Life long after Eurovision…
Alfred Soto: Lena’s starchy tones and the insipidity of the acoustic guitar-drums-sparkles arrangement are chalk dust, not stardust.
Katherine St Asaph: Or: Florence and the Schlock Machine. The more you inflate this, the faster it sinks.
Jonathan Bogart: Generic shouty inspiro-pop with a twee edge — the only thing that livens it up a bit is her German accent, and there’s only so lively a German accent can be.
Brad Shoup: A genial cod-martial anthem in the vein of Ellie Goulding’s “Anything Can Happen,” adding a Target-commercial sense of chipper inclusiveness and ditching Goulding’s sense of the arresting phrase. The rhythm guitar is just that: an element of beat with a fantastically immediate timbre; it pairs exquisitely with the tomwork.
Iain Forrester: Lena sounds much more settled than she did back on “Satellite”, both in terms of mental state and accent. The music setting is straight uplift and she can cope with investing all the dreams and stardust with meaning no problem. The arrangement is less impressive, though. It sounds like she ran out of time halfway through her shopping trip at the epic store, and the backing vocals and claps get a bit lonely.
Mallory O’Donnell: Her voice still sucks, but her material just keeps getting weirder and weirder. This one comes on like a showtune and ends (as you knew it would) in church. Like Florence and the Machine, but for an even whiter group of people yet to be discovered by science.
Anthony Easton: I remain uninspired by this, and I think it is supposed to inspire me. Even the hand claps fail to provide me with a boost to any level of ambition. Her voice is nice enough, though.