I’ve lived with a Welshman for the past 15 years.
In that time, I’ve been introduced to various aspects of his home country’s culture – especially the music. The choirs, the indie-ish pop and most importantly, Can i Gymru, the Welsh language preliminaries for the Pan Celtic Song Festival, broadcast on S4C every St David’s Day.
It’s probably not appointment telly for every Eurovision fan out there but it was the event which sprung to mind on first hearing of this year’s Georgian entry. Coupled with Wales’ success (a silver medal no less) in the first Eurovision Choir of the Year competition, forgive me if things were going all Celtic round my eardrums instead of Georgian.
This isn’t my first time at the Eurovision rodeo. I know not to take polished studio recordings of an entry as any indication of success once it transfers to rehearsal week. Flipping that coin over, I was so convinced The Common Linnets and their Calm After the Storm would bomb after being so thoroughly bored by it in preview season that the subsequent toastiness of my fingertips has taught me to look at the Eurovision line-up in the broadest picture possible.
While an art video presenting For You in some form of disused silo is never going to be the most exciting thing in the world, it’s clear that when these boys get on stage and do this live, there’s real potential for a spine-tingling combination of close harmony, control and power which could get the right people sitting up and taking notice.
There’s always one song in rehearsals which comes out of nowhere like an Agatha Christie plot twist and this could be the one. It won’t light up the world’s charts, it won’t get a 7th Heaven remix and nobody will be humming it in the street the Sunday after the final. But it could also provide one of those all-important Eurovision ‘moments’ – and we should never underestimate the power of those.