävling 4 saw a series high of 13.20% – but hardly setting the lines alight.

The highest heat voting to date has, almost ironically, been in 2009’s lowest-rated contest, with perhaps nearly 27% of viewers voting in deltävling 2.

So what does this all mean? Well, Melodifestivalen is massively popular. That hasn’t changed, and we’re all grateful for it. But it’s clear that the Eurovision element of the contest arguably isn’t taken ‘as seriously’ by its Swedish audience as it is by Eurovision fans and overseas viewers (or, at least, to the vocal fans who blog, tweet and Facebook about it). Since 2002, never more than just over a quarter of the audience has been compelled to vote in a heat – and certainly not since 2009.

If we look at Sweden’s Eurovision entries from 2002-2012 and order that list in terms of viewing figures, the result isn’t as clear-cut as a simple ‘Sweden knows pop’ would suggest. Two fifths and a winner are excellent results – but then there’s a 19th and 18th. That’s UK territory, surely? But over a decade, of course it’s generally a fabulous record of achievement – that cannot be denied.

Year Finalen viewers Artist & song Eurovision placing
2006 4 240 000 Carola: Invincible/Evighet 5
2012 4 110 000 Loreen: Euphoria 1
2004 4 105 000 Lena Philipsson: It Hurts/Det gör ont 5
2005 4 055 000 Martin Stenmarck: Las Vegas 19
2008 4 045 000 Charlotte Perrelli: Hero 18
2007 3 975 000 The Ark: The Worrying Kind 18
2010 3 870 000 Anna Bergendahl: This Is My Life not a finalist
2003 3 815 000 Fame: Give Me Your Love 5
2002 3 720 000 Afro-dite: Never Let It Go 8
2011 3 670 000 Eric Saade: Popular 3
2009 3 592 000 Malena Ernman: La voix 21

And when the same list is reordered to reflect the proportion of votes received against the viewers for the final (again, being aware that the proportional figures will never be precise), then you’d almost think Sweden hadn’t got a clue. While that top five includes a winner, the other four are comprised of two 18ths, a 21st and a never-made-it-out-of-the-semi.

Year Finalen viewers Artist & song Eurovision placing
2008 4 045 000 Charlotte Perrelli: Hero 18
2007 3 975 000 The Ark: The Worrying Kind 18
2012 4 110 000 Loreen: Euphoria 1
2009 3 592 000 Malena Ernman: La voix 21
2010 3 870 000 Anna Bergendahl: This Is My Life not a finalist
2006 4 240 000 Carola: Invincible/Evighet 5
2005 4 055 000 Martin Stenmarck: Las Vegas 19
2011 3 670 000 Eric Saade: Popular 3
2004 4 105 000 Lena Philipsson: It Hurts/Det gör ont 5
2003 3 815 000 Fame: Give Me Your Love 5
2002 3 720 000 Afro-dite: Never Let It Go 8

I’m not making any judgements with this data – I’m simply trying to extract fact from fiction from the figures (and alliterating all the way). My point is that we shouldn’t automatically assume that Melodifestivalen’s success is dependent on its connection to Eurovision. And that in the past decade, Sweden as a Eurovision nation has been very successful – but by no means does a Melodifestivalen audience know what makes a winning entry. Rather than focus on which songs are Eurovision-worthy, do what I do – just focus on 32 possible reasons for excitement at the start of the cold winter months…

David: What I bought

Here are the songs I bought this weekend. A lot less than recent years, and I don’t feel any need to get the official Melodifestivalen 2013 album. Do you think I missed anything out?

David Lindgren – Skyline
Cookies n Beans – Burning Flags
Felicia Olsson – Make Me No 1
Swedish House Wives – On Top Of The World
Erik Segerstedt & Tone Damli – Hello Goodbye
Eddie Razaz – Alibi
Amanda Fondell – Dumb
Martin Rolinski – In And Out Of Love
Janet Leon – Heartstrings
Army of Lovers – Rockin’ The Ride
Sylvia Vrethammar – Trivialitet
Ulrik Munther – Tell The World I’m Here

Mix her

SARemixedEdition

HI BELLE! Linda Sonnvik‘s [Dilba, Try Again] protégée has had her Sisters Anthem remixed, and I asked her to tell Schlagerfiasko about it. She did.

Sisters Anthem was written by Linda Sonnvik, Thomas Karlsson and Adam Robinson, and it’s had loads of airplay, which I’m thrilled about. For the remixes, I’m proud to be working with the legendary SoundFactory! He brought something special to the track, and it’s pure magic. I really love his remixes and I hope everyone will. The Radio and Paradise Anthem are so amazingly uplifting, while his Stiletto Dub is edgier but extremely catchy!

Chris Heart always delivers and has put his typical club vibe on the track in two versions that probably will appeal to many floors. And then there’s the mad remix by my friend Mike Moorish who produced the original version of Sisters Anthem. It’s very dark, and I come to think of the Chemical Brothers. It’s a very twisted remix, but in a fabulous way!

Belle_och_Soundfactory_FotoSonnvik
Belle and SoundFactory. They like the gays.

Melodifestivalen 2014, anyone? Belle and Linda need to give us some NEW POP.

Sisters Anthem (Remixes) - Belle

David: SVT doesn’t care

Final week of the first heats, and we get nudity, miming, a possible winner and total Twitter meltdown about a sketch… Då körde vi.

The good

  • The 70s-style Eurovision opening sequence, because we were in Malmö. I kind of wish Eurovision was still like that
  • Gina and Danny speaking terrible Eurovision-host English
  • Petra Mede proving (I didn’t need that proof, though) that she’s going to be a terrific Eurovision host
  • Petra’s French accent – the best we’ve had from a Eurovision presenter in years
  • Army Of Lovers. One of my favourite Melodifestivalen performances of all time. Totally subverting the whole seriousness of the Melodifestivalen process by miming. As regular readers know, I have no problems with miming whatsoever – often it’s the only way to assure a decent vocal. And when La Camilla‘s throne shifted to reveal the real singer, I applauded – what a fabulous moment in Melodifestivalen history! Anyone complaining about this clearly doesn’t understand Army Of Lovers. And Jean-Pierre Barda writhing virtually naked with the young ones, then snogging ginger-bearded Alexander Bard! Too many moments of fabulousness to recall. There might have been a song in there, too… (And while the Sean Banan fans can attack me for liking this and not him, my defence is that at least they were making a comeback after 20-odd years, and not repeating the same schtick less than 12 months after the first time)
  • Jean-Pierre’s nipple clamps
  • Robin Stjernberg entering to Dude Looks Like A Lady. Full marks for the ability to laugh at himself
  • The (now controversial) Sarah Dawn Finer sketch. Yes, it was virtually the same as the Neil Patrick Harris/Caley Cuoco skit from the People’s Choice Awards, but who really cares? It was funny, and it was what we all like to think Sarah Dawn is like. Leave Edward af Sillén alone – he entertained you, get over yourselves
  • Sylvia Vrethammar being in another Melodifestivalen era. I can’t believe the fact that she sang Y Viva España (for the British, at least) in the 70s wasn’t promoted more
  • Therese Fredenwall battling against all those minor chords and winning
  • Böstrom‘s wedding
  • Ulrik Munther – what a difference a year makes. Has clearly entered to win. But would he excite Eurovision fans? Not so sure…
  • Ulrik’s background visuals and entering to Calleth You, Cometh I – one of the best Swedish songs ever
  • Bard introducing the fourth and fifth members of Army Of Lovers, pointing to La Camilla
  • ALCAZAR – you don’t even need me to explain why
  • Alcazar going direkt to Andra chansen!
  • Ralf’s partner stomping about the stage at the end then nearly falling off it

The bad

  • While Lucia Piñera‘s performance was good, it was clearly Adele‘s Rolling In The Deep #2. I really don’t saying Melodifestivalen songs sound like other songs, but you’d have to be deaf not to hear it in this
  • Robin’s vocal wasn’t very good. It just wasn’t
  • Robin’s styling (and that of the dancers) was awful. What was with that waistcoat jacket thing?
  • Behrang Miri – don’t get it. Allez allez allez? Sounds familiar…
  • Kind of being relieved when the show was over. It all feels a bit ‘forced’ this year. Tensions definitely feel high

The ugly

  • Knew it would be a winner. Even put some money on it. But Ralf Gyllenhammar‘s Bed On Fire left me cold
  • Alcazar’s standing ovation – from the same public that never gave them a win. Alcazar should have represented Sweden at Eurovision. I don’t suppose that would ever happen now…

Finally, a little note to SVT. I know you don’t care about me. I’m a viewer in London. My Swedish skills are just OK. I don’t pay the Swedish TV licence. I get that. I’ve been a Melodifestivalen fan for some years, and I know you don’t even like to acknowledge the fact that people outside Sweden watch the show. But when the internet feed is clearly not working properly, making the broadcast unviewable, responses like this are just offensive:

 

David: (jag är) en riktig jävla schlagerbög

I did wonder if I could be bothered to comment about deltävling tre, given the result. But hey ho, here we go. I get a bit controversial at the end, so if you can’t be bothered to read, please do have a look at what I’ve got to say in the last couple of paragraphs.

(There’s a lot more good in this list than you’d expect, actually.)

Oh, and someone complained to SVT saying that Melodifestivalen is ‘gay propaganda‘, which I love. If you’re reading this, complainer (you’re clearly not), then State Of Drama and Ravaillacz winning is the most heterosexual result you are ever going to see in Melodifestivalen. As my friend Anders put it on Facebook:

Det här är verkligen inte bara bögarnas fest. Tvärtom verkar det som om bögarna behöver hitta en ny fest eftersom vi tydligen inte var inbjudna till den här.

The good

  • Gina Dirawi‘s styling. Top marks to whoever did the hair, make-up and the lacy frock
  • Going to Italy to confront them about Euphoria getting no Italian points (but maybe not speaking to them in English…)
  • Cute Eddie Razaz, with a good song – if a bit outdated?
  • Something else
  • Aftonbladet‘s incorrigible Torbjörn Ek, for pointing this out:
  • Elin Petersson being very nice, but…
  • Calling Ravaillacz ‘No Direction’
  • Amanda Fondell wearing American Apparel disco pants – how have they not appeared in Melodifestivalen before now?
  • Martin Rolinski, reminding us what a decent stage show can do for a song
  • Martin Rolinski coming on to Stakka Bo‘s Here We Go (again). He’s definitely self-aware…
  • Gina doing Princess Madeleine‘s ”tihi”
  • The kid in the audience wearing the pink shirt, who mugged to the camera every time he was in shot – highlights included pretending to slap Eddie Razaz’s arse, and leering over Janet Leon
  • The Italian segment showing us that SVT has its own issue of safety-tested ghetto blasters
  • Italian vote announcer Ivan‘s ”I totally love the Eurovision Song Contest” spiel from last year being ridiculed
  • Bizex, and Bizex’s Monika

The bit in between

  • I can’t say Amanda Fondell’s Dumb was good – although it wasn’t bad, either. But who could honestly say this would do well with Melodifestivalen voters? Seriously, come ON.
  • Janet Leon – Heartstrings is a proper Eurovision blaster with some great twists and turns. Shame she can’t sing it
  • Rybak staying firmly in his seat in the audience and not being on the stage in any capacity

The bad

  • State Of Drama. If you believe the internet, Swedish music is amazing pop and stuff like Robyn, Avicii, and (say it, David) Swedish House Mafia. If you’re in Sweden, Swedish music is Nickelback and First Aid Kit. It really is
  • Janet Leon’s dress reveal – besides being beyond clichéd, we’d just seen her parading the wrong way up a runway, so what was the point?
  • En riktig jävla schlager. You don’t need a Brit telling you why this was poor, because I’ll just be accused of not understanding it (in the same way as I ”don’t understand” Sean Banan). But my colleagues Lina and Sara do an excellent job below, and they’re Swedish – so there
  • Ravaillacz’s silver ticker tape. Jenny Silver was getting that a couple of years ago
  • Caroline af Ugglas lost me 320kr because I thought she was going to get through – and ANYWAY, what does Hon har inte mean? Neither my English nor Danish brains can COPE with that. And no one is wearing bandages. Not now, not ever. Maybe Gaga. But Gaga’s would have blood coming out of them
  • ”Sverige, we gotta resultation” – Danny, ‘resultation’ is not even a word

The ugly

  • Said it last week, will say it again – this show desperately needs some background music on. The long talky bits suck all the atmosphere away – get a backing track on
  • Upside-down camera shots. This isn’t 1998
  • Gina sniffing during the results AGAIN

I can’t believe I’m about to write these words, but I think it has to be said. Saturday’s show brought home to me how much Melodifestivalen has changed, and how, from a musical point of view, it doesn’t deserve to be as important as it is.

3,477,000 people tuned in – amazing viewing figures. But out of those, only 419,319 votes were registered. That means a tiny fraction over 12% of the viewers felt moved to call or text a vote. Is this a problem? It’s surely an indicator that more people than ever consider it an entertainment show, rather than an important showcase for new music (and, of course, to select a Eurovision entry). Perhaps attitudes are slightly different this year, because any real chance of winning Eurovision is reduced. Perhaps someone with an eye on the stats from the last couple of years can shed some light on this…

What I worry about is the outcome for acts like Eddie Razaz and Amanda Fondell. They looked absolutely despondent at only coming 6th and 7th respectively. Similarly, the look of sheer relief on Martin Rolinski’s face when he was through to the final five showed just how make or break Melodifestivalen is considered. Yes, it’s always been that way – but can Eddie and Amanda now expect to reduce their expectations for whatever they do next? That isn’t being judged by music alone – that’s suffering for having to compete with acts like Ravaillacz and Sean Banan, who aren’t there in any serious capacity. Indeed, Tommy Körberg said that he did feel bad for the other competitors who ”need” this more than he does. It’s not his fault, of course – Melodifestivalen is a family television show. But does it really deserve to have any more influence on who can produce and sell records than any other performance outlet? Deserved or not, it is where it’s at. I’m just not sure it’s a healthy situation for new Swedish music.

Är ni redo?

Om bara timmar går startskottet för den 3:e deltävlingen. Har ni laddat upp godisskålen (godis ska det va, inte popcorn, tycker ja)? Nu är det dags att vi hittar något bidrag som smakar lite Eurovision, eller hur?

Hur går det ikväll då? Svårt att säga. Det är många låtar som slås om samma slags röster, så det kan egentligen sluta hursomhelst. Jag håller en extra tumme på Janet (även om jag är besviken på låten), Martin (färg ska alltid hyllas!) och Eddie. Sämst hoppas jag det går för gubbarna grus trus. Så dåligt. Tyvärr kommer väl folk rösta på dem, men jag hoppas inte!

Till final:
Eddie Razaz
Amanda Fondell

Till AC:
Martin Rolinski
Janet Leon

5:a
Ravaillacz

Utslagna:
Caroline af Ugglas
Elin Pettersson
State of Drama