As the 2012 national finals season for the Eurovision Song Contest approaches its final stages, we can see that plenty of Eurovision entries as well as national final entries enter the iTunes chart in their respective countries. Have a look below:
Perhaps the most surprising is the Netherlands, with the Dutch entry You And I by Joan Franka at # 2 (previously #1 last week). The last time a Dutch entry was a commercial hit on home soil was in 2010 with Sieneke’s Ik Ben Verliefd (Sha-la-lie). I suppose John de Mol deserves some credit in drumming up interest in the Eurovision Song Contest again and for making the entry a commercial hit, thus restoring some credibility to the Contest in the eyes of the Dutch public and media as well creating a bit of pride. That still doesn’t exonerate him from hijacking the Nationaal Songfestival and turning it into a ‘The Voice’ after-show.
Another welcome surprise can be seen in the Spanish iTunes chart, with the country’s newly selected Eurovision entry Quédate Conmigo in at #9. This has never happened before, at least in my recollection, to a Spanish entry. It means that the people are getting behind the song and are very proud of it. I think we can expect some really good viewing figures from Spain this year.
Unsurprisingly, we can see Cyprus’ entry La La Love in the Greek chart at #9. No surprises for guessing where Greece’s douze points are going to.
As usual, Sweden’s Melodifestivalen dominates the iTunes chart in the run up to the Finalen i Globen and we can expect this to continue over the next coming weeks as the Swedes turn their attention to Eurovison Song Contest preparations.
A few entries have fallen off the charts but will most likely appear again as the Contest looms closer. These include Norway’s Stay by Tooji and Italy’s Per Sempre by Nina Zilli, which I suspect may return re-incarnated in its Eurovision form.
I have to say, it’s really great to see countries getting behind their entries and turning them into commercial hits as well as worthy showcases of their country’s music heritage, culture and industry. Goes to prove that the Eurovision Song Contest is more commercially relevant than people are prepared to admit.