Eurovision 2022 Grand Final: Ukraine claims its third victory, followed by the UK’s Sam Ryder and Spanish diva Chanel

Víctor Torres García on 17 May 2022

After several months in which fans from all around the world were constantly guessing who would win the 66thEurovision Song Contest, it is official now: the Ukrainian band Kalush Orchestra holds the trophy of this year’s edition of the festival.

On May 14th, the long-awaited Eurovision Song Contest 2022 grand final took place in Turin, Italy, after Måneskin’s unprecedented success in Rotterdam last year. During the so-called ‘Eurovision Week’, Italy proved to be a good host despite the technical difficulties the organisation was facing a couple of weeks before the beginning of the festival. Not only was it held in an earthly architectonical paradise but also, the venue and the stage itself were favourably adapted to the technological and media parameters this internationally-acclaimed festival required. Furthermore, the three hosts demonstrated their professionality and also added bits of Italian humour and sarcasm to their contributions, which made the show more engaging and certainly amusing. 

The long-awaited voting moment was characterised by ceaseless tension and uncertainty, since it consisted in a fierce battle among Spain, Sweden, Ukraine and the United Kingdom, which could have been considered the winner of this year’s edition if the votes from the jury would have been the only points to be taken into consideration. However, when the points from the audience (or televoting) were announced, Ukraine became the undeniable winner of the 66thEurovision Song Contest, as it received more than four hundred points from the televoting. The top five of the 2022 edition of the festival was formed by some of the songs fans considered to be their favourites to win. Although countries like Greece or Norway achieved a great position (eighth and tenth respectively), fans believed they would get a higher score, considering the hype around both songs. Another surprise was Czech Republic finishing in the bottom five, concretely in the 21st position, as fans were crazy with this entry since it was released. In general terms, this year’s Eurovision can be classified as one of the most competitive and challenging editions of the history of this competition. 

Kalush Orchestra, the Ukrainian Band who won this year’s festival, came up with a song called Stefania, which is perceived as a Ukrainian War anthem. Mixing folk sounds and rap flows, Stefania is about the hardships of being a mother and the lack of social support when raising a child. The abrupt speed changes and the multiple symbols used, such as the lullaby, provide a realistic depiction of the story behind the lyrics of the song. Women are depicted as both sensitive and strong beings, who have the power to strengthen society and make it evolve. Ukraine’s victory is now understood as a message of sympathy and support from Europe, which transcends the threshold of politics and economic power and makes use of music as a channel to preach unity, freedom and most importantly, peace. 

It is still surprising for British fans that the UK came second in the Eurovision Song Contest after many years trying to get a proper result in the competition. However, with Sam Ryder’s Spaceman, it can be said that the United Kingdom has found the formula that guarantees its entries success, engagement and recognition. In his song, the Essex singer talks about finding the light in darkness after difficult times. Demonstrating his vocal range on multiple occasions, Sam achieved a second position for its country, not only by means of a strong and unique pop song but also through a performance packed with lights, which spread hope and positivism and showed Ryder’s stage presence.

Spanish diva Chanel closed the top 3 with her song SloMo. Despite the harsh criticism she went through, the Spanish-Cuban artist, who spend her entire life devoted to the world of arts, proved to be one of the most talented, hardworking and praised acts of the history of the festival. SloMo preaches female empowerment and liberty, inviting every woman to dance and to feel proud and comfortable with their bodies. Chanel also deifies female diverse beauty, highlighting its uniqueness and attributing it a special power of seduction. In addition, she supports her message by means of a breath-taking performance, which combined modern dance moves, high-quality vocals and Spanish-inspired outfits and motifs, such as the use of the fan at the end of the performance. 

Although the previous three were the most remarkable performances of the night, there were other acts which ought to be highlighted, such as the Serbian entry. Konstrakta’s In Corpore Sano is a social criticism to Serbian public healthcare system. In this Balkan country, artists are deprived of the right to access public healthcare and have to be careful not to suffer from any disease, otherwise their monthly income could be notoriously reduced. Despite the ruthless reality the song describes, fans showed tremendous admiration for its message, catchy rhythm and also its eccentric performance. Another outstanding entry was brought by the Norwegian band Subwoolfer. Their song Give That Wolf a Banana provided the festival with the necessary humour so as to make both audience and contestants disconnect from the incertitude and tension the festival may generate. Moreover, it kept the audience guessing who was hiding behind the wolf masks.

Many fans also missed the presence of some entries in the grand final. One of the favourites, Cyprus’ Andromache and her ethnic pop song Ela, could not make it through the finals despite the huge support she received from the audience. The Irish representative, Brooke, found herself in the same situation. Although she did not guarantee her country a place in the Eurovision final, she confesses she is happy with her performance and that it was not probably the right time, showing herself positive, full of hope and willing to improve.

Nonetheless, the country where the contest will be held next year is still unknown. Normally, the winner is in charge to organise the festival but considering that this year’s winner is Ukraine, which is still under military threats, it is not likely that the competition will be held in the country. Although the Ukrainian president showed his willingness to organise the festival in Mariupol, the widely spread tension around the country does not provide any glimmer of hope at the moment. For this reason, the Spanish and the Greek delegations already mentioned that they would be willing to celebrate the festival in their countries in case Ukraine wins. However, many fans also speculate that the UK may be next year’s host. It still remains unknown but it will be announced soon enough so as for the whole continent to start looking for their next year’s star. 

Kae Tempest is unmatched in their performance at Leeds Stylus

Kate Wassell on 17 May 2022

I knew Kae Tempest was a big name, but I didn’t expect their show to have such an impact on me. Their new album ‘The Line Is A Curve’ dropped just last month: a moving, searing record that I wish I had listened to before the show, but am so glad to have found now. Tempest is a distinguished poet, having won the Ted Hughes award and supported the likes of Benjamin Jephaniah and John Cooper Clarke. Their music is the kind to have listeners hanging on every word, dissecting and revisiting each lyric, making for a night of spoken word at its best. 

Shungudzo, Zimbabwean gymnast, TV personality and politically voiced artist, is a support act with enough energy to fill a stadium. Dressed in a long pink ruffled dress, Shungudzo leaves her macbook propped on the side of the stage, while she jumps and skips across the stage of Stylus like a child on a sunny day. She exudates a beautiful energy, her no bullshit statement lyrics received with glee from the Stylus audience; rather than hiding behind metaphors, Shungudzo says exactly what she means. Our generation is the one to make change, she voices near the end of her set: and in her demeanour is bold resilience as well as sunshiny positivity. Tempest’s and Shungudzo’s musical styles may be different, but they have in common a political fury. 

Kae enters the stage, and after yells of awe and appreciation have died down, they address us before they begin playing. ‘The Line Is A Curve’ will be played in its entirety, they tell us, and there will be no breaks between any of the tracks. A buzz fills the room; the anticipation of such an immersive album experience is palpable. ‘Speaking between songs cringes me out’, they joke, but there’s something so thrilling about this prospect: immediately the separation between audience and artist feels smaller, somehow, like we’re about to go through something not just standing in front of them, but with them.

Sound engineer for their tour, Hinako Omori accompanies Kae on synths, the sound waves rolling underneath Tempest’s cutting words. Like so many hip-hop artists, Tempest tows the line between rap and poetry. Something feels different about them, though. Their lyricism takes precedent over the fairly sparse production of their tracks, but they pull from the wide scope of sound: the featured artists on ‘The Line Is A Curve’ include Lianne La Havas, Kevin Abstract and Grian Chatten, to name a few, which together stretch out from the genre of hip-hop and bring known but surprising voices to each track. Tempest’s spoken delivery also sets them apart, of course, and their attention to detail is evident: there something that is needed to be said in their lyrics. 

And it’s their lyricism that is the main gift of the night, masterfully painting images with their words. In ‘Salt Coast’ we’re pulled into a tempestuous landscape: “soaked coast, foul wind, old ghosts, scrap tin”. Standing in pulsing golden light, the image of a twisted tree behind them, they personify nature – “the browning of your leaves” – and politicise it too – “the tyranny and hate of Britannia rules the waves”. Track ‘Smoking’ follows soon after, a commemoration to their past self. Having come out as non-binary in 2020, Tempest’s nods to their past female identity, “that girl from the past that laid the foundation stones”. They repeat, “there can’t be healing until it’s all broken, watch me break”. It feels like a celebration and separation, like a coming apart of something that once existed but no longer does. Kae’s recognition of her former identity feels like this throughout the new album, never taking over the tracks completely, but colouring them. 

It’s ‘Grace’, the album’s closing track, that brings me to tears. Ending ‘The Line Is A Curve’ section of the gig, Tempest’s voice rings clear over a simple guitar melody: “there are things I have to say about the fullness and the blaze of this beautiful life.” In all its unassuming nature, the track is breath-taking.

Kae Tempest’s set at Stylus was unlike any gig I’ve been to before. Performing their 2019 track ‘People’s Faces’ at the end of their set, they gesture to us, the audience: ‘My sanity’s saved, ‘Cause I can see your faces’. And every face is beaming up at them. You might already be a fan of poetry, or you might think spoken word is pretentious and underwhelming. I urge you to stick on a track of theirs, or better yet, buy a ticket to a show, and experience for yourself their brilliance.