The 2024 Eurovision Song Contest is sure to be remembered as evoking strong feelings among participants and viewers alike. Similarly, I feel there was a slight injustice to the acts taking part and their creative artistry and that the work/performances become overshadowed by divisive world politics. Eurovision for me is always about celebrating the artists, their songs and performances. Therefore, my post-coverage of the event is on that basis only. 

In 2003, Swedish pop queen Loreen won the competition in Liverpool (hosting on behalf of Ukraine) with her phenomenal entry “Tattoo.” And that ultimately took Eurovision back to Sweden, for the seventh time with Malmo the host destination for 2024. No expense was spared for Eurovision this year laying on a colourful spectacle of lights, stage performance and most importantly…phenomenal pop songs. As always the night of the Grand Final presented some earworm tracks of the like where I can’t get them out of my head. The remedy to this earworm invasion is blogging them right here.

“Unforgettable” by Marcus & Martinus (Sweden)

As you would expect, Sweden knew the assignment when it came submitting a memorable, catchy track. “Unforgettable” performed by twins Marcus & Martinus Gunnarsen, is a very typical entry for Sweden. A profusely upbeat, electro-pop track replete with an instant sing-along chorus.

Performance-wise the Swedish team laid on a light effects spectacle based on a Matrix-like theme. In all honesty, if the track wasn’t already dazzling enough, the use of copious LED lights most certainly was made the overall performance blazingly brilliant.


“Luktelk” by Silvester Belt (Lithuania)

Lithuania sent their first LGBTQ+ artist to Eurovision this year. The country’s hopes were with Silvester Belt and his Latvian-spoken entry “Luktelk” (translated, “Wait“). This is a banger that the crowd had no hesitation in getting behind. They joined in clapping to the track’s punchy rhythmic beat. Looks wise, Silvester shares a noticeable resemblance to Troye Sivan. The stage performance was flanked by four hooded dancers with Silvester holding his own with the dynamic offering. “Luktelk” deserved a higher final placing than 14th in the competition. However, the song is a suitable introduction to his brand of electronic pop and the tracks he is currently working on. A definite, one-to-watch for me. 

“Liar” by Silia Kapsis (Cyprus)

Australia didn’t make it through the semi-final heat process this year. The country was however, not entirely left out of the Grand Final proceedings. Seventeen-year-old Silia Kapsis, the youngest participant in the contest and of Greek-Cypriot and Australian descent, represented Cyprus with the ebullient offering “Liar.” On the grand final night it was good to witness Silia prove the critics wrong as there had been some opinions that she was too young to take on the task of competing. However, Silia’s supremely confident performance. Her nailed Britney-esque dance routine was outstanding leaving the ill-founded critics left eating their words. 

“Rim Tim Tagi Dim” by Baby Lasagna (Croatia)

Baby Lasagna, the Croatian entrant, has cast a spell over me for weeks with the arresting pop-rock of “Rim Tim Tagi Dim.” The massively hypnotic track had a way of sneaking up on me when I least expected it. Too many times, I found myself spontaneously humming or drumming out the tracks pounding rhythm on my coffee table. (Incidentally, of which has taken some battering from my tapping fingers these past few weeks).

In contrast to most Eurovision entries this year, Baby Lasagna penned “Rim Tim Tagi Dim” all by himself. Although the lyrics might appear somewhat rudimentary – “I’m a big boy now, I’m going away and I’ve sold my cow“, there is a sense of poignancy behind the narrative. The track is inspired by his fellow Balkan friends, of which fled the country in search of a better life. So, there’s no air of silliness at all in this song, except for the surprising yet memorable name choice – Baby Lasagna.

“Doomsday Blue” by Bambie Thug (Ireland)

Realising they needed to make their presence felt this year, Ireland chose the divisive, goth witch Bambie Thug as their representative. Having missed out on snatching a grand final place for quite a few years, Ireland played the wild card with the dynamic “Doomsday Blue” being well received. Screamo, grunge, spell-casting, and a soft, endearing singing voice, “Doomsday Blue” has it all going on. An insane, hedonistic brew for sure if you get my point! The staging of this one was a thing of dramatic wonderment and epic proportions. Notably, though, like Lordi and Verka Serduchka. Bambie Thug is Eurovision royalty now and will be remembered for years to come.

“We Will Rave” by Kaleen (Austria)

No Eurovision grand final is complete without a potent dance banger and 2024 was no exception. Following in the recent footsteps of “Fuego” by Eleni Foureira and “Replay” by Tamta, Austria’s Kaleen stepped up to the table with the infectious, trance offering “We Will Rave.” The incredibly catchy song bears a striking musical resemblance to Snap!Rhythm Is A Dancer,” owing to the song’s fast-paced energy. Sometimes it is good to have a track that is just for the purpose of pure enjoyment. What “We Will Rave” offers is an escape that moreover, shimmers with extreme danceability and catchiness.

The Code by Nemo (Switzerland)

I am happy about Switzerland’s landslide victory at Eurovision this year and felt it was their time to pick up the winner’s trophy again. As In recent years Swiss representatives Luca Hänni and Gjon’s Tears both paved the way putting Switzerland back on the Eurovision map with their respective entries “She Got Me,” and “Tout L’univers.” However, this year Swiss participant Nemo brought something completely different in both aesthetics and sound. I feel “The Code” was well received because its authentic lyrics got people invested in it. As Nemo themselves said it’s a song about their story, about coming out as a non-binary individual and finding paradise in that honesty.

Not forgetting the compelling stage performance Nemo gave, singing from the heart while balancing and jumping on and off a tilted spinning disc. The stunt could have ended in disaster, but thankfully I observed no slip-ups (except when he won and broke their thumb and the Eurovision trophy). I think they must have had some magnets in their trainers to help them stay rooted to the spot. Everyone loves a story with a happy outcome, and ultimately “The Code” is now an anthemic beacon of light, instantly taken to the hearts of the LGBTQ+ community and discerning pop music fans alike.

Lastly, I cannot rightfully conclude my Eurovision 2024 sum up without mentioning the reuniting of Alcazar and their stunning performance of the mega-hit “Crying At The Discoteque.” Eurovision is affectionately known as Gay Christmas and with Alcazar and the ABBAtars also making an appearance, the Swedes gave us Christmas in pop music their way.