You know who else is in semifinal 1? Kate Miller-Heidtke, who is sandwiched between Eliot and Hatari.
I like this song. As someone who has issues with mental illness, I like the way Kate describes the way it feels when depression lifts. I like the marriage of her soaring vocals with a drum beat. And I can attest to how much fun it has been to sing “Ze-hee-hee-hee-roh Gra-ah-ah-ah-ah-vity” in the middle of a large crowd.
But I don’t love this song. Part of that comes from the fact that I’m still slightly sad that the amazing 2000 and Whatever wasn’t chosen by Australia. Part of it was Kate’s absolutely atrocious staging in the National Final, where she had an enormous dress (seen it) with pole bouncing Dementors (haven’t seen it, didn’t need to see it). It was similar enough to fellow popera performer Elina to have drawn comparisons – unnecessary ones, since Kate’s song is far more accessible than Elina’s.
So I have to put myself in the shoes of the casual Eurovision watcher to figure out how this song will be received – and the answer is: They’ll like it! It’s going to be a completely radical departure from what’s come before, and when Kate hits the high note, it truly is transcendent.
Of course, that prediction is based on Kate’s promise that they’ve scrapped the staging from the National Final,and are doing something new. If they haven’t, well, expect people to shake their heads and say, “That wacky Eurovision!” and then go on to vote for D-Mol.
FINAL VERDICT: It’s a keeper. People should not stray from their television sets during this one, because something is going to happen and it will either be horrifically bad (staging, not Kate’s vocals) or absolutely transcendent.