My Eurovision Top 10: Dan

2024 seems to be yet another promising year for Eurovision, and one thing we can DEFINITELY be sure about is that me sharing my opinions is going to be dangerous nonetheless (just look at the responses to any of Ry’s Twitter juries). Nonetheless, as always, I have a lot to say about to my top 10 for this year (at least as of right now, that will probably change around a bit at least a few more times before the actual contest begins), and if there’s one thing I like to do so annoyingly much, it’s hyperanalyze everything :)

That being said, let’s get on into it!

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10. Dizzy - Olly Alexander (United Kingdom)

If you’ve seen our UK reaction video already, you know I already loved Olly before Eurovision (and if not, you should definitely check it out!). While “Dizzy” is different from the Years & Years songs I’m used to, it still proves to be a pretty solid electro-pop jam. The lyrics have all the cheesiness of a Top 100 pop hit, but the melody is an instant earworm. Alexander’s vocals complement the song very well, being softer than some of the other entries but still interesting and fitting with the general vibe. In some ways, it’s aesthetically reminiscent of Mae Muller’s (sorry, Slae Muller’s) “I Wrote a Song” from last year; a chill pop song with the right amount of energy in all the right places.

Also, how is he managing to jump around all those spinning platforms in the music video without losing his balance?? That is sheer skill, I can hardly walk from my couch to my door without tripping over nothing most days. The staging potential here is so high, but I really hope he stays safe, because that many spinning parts replicated in a live performance could EASILY spell disaster… however it would probably look very cool. While it’s no “SPACE MAN”, it’s still a very pleasant listen, and I really hope this year we can get some of the justice for UK after their last year’s result (From second to second last? Really? She deserved so much better…)

9: Mon Amour - Slimane (France)

First of all, my sincerest apologies for getting Slimane’s name spelled wrong in the video. Anyways, the song. I love me a good emotional ballad, and Slimane definitely served it up for us this year. It starts out soft and hushed, giving the song a very intimate feel. Eventually crescendos into a powerful climax after the bridge, with Slimane letting out all the emotion and really showing how he not just sings the lyrics, but feels them too. While in some ways it’s your typical French-love-ballad-about-how-I-love-you-but-you-don’t-love-me-back, it’s again his voice that really sets it apart.

His timbre is nostalgic for me, reminiscent of various other French artists I listened to in high school. One of those artists, GIMS, definitely made his way in to my mind with the « Est-ce que tu m’aimes ? » that ends off the chorus (as Ry pointed out in our react video, which you should also watch, but I know we were all thinking the same thing even if they were just the first to say it). His voice works really well with the song, being able to effortlessly glide through the soft and more intense parts of the song so smoothly.

The disco ball effect in the music video was awesome, and hopefully something that can be replicated on stage (think Marco Mengoni from last year). I feel like they will use a fairly minimalist staging in the contest as they did in the video; this might be able to work out but I hope they can still add in a little something more— something exciting, but something that doesn’t take away from Slimane’s vocals. Regardless, I am confident this one is going to do well!

8. Before the Party’s Over - Mustii (Belgium)

I disagree, the party is only just getting started. Mustii provides compelling vocals on “Before the Party’s Over” overtop of a melody that is somehow an amazingly seamless blend of low and high energy. The lyrics seem to follow the trend of songs about self-reflection this year, describing being aware of one’s struggles but still wanting to have fun and keep pushing while they are still able. Most of the song is buildup until all the energy is unleashed toward the end, where the song climaxes in such a powerful way.

The title lyric sung repeatedly at this point expresses this urgency well, while the power of the song is only strengthened by the chorus of voices in the background, having “a soul on fire” and insisting on “making moves tonight.” Also, an awesome touch is that the backing vocals were actually recorded by hundreds of fans via a request on social media! I think this is a very solid entry, and if they staging can be as powerful as the song, it can go very far this year.

7. Teresa & Maria - alyona alyona & Jerry Heill (Ukraine)

TVORCHI last year was okay, but Kalush Orchestra really cracked the formula for a winning Eurovision song in 2022. “Stefania’s” blend of cultural and modern elements, plus a memorable performance (flute guy, pink hat guy, the shadows swaying… I could go on but I’m getting off topic already), and I feel like that’s exactly what Alyona & Heil are trying to do with “Teresa & Maria.” The haunting melody and uplifting lyrics really do feel a lot like a dramatic rendition of a church hymn, but the rap adds a nice twist that deviates from the more traditional sound of the song while adding a nice modern flair that still flows really well overall.

The lyrics use the Christian figures Mother Teresa and the Virgin Mary as symbols of hope, advising us that (according to Genius translations) “happiness is in your own hand” and “your thorny path is not in vein for this reason.” This song provides a refreshing blend between folk song and pop song, and will easily get you grooving along to it. On a less formal note: DAMN ALYONA, that flow and swagger is insane! Eminem has been awfully silent since this track dropped. I certainly see why this song is one of the favourites to win this year.

6. We Will Rave - Kaleen (Austria)

And we most certainly will be raving when Kaleen walks out on stage. “We Will Rave” is classic eurodance on the surface; definitely a song that the lives up to its title. Upon doing a deeper dive into it, there is also so much more going on. “We Will Rave” is lyrically about being able to find solace and dance (or, “rave” I guess?) away from your problems.

This certainly is an important message, as I know all too well that it can be easy to get distracted with all the things not going your way when you should be allowing yourself that break to just let loose and live in the moment. This is also what Eurovision can be for so many people: it is a place away from politics and the anxiety of everyday life, and a chance to sit back and bond with each other over our mutual enjoyment of the music. That’s pretty much how AMESC started, after all! But yeah, a well executed song with an important message, a strong vocalist, and mild nostalgic feels (for some reason, ‘We Will Rave” reminds me so much of Cascada, other eurodance legends from the 2000s). I know I apparently have a tendency to really like the Austrian entries for whatever year, so maybe the fact that it was on my top list isn’t all that surprising, but it definitely deserves its spot up here.

5. The Code - Nemo (Switzerland)

Nemo didn’t just break the code, they completely rewrote it. “The Code” is essentially the “Bohemian Rhapsody” of Eurovision 2024: it tells a story of many complex emotions portrayed through a variety of musical genres that all flow together so satisfyingly seamlessly. The personal aspect of the song is very evident; “The Code” clearly explores Nemo’s realization of their non-binary gender identity and the freedom associated with being able to break from “the code” and live their truth. The song combines elements of pop, opera, rap, electronic dance, and probably more; much like Nemo, “The Code” can not be classified into one specific category. Also, my compsci brain really vibes with the “0s and 1s” analogy in the bridge (we love our STEM rep!).

The music video also flowed very seamlessly, despite featuring more costume changes than a Taylor Swift concert and taking place aboard a rickety train. I am confident that Nemo could do very well with the right visuals; if the show can be as dynamic as the actual song, there is no way this entry won’t be among the top of this year.

4. La Noia - Angelina Mango (Italy)

Listen, if you’ve watched our react videos (in case I haven’t plugged them enough in this article already, you’d better watch them) it’s no secret that I’m a sucker for two things: cultural influence in the sense that we don’t typically see on Billboard charts, and powerful vocals. Mango brings us both of those things with “La Noia.” With Mango’s captivating vocals over the upbeat groove of Latin cumbia (which the lyrics also directly make note of), the song manages to showcase some of the best elements of the Italian ballad entries from the past couple years, but this time with the added bonus of a song that makes you want to get up out of your seat and dance around the living room.

Also, the break in the melody when Mango sings part of the song acapella… somehow this adds both more of that mellow power yet also more energy into the song. This vibe also perfectly matches the lyrics, which describe trying to find excitement amidst the monotony of life (since “la noia” means “boredom”), and the song is somehow an (ironically, exciting) mixture of chill and pep. As seems to be the usual, I can foresee Italy doing very well this year, but will it be enough for them to bring Eurovision back to Italy in 2025?

3. The Tower - LUNA (Poland)

This one was probably my most controversial choice among the AMESC team, but hear me out. “The Tower” is a great tune about realizing your own strength and overcoming struggles by realizing that you are the one who holds the power. Maybe it’s the same reason that “Power” by Diljá was my top entry last year (she was SO robbed) but I highly vibe with this entry. LUNA’s vocals are chilling in such a specific and hard-to-describe way. To me, they’re gentle enough to come across as intimate and friendly, but there’s just enough confidence there to really encompass the general idea of the song. I think this song has a lot of potential with a strong performance, which I can definitely foresee as a likely possibility (plus, Poland notably has a great history of memorable performances recently). Sure, Ochman set the bar way too high for Poland in 2022, but I think a lot of people have been underwhelmed by holding future entries to that expectation, however I still feel that LUNA was an excellent choice for this year and I’m really looking forward to seeing it in the semis!

2. Pedestal - Aiko (Czechia)

Keeping on the theme of uplifting anthems, Aiko is the self-empowerment queen we never knew we needed this year. The song gives huge Paramore vibes to me, which is nostalgic because Paramore has been an iconic part of my youth. It is super energetic and will have you screaming out the words right along with her (I LOVE ME MORE LOVE ME MORE THAN YOUR BULLSH- *ehem* excuse me, where was I?). In the studio version, Aiko’s powerful vocals add so much to the fire of the song, and the end result is an absolute empowering banger (quite literally, this song would be great to headbang to!). I see a lot of potential here for staging, as if the performance can match the intensity of the song itself, the result will be immaculate. Lyrically, the song really is an important message everyone needs to hear: learn to put yourself on a pedestal. As simple as the lyrics may be, it’s a great reminder to stop being so hard on yourself and have fun! As much as I love “Pedestal” and Aiko’s vibes, after seeing the national final I just hope that she can get a little more practice in before the semi-finals…

1. Always on the run - ISAAK (Germany)

Ok, maybe Poland was controversial among AMESC contributors, but I know I’m going to get a lot of mixed reactions among our readers for this one. However, I will defend this choice until I die. While I came here for the song’s energetic yet chilling vibes, I stayed for the deeper meaning. “Always on the run” is a powerful song that is also super catchy (the “Run-na-na-ayyyy” has been living in my head rent-free since I first heard this damn song), and Isaak’s voice again perfectly fits. Vocally, he sings the song with a great amount of passion throughout, before softening during the bridge and coming back with even more power (the rasp at the beginning of the last two “run from the violence” gives me chills). There’s a reason P!nk loved his cover of Who Knew so much (and P!nk is badass, so whatever she says goes), and those same qualities of his voice clearly shine through with this song too.

Melodically, the song really does fit the title. It starts out at a nice, steady pace before slowing at the beginning of the bridge and building up again. To me, the end is like running on the edge of a cliff and, instead of falling at the end, soaring into the air at the last notes, free and one with the wind. Lyrically, this song is also very significant. Detailing struggles of inner conflict and mental turmoil, these lyrics speak to me so much after the rough year I’ve had mentally and physically. The song itself is performed with such an awesome level of emotion, one which fits the meaning so well in a way that’s hard for me to put into words, but in a way that I get exactly what is being conveyed because it’s something I never really realized I actually can relate to. I know a lot of people have been very negative about “Always on the run”, but with good staging I really hope Isaak can be the one to break the rut Germany has been in since their 4th place finish back in 2018.

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There are so many other great entries as well, and it was pretty hard to narrow down to just ten (especially since my rankings seem to change with the weather sometimes :p). Overall, I’m so pumped about seeing the lives very soon for all the songs, and I’m eagerly counting down the days until May 7! If you agree or disagree, or just want to roast my opinions, please let me know your thoughts in our comments below :)