Germany: Will Changes to Selection Process Raise Germany’s Chances?

GermanyGermany – The last two entries from Germany came from their unknown Clubkonzert system. This year’s will not. The new Head of Delegation for Germany, Carola Conze, has indicated that the Clubkonzert part of their selection method Unser Song für… will no longer be a part of the process. 

The two previous wildcard winners Elaiza (2014) and Ann Sophie (2015) did poorly in their respective Eurovision Song Contests, finishing 18th and last (Ann Sophie with the infamous nul points).

Conze recognises that one problem is that most of the well established artists don’t want to take part in a competition, a situation similar in the UK. But when named artists have taken part, their success isn’t guaranteed either as Bonnie Tyler and Englebert Humperdinck can tell us. In Germany’s case, Cascada, well known across Europe, only finished in 21st place 3 years ago. Is, as always, the key to it, the strength of the song? Or as Conze says, the full package? Were Elaiza and Ann Sophie just, well, a bit dull?

Or is the answer that the German public are now out of sync with what the majority of Europe currently appreciates as a good song, despite seeming to be ahead of the game back in 2010 when Lena arguably helped to modernise the contest with the quirky ‘Satellite‘?

What do you think Germany needs to do this year to get back on the left hand side of the board, which is Conze’s goal? Let us know below!

38 comments on “Germany: Will Changes to Selection Process Raise Germany’s Chances?

  1. Germany needs to go back to its plans to build an MF equivalent. And should have done so in 2011 when the contest was at its high peak and it would attract more well known artists. Now it will be tough to organize such a high profile nf as MF (meaning with known artists etc) but it could start discreetly now with less known names and newcomers and capitalize on that if a succesful result is reached at the end (which will take some fine tuning that takes factors other than fame of the artists under consideration).

    P.S. Both Elaiza and Ann Sophie were among my favourites their respective years regardless of results.

    Good luck !

    • I hear your arguments, but it’s hard to change things when the country gets 1st in 2010, 10th in 2011 and 8th in 2012 and then manages to attract “big enough” names like Cascada to represent them in 2013. The problem is, after Cascada (which imo had a very old fashion song in comparison to many great songs in 2013) failed to do well even if it was a big name, the method lead to two new comers “webcards” winning (2014) or representing the country (2015, after the winner withdrew). So in the end, is the method wrong or did the method did not lead to televote smartness?

      • I never understand the fuzz about selection methods. You only need a good song and a great performer. Over the years we saw countries winning with all sorts of selection methods. Even MF produced quite a few failures over the years.

        • true, but then winning songs are in a field of their own: how can anyone ignore Norway or Sweden’s recent runs being much better than, say, the French or Brittish ones, and they have big and popular NF and neither do France or the UK…

          • but thats because of the interest in those countries. Nothing to do with selection formats.

            Sweden loves the contest so they get big names enter with great songs. And the best song usually wins and would win under any selection format.

            • I don’t agree.It’s like saying that the way the broadcaster handles eurovision plays a minimum role.Esc in the UK needs a serious rebranding.It’s not that people don’t like watching it.It’s the fact they think it’s a trash contest they like to make fun of.I believe people in Sweden just enjoy it for what it is and with no attitude.

            • How can ESC have a rebrand, they tried when Graham Norton took over and we sent ALW, it lasted a year.

              To most Brits, it’s a joke, a funny joke, that they enjoy by all means, but yeah watching ALW lose to some boy and his fiddle, Blue failing to make the Top 10, while 1 half of the winning duo is from a north london council flat, and then the ultimate insult of Bonnie Tyler finishing behind a local gp, and a tramp, it kinda makes the whole thing seem ridiculous. But it fits in with the Brits self depreciating humour so that’s fine and they continue to watch, because its funny.

              But why would any serious act or songwriter risk entering ESC for the UK? When he can just release it normally and get much more success.

              Take a look at our very own ETSC Adele couldn’t even beat some French hipster. If she googles herself like some celebs do, and came across that probably wouldn’t be the most encouraging thing :P

            • the French hipster has now made concerts in the US, was shown on the Colbert show, and a compagny will release her album there: she’s growing and ET spotted that ;) don’t forget Urban Trad beat Tatu in esc by 1 pt too :p

            • None of that goes against my point.

              Why would a big name enter, (singer or songwriter) when they know its incredibly likely they’d lose to some rising unknown.

              Tatu only had 2 international hit singles, hardly the same league.

            • not every reply to you is meant to “go against [your] point” but could qualify your point, or underline it, or add another angle…

      • Apart from the Cascada part who imo were pretty great I do agree with the rest of your comment pretty much.

        • I genuinely think it’s not “bad” but just your “clichéd esc entry” (eurodance with schlagerish performance) and I do think it felt a bit too esc in early 00s and not new/fresh enough hence why it did poorly regardless of the name.

          • I simply cannot explain yet why it did not do well..All I can think personally is that her performance was not top notch that night and a bit more creativity in the staging could help..

  2. I loved Germany 2014 but I find Black smoke kinda lukewarm…

  3. As i said before,i support this change.I never really warmed up to this idea of the newcomers club concert.In both cases,much better songs were left behind.Now they may also need to improve the production standards because the live performances during the final are usually subpar.

  4. I think that we had 2 decent entries that deserved to do a bit better the last two years. Well, what can I do … just hope for the best. I never understood why they don’t do sth similar to Bundesvision Song Contest … The winners there at least represent contemporary German music.

  5. I hate to say it but I agree with Stommie.

    All this row over selection formats means so little to the actual result, whether you have 2 semi finals or 4, or go straight to a final, whether you have wild cards or a jury vote etc etc, if there is no good song there, there is no good song there. No matter how many alterations you make to the format, at the end of the day its all down to will a good song be submitted for consideration.

    In countries where they are already huge markets, if you have a great song, or a great singer, why enter Eurovision.

    Would Adele, One Direction or Ed Sheeran really want to enter, just to see Europe stick the boot in their careers and place them behind a local GP from Malta or a singing tramp from hungary. NO

    As long as you don’t get the good songs submitted, there is no amount of alterations to the selection format that will somehow find a winner.

  6. The german national final has consistently had the greatest quality and variety of songs on offer with the possible exceptions of Melodifestivalen and San Remo. The problem is that the german public chooses bland mediocrities every time. It was a crime that this year they sent to the final phase Andreas Kümmert and Ann-Sophie instead of Fahrenheidt and Laing who could have achieved a marvelous result for Germany. It was an ever bigger crime that they chose “Black smoke” over “Jump the gun”.

    Last year they chose Elaiza over Unheilig which smacked of more a reality-show choice (the young, bubbly unknown over the arrogant music industry behemoths) rather than a vote based solely on the merits. I am convinced that Unheilig could have been the only ones to give Conchita Wurst a run for her money but the german public decided they were not “likebale” enough and, even worse, they sang in german.

    So in the end, no matter what the format, if the voting public really screws it over and over again there is nothing that can be done. As years go by, I am more and more convinced that choosing Lena was a pure stroke of luck for them.

  7. I like both “Is It Right” and “Black Smoke”, and I think they both deserved to do better, but something must have been missing.

    In any case, big names is not the key to success in Eurovision. What matters is the song and the way it is performed.

  8. Also, I don’t think that Unheilig or Andreas Kümmert would have done better in Eurovision. I personally liked Laing’s “Wechselt die Beleuchtung” a lot, as well as “Das Gold vom Morgen” (don’t remember the artist), but if they couldn’t win the German final, how would they have done internationally then?

    I never liked “Frozen Silence”, and I didn’t really understand the hype about it here. It was very synthetic and impersonal. Weak melody too.

    • Alexa Feser. <3
      Her album has just been released. I like it a lot. :)

      • Alexa! <3

        • “Das Gold von morgen” … My favourite German lyrics since Grönemeyer’s “Angst” (1986) and “Grönland” (1993):

          • Sadly,i can’t really understand many things but it doesn’t sound like a love song.

            • It’s a song about a love gone wrong that hints at more universal topics like respecting each other irrespective of how different we are. Very relevant atm imo. :(

              And I love the final line of Grönemeyer’s “Angst”: “Angst vor der Angst. Wir schlafen ein.” (Being afraid of fear. We fall asleep.) That has been a warning to me ever since …

            • Btw, Grönemeyer has another song called “Tanzen” (Dancing, 1986), which addresses the German desire to prove that we are the best at everything to everyone. (It even refers to German exports of military equipment while we like to pretend being Angels of Peace …). Greatest German artist since Brahms imo. :) <3

            • It’s good to have artists that are critical and brave enough to talk about things others avoid to talk about.In Greece now with the financial crisis we have many so called artists who just say the things that people want to hear while they avoid talking about some inconvenient truths.

            • Let me assure you that we have a lot of those too. Plus escapists … :(

              Allow me to say g’night with a piece of music I love: Brahm’s “Ihr habt nun Traurigkeit” (You are sad now) from one of only very few Protestant funeral masses:

              Toggie the Atheist …

            • Goodnight!

    • I genuinely hated Unheilig’s and Andreas’ songs…

  9. Forget Germany getting new format, instead Eurovision needs new juries and voters. It’s a shame Germany (the very best of the big 5 counties currently) is changing their selection strategy because the Eurovision voters were fools in this case.

    Blamng the German selection system is a “smoke” screen.

  10. I must say Black Smoke was rather boring, but then again the UK was annoying and tacky so I can’t say much. At least Norway didn’t send that godforsaken pizza song. If they did then I would have had to disown my country!

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