The UK’s Eurovision Journey: Desperation or Determination?
There was a time when the United Kingdom successfully masked its indifference towards the Eurovision Song Contest—a period now referred to by historians as the “Engelbert Humperdinck years.” However, that era is firmly in the rearview mirror, and an increasingly palpable sense of urgency surrounds recent efforts to make a significant impact at this grand international pop celebration. This sense of desperation has never been more apparent than with the UK’s latest entry, “What The Hell Just Happened?”—a dramatic slice of Nashville pop delivered by the Surrey trio Remember Monday, who describe themselves as “pop girlies with a lil bit of yeehaw.”
This song is not particularly catchy; it lacks the kind of melody you might hum or find yourself replaying. Instead, it feels like a desperate shout for Eurovision to take notice. Within the first 30 seconds, listeners are bombarded with a chorus that is devoid of subtlety. This approach aligns with Eurovision’s typical strategy of appealing to a global audience that generally has short attention spans. Yet, there’s something disconcerting about the song’s overt longing for approval, creating a sense of “forcing the moment” that could easily induce a headache for those unprepared for an onslaught of what feels like a goth Dolly Parton.
The renewed enthusiasm for Eurovision in Britain can be easily justified. Three years ago in Turin, the UK came agonizingly close to securing its first victory since Katrina and the Waves triumphed in 1997. Sam Ryder’s ethereal power ballad “Space Man” finished a commendable second to Ukraine. Since then, however, the UK’s entries have often suffered from an overwhelming desire to impress. Mae Muller’s “I Wrote A Song” lacked the wow factor needed to stand out, while Olly Alexander’s “Dizzy” attempted to mirror a Pet Shop Boys anthem but fell short of delivering the necessary subversive wit. The staging choice, which placed Alexander in a bargain-bin sex dungeon, didn’t do him any favors either.
On paper, “What The Hell Just Happened?” appears to make sense. The popularity of country music is on the rise, thanks in part to Beyoncé’s Cowboy Carter and All-American acts like Chapell Roan, whose sound incorporates elements of the Nashville hit-making machine. However, it’s clear that Brits struggle to authentically capture the essence of “going country,” and Remember Monday’s attempt to merge pop with honky-tonk results in a forgettable experience.
Image is crucial at Eurovision, yet the trio project mixed messages. The country influences in their music clash with the visuals presented in their accompanying video, where Lauren Byrne, Holly-Anne Hull, and Charlotte Steele appear in regency gowns, evoking the aura of a Simon Cowell-inspired dinner party rather than embracing the down-to-earth spirit of country music. It’s akin to casting Garth Brooks as Mr. Darcy—captivating in theory, but poorly executed in practice.
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Country music has had its moments at Eurovision. For instance, in 2014, the Netherlands secured second place with The Common Linnets’ “Calm After the Storm”—a bluegrass-infused track reminiscent of a long-lost Emmylou Harris B-side. Yet, nobody would characterize the Netherlands as a traditional hub for pick-up trucks and oversized hats. That song possessed a relaxed, carefree energy, a quality glaringly absent from the overly eager “What the Hell Just Happened?”
The great irony is that the recent UK Eurovision entry that appeared to be a potential flop turned out to be the one that excelled. Sam Ryder’s “Space Man” defied the typical Eurovision mold. Its chorus arrived at its own pace, and Ryder embodied an old-school hippie vibe rather than the usual glamorous young hopeful chasing fame. The takeaway is clear: attempting to force a moment often backfires. In this regard, “What The Hell Just Happened?” could very well consign the UK to another round of Eurovision purgatory.
