Melodifestivalen is part of a series of national selections that countries organize before Eurovision, allowing the nation to vote for an artist to represent them. In comparison to Sanremo, Melodifestivalen closely resembles typical national selections, yet it stands out as one of the largest and most prominent. Its popularity extends not only nationally but also internationally. Sweden showcases performances with elaborate staging and settings, enabling contestants to deliver their best performances. Last year, Loreen emerged victorious, becoming the first woman to win the contest twice. This illustrates the calibre that Melodifestivalen brings to the Eurovision stage.
The contestants in the final represented a diverse range of genres, from country, as seen with Jay Smith, to the more electronic pop typically associated with Melfest, showcased by Marcus and Martinus and Maria Sur. Across the five heats, numerous acts competed, with two contestants advancing from each heat. However, for the purpose of this discussion, I will focus solely on the finalists. Marcus and Martinus emerged as the favourites to win, as indicated by the betting odds leading up to the contest. Their popularity in Sweden had already been established prior to Melfest, having participated in 2023 with the song “Air.” This trend continued throughout the year, with returning contestants such as Dotter, Liamoo, and Maria Sur, among many others, adding to the anticipation.
The second chance round typically occurs in the final heat before the main final, offering contestants previously eliminated in other heats an opportunity for redemption. I have always appreciated this aspect, as it allows overlooked songs a chance to shine and gain popularity. Viewing this round, I perceive it as an achievement for those who advance to the final, even if they didn’t ultimately win the entire competition. This sentiment resonated with me particularly when Annika progressed with her soulful ballad “Light,” which deeply appealed to me and I was pleased to see the song in the final.
In comparison to Sanremo, Melfest adopts a more flashy approach to its presentation. Sanremo primarily emphasises vocals and song, whereas Melfest places greater emphasis on staging and performance. While Melfest also features light-hearted moments akin to Sanremo, its main focus is on selecting an artist for Eurovision, unlike Sanremo which does not prioritize this aspect as much. This highlights the stylistic variety of each national selection and why they garner such widespread interest. Both Melfest and Sanremo are among the best, having propelled artists like Maneskin, Mans, Mahmood, and Loreen into the spotlight.
There were aspects of the show that I wasn’t particularly fond of, and foremost among them was the lack of genre diversity in the final. It was evident that the only noticeable distinction in genres was between pop rock and country, which, compared to other national selections, felt rather limited. While Sweden may have a successful formula, I’ve never been keen on how rigidly they adhere to it, often avoiding taking risks with their final selections. As Melfest is considered the pinnacle of Eurovision standards, I anticipated more variety in genres this year. While presentation and vocals may be top-notch, if the song itself is uninspiring, why would viewers be motivated to vote for it in Eurovision?
Compared to previous years such as 2023 and 2020, this year’s Melfest felt somewhat weaker. While everyone delivered stellar vocals and presentation, many of the songs lacked quality or felt generic compared to those already chosen for Eurovision. However, this doesn’t imply a lack of quality overall. As I mentioned, I thoroughly enjoyed performances by Maria Sur, Annika, and found parts of Marcus and Martinus’ performance enjoyable. Nevertheless, when compared to last year’s “Tattoo” by Loreen or even Mohambi’s entry in 2020, these performances didn’t quite reach the same level of excellence, both in terms of song quality and staging.
The staging of Melfest was outstanding, consistently representing its strongest aspect. Witnessing artists capitalise on this to deliver their best performances is always a highlight. Even the more subdued ballads, such as Dotter’s song, utilised staging and presentation to their fullest potential, which fascinates me. Moreover, I appreciate how Melfest honours artists who have made a lasting impact through the Hall of Fame award, a feature not commonly found in other national selections, aside from Sanremo. It pays homage to Melfest’s rich history. The structure of the heats, with two acts progressing to the final, seemed fair and effective to me.
The winner of the show was Marcus and Martinus, which left me somewhat conflicted. Despite finding the song enjoyable after a few listens, I couldn’t shake the feeling that it was too generic for me to fully embrace. Nonetheless, the song had its strengths in presentation and catchiness. While Marcus and Martinus undoubtedly showcased their talent, the song felt like a step down compared to “Air.” In conclusion, I’m curious to see how “Unforgettable” evolves leading up to the final of Eurovision. However, it certainly doesn’t top my list of this year’s Eurovision songs. Personally, I would have preferred if Maria Sur had won, as her song had a bit more flair and wasn’t as repetitive. Nonetheless, with the winner now chosen, let’s see if they can secure a spot in the top 10.
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