Tom: All right, we’ve got three days left before we have the Friday Jedward Punchline. What’ve you got from Ireland today?
Tim: You keep saying that, and now I’m thinking I’d like to punch them on Friday. But anyway, this song surprised me. You’ll see why.
Tim: Yes. The key change. Because this is a song I can, without too much difficulty, imagine coming out of the mouth of Rihanna, Nicki Minaj, Ke$ha, that lot. And those people don’t do key changes – they’re not right for a song, they’re outdated, they’re only there to spice up an otherwise dull ending. But here, despite coming at exactly the right moment in a Eurovision song, it’s so unexpected that it’s absolutely brilliant.
Tom: Something I can’t believe I’m saying: it’s a modern Eurovision song coming from west of the North Sea. Which means it won’t stand a chance in the Irish public vote, but it’s not bad at all.
Tim: As for the rest of it? The rap breakdown in the middle is odd – not musically (see previous Nicki Minaj comparison), but certainly Eurovisionally (or at least, stereotypically Eurovisionally – maybe this whole week will be about challenging preconceived ideas).
Tom: Rap breakdowns don’t generally do well in Eurovision, but I reckon this stands a good chance because of Ke$ha and her ilk paving the way first.
Tim: I think you’re right there. It certainly fits well in the song, and while this is one of my least favourites of the bunch it’s still a decent tune, very poppy and, as you say, very likely to do at least fairly well if it makes it to Baku.
Tom: Right – this could play well in Europe, and – for Ireland – that’s what the public should be voting on.