INGRID WITT / DEVIL INSIDE
Channelling the nation’s sweetheart, Supernanny, Ingrid heard what could have been a fairly dull week and swept it, bat-like, to avert the crisis. ‘Devil Inside’ does that subversion thing that all the best pop songs do – it’s candyfloss soft chorus a complete u-turn compared to its verse – but by god does it really work. Flourishes like this in a world of verse-chorus-verse-chorus-middle8-chorus layouts make music feel so exciting.
STEFANIA / LAST DANCE
For years now, fans of Eurovision here in the UK have had to put up with the BBC’s pandering to an idea of Eurovision that no longer really exists. Whilst this year we have to put up with the abysmal ‘Embers’ and its years-too-late Sigala adoration, Greece have done what fans have been asking for us to do for years – embraced STEPS. ‘Last Dance’ manages to scream Eurovision from its very heart and yet (looking at you BBC) doesn’t tread into the embarrassing territory of chasing a sound from five years ago as if it’s still here, a novelty. Equipped with an enormous chorus and a stadium-filling vocal chant that is to die for… it’s a winner, baby.
MOLLY MOORE, LA FELIX / CAREFUL
Moore’s ‘Careful’ already had one of the best choruses of last year but, not content with letting the song slink away into the night quite yet, she’s brought in La Felix to make the song even bigger. A short and sickly sweet 2 minutes long, it’ll leave you grasping for that replay button if only to hear that chorus again. Seriously it’s enormous.
ROSÉ / ON THE GROUND
Whether you want to acknowledge it or not, K-Pop is making waves across the entire music scene. Solo explorations really aren’t that weird for K-Pop group members, a lot of them act like a vehicle for solo success in ways, but there’s something about Blackpink’s ROSÉ that feels perched for world stardom. Channelling Avril Lavigne, the song threatens to keep that stripped back, pop-punk aesthetic throughout only for that synth to burst through. A touch of wonder!
YONAKA / ORDINARY
Fans of Yonaka will notice immediately the move away from their traditional single art, a move into PVRIS territory that’s supported immediately by the opening to ‘Ordinary’. Of course, Yonaka have their chorus sound nailed down so tight that by the time that swings around, you know exactly who is in the building. This Nirvana inspired power ballad easily shows itself as one of their most instant, could it be a huge hit? Hopefully.