United Kingdom 2024: Olly Alexander - Dizzy

Left you Dizzy?

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Although Dizzy is a solid radio track and I have a personal soft spot for it, it lacks direction and may not garner much support in the televote.

Rolly will find it challenging to compete against Marcus & Martinus in their shared demographic.




It's simply regrettable that it doesn't quite match the punch of Unforgettable. :peace:
 
Hak said:
Although Dizzy is a solid radio track and I have a personal soft spot for it, it lacks direction and may not garner much support in the televote.

Rolly will find it challenging to compete against Marcus & Martinus in their shared demographic.




It's simply regrettable that it doesn't quite match the punch of Unforgettable. :peace:
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But it’s shite…
 
It's perfectly lovely, there's just more interesting and exciting entries out there and thus it seems like a lock for bottom 5 at this point.

My only hope is that it's inevitable underperformce/tanking doesn't set the UK back at square one with no one with any type of credibility wanting to touch the contest.

I'm clinging onto the idea of a newer younger generation of artists cropping up that would be more than willing to put themselves forward as it doesn't have the same stigma for them...but we will see.

In some ways I'm already thinking roll on 2025...not just because of Ollys potential flopping, there's just a hostile air around the contest this year/things getting very ugly with Israel.

At this point I'm hoping the contest itself is put on without any scandal/Surie mark 2 moment.
 
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Sheena said:
I'm ALWAYS in TIGHT SPOTS... :disco:

Though I forget what kind of LAW you DO, but I doubt it will involve getting me out of a COTTAGING incident (ALLEGED) at the SHEENA MEMORIAL CRUISING GROUND.
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I love the idea of you sat in the nick, waiting for you ‘brief’ - only for me or @Iguana to swan in :D

To be clear, I don’t do criminal so would probably only make things worse!
 
To be fair I can imagine Marcus and Martinus being Olly's biggest competition now, or at least in the sense of being the one most likely to eat into his votes. I know someone said before that being an actual song in a year of party bangers and GAY CHAOS entries might help it out, never mind the fact Sweden is barely a song itself and just flashing lights with a bit of fannying around on stage, it does feel like Dizzy's natural competition regardless.

Sadly I think evil twinkery will win out as being on first suits that down to the ground.

I am still optimistic for a good stage show and plastering over of vocals to give us something well, at least significantly better than last year, god love her.
 
I remain agog that nothing was done to save Mae in the final few days. She has admitted she knew it was going to be a disaster all week and it appears nobody stepped in to try and rethink it at all. Shame.
 
Agree re M&M too - it’s hard to see it not doing relatively well at least, possibly at the expense of Olly, but it’s so completely charmless and I would love for Europe to see straight through it.
 
Respectfully, M&M remind me of those TROLL DOLLS.

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I do find the whole "progress the UK has made" narrative to be massively overstated. Sam did well because he could sing, and sing amazingly - there is no way in any other universe Space Man wouldn't have been mid table or lower without that.

Yet we followed up that success with...someone who couldn't really sing. And then followed that up with someone not exactly known for their vocal prowess, albeit Olly and Dizzy is still a cut above most past entries as a general package.

Given that all of our top 10 results in the last 25 years have come from GOOD VOCALS, and all with totally average songs (and you can throw Lucie in there for achieving a rare respectable result with the same), I'm not sure what progress is made when you miss the key thing that's given us success.

Our Song For Europe competition or whatever it was called gave us some horrors (although we did get Lucie from it) but in theory it wasn't a bad idea. Molly was an excellent idea on paper. Blue in 2011 was basically the equivalent of Olly now. Javine with a basic banger was a great idea.

There's not been a total lack of effort, just misfires that often follow a success and/or something that's seen as progress, and that feels no different to where we are today. The joke is, regardless of whether Olly comes top five or last, there's zero evidence we'll build on it and not do the same thing whatever the result.
 
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Kala said:
I don’t disagree that the BBC are trying. But misfire after misfire shows that they’re just not getting it.
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Oh I agree, I'm not defending them as such, but the supposed progress stage we're in now doesn't feel much different, or any more progressive than it ever was, at least based on evidence and results so far. I'm aware it's a world away from Electro Velvet - but so was Molly, the year before, in theory. It's too erratic to say there's proper progress.
 
Kratz said:
Agree re M&M too - it’s hard to see it not doing relatively well at least, possibly at the expense of Olly, but it’s so completely charmless and I would love for Europe to see straight through it.
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It's garbage and I hope it does an Ingrosso (cue suspect jury score coming in - that was him, wasn't it?), however it IS quite the shiny floor show and I reckon being on first has done wonders for it. It makes me think people are going to remember the evil twins in a nightclub now
 
I don’t find the Ingrosso score suspect in the slightest (hilarious though it may be).
 
And yes, it does feel like we’re in a golden era because we’re coming off a 2nd place finish, several songs becoming genuine UK hits and a triumphant hosting of the contest with all the giddy wall to wall coverage that entailed, but if you actually look at what we’re doing, you have to wonder if all that much has changed.

I still maintain that Space Man as a song wasn’t THAT much of a progression of the “this will do” middle of the road fodder we’d been sending in the years prior - the fact it was phenomenally performed was really the clincher.

And if you look at what we’ve sent since, we’re still stuck in that awkward centre spot in the Radio 1 / Radio 2 musical Venn diagram that tries to upset as few people as possible. Mercifully we can attract a higher calibre of artist now, but how long is that going to last if we don’t get the results to match the illusion that we’re one of the apparent big players now?
 
I agree in most parts but I do think Sam/Mae/Olly is a bit more of an advancement than Englebert/Bonnie/that strange duo song that all came at one point. Whether that results in any long term change is to be seen, but given the contest is much more relevant and cooler than it ever was even ten years ago means I’d say the UK seem to at least appear to be trying.
 
Yes I think I said it earlier in this thread, but I hope that Eurovision is in a pretty solid place in terms of viewer perceptions, in part due to some actual hits resulting from it, and in part due to a whole new generation now watching who have no memory of the Terry Wogan era. I'd hope that sustains even if we regress a bit in terms of what we're actually fielding to compete.
 
To be honest, and not to infect another thread with *discourse*, but I think if there's one key factor that could harm the perception of Eurovision in the UK and the willlingness of high calibre artists to participate, it's going to be the continued presence of Israel...

After seeing all the criticism and pressure to withdraw that Olly has received, you'd have to think most artists on his level would think twice if the offer came next year and Israel are still participating. Doubly so if he does end up flopping.
 
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VoR said:
To be honest, and not to infect another thread with *discourse*, but I think the single biggest factor that could harm the perception of Eurovision in the UK and the willlingness of high calibre artists to participate is going to be the continued presence of Israel...
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Here we go...
 
VoR said:
To be honest, and not to infect another thread with *discourse*, but I think if there's one key factor that could harm the perception of Eurovision in the UK and the willlingness of high calibre artists to participate, it's going to be the continued presence of Israel...

After seeing all the criticism and pressure to withdraw that Olly has received, you'd have to think most artists on his level would think twice if the offer came next year and Israel are still participating. Doubly so if he does end up flopping.
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This could basically apply to any country though surely? I mean, yes Olly signed that open letter last year and put his name to that statement that came out a few weeks ago, but so did 8 other artists.

Its caused upheaval elsewhere too, I've seen it here in Iceland - RÚV passing the buck onto the artists and asking them if they want to go to Malmö should they win Söngvakeppnin or sit it out(whilst secretly hoping and thinking that Bashir would win and want to go so it wouldn't come to that) only to have it backfire on them, being left with an artist with a no hope entry.

I'm sure a great many more of the class of 2024 have varying opinions on the on going war/conflict but decided just to keep their mouths shut out of not wanting the agro.

Sorry to drift a bit there, but surely it's just a case of future artists avoiding the topic?? Although maybe that will be increasingly hard to do depending on how the next 12 months play out in the middle east
 
Oh it's clearly not a UK-specific issue at all, for all the reasons you say.

If the situation for the Palestinians improves it might quiet down a bit, but that seems unlikely in the near future unfortunately and even if it does I don't think the misgivings about platforming Israel are going to subside for a very long time. It's been rumbling for years and obviously awareness spiked again in 2019 when they hosted, but the genie is well and truly out of the bottle now.
 
bypass said:
C-List on Radio 1 :)
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This is something which irks me. The UK entry should be listed by R1 from the day it is unveiled through to the contest. It should be an integral past of the promotion strategy. It’s not like pondering whether or not Global is going to list it - this is the flagship station of the participating broadcaster.
 
Kratz said:
This is something which irks me. The UK entry should be listed by R1 from the day it is unveiled through to the contest. It should be an integral past of the promotion strategy. It’s not like pondering whether or not Global is going to list it - this is the flagship station of the participating broadcaster.
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Radio 1 still chasing that elusive 16-29 demographic shocker!
 
Kratz said:
This is something which irks me. The UK entry should be listed by R1 from the day it is unveiled through to the contest. It should be an integral past of the promotion strategy. It’s not like pondering whether or not Global is going to list it - this is the flagship station of the participating broadcaster.
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To be fair isn’t it too far in advance? If they playlist it from week 1 it’ll be like 10/11 weeks before the contest and normally 6/7 is their max.

The fact they’re onboard is always good and hopefully peaks with the contest.
 
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