Greedy winning veterans

That veterans who have already won the Melodifestivalen one or more times come back for more is nothing new.

But in this year's final, they are unusually many - as many as four.

It was the hit queen Charlotte Perelli, the manboy Eric Saade, last year's winner The Mamas and then the dance band Arvingarna who won with the feverishly desperate, evergreen, irresistible emotional hurricane Eloise when it went in the early nineties.

Most likely a corona effect.

Do those who voted have a longing for the cozy familiar?

Or do the unemployed artists rush to Mello during the pandemic as a savior in times of need because it is one of very few music events that actually takes place?

Probably both.

Regardless, this will be something of a fight between giants, albeit in very different genres.

Manboys


The manboy category is a very special artist category that is almost exclusively seen in Mello, but there, on the other hand, they grow and flourish.

In this year's final, they are mainly represented by Anton Ewald, Danny Saucedo and the previously mentioned Eric Saade.

Characteristic of the manboys is that they are handsome and they know about it, they are young or refuse to grow up, they are solo artists and they do some form of modern dance pop with a high frequency of wet glances in the camera.

In Mello, they are usually a whole bunch, in addition, it usually goes really well for them.

This is unlike in the real world.

There, the female artists in the same genre have almost completely taken over, with the exception of the rappers and the phenomenon Victor Leksell.

But in Mello, a small gap in time has been created for the manboys.

Modern dance pop

The melody festival is a genre in itself and it is of course not the intention that everything should be what we would normally call good.

A good middle number can be something completely different than a good song.

With that said: There's a song that's really good and that's Daughter's Little Tot.

Throbbing, clubby bass, exciting melody construction, good-looking, strong, wild voice.

And it is interesting that the final field to such an extent consists of modern top list pop.

There is a dance band (The Heirs), a gospel group (The Mamas) and a reaggeton guy (Alvaro Estrella).

Clara Klingenström who does stripped-down indie and classic schlager diva Charlotte Perelli is somewhere in between.

Otherwise, it is more or less fast-paced radio pop that has been voted on broadly.

Humor numbers and ballads do not bother in the final 2021.

Top five

Tipping Mello is like guessing at the neighbor's cat litter.

But there are five acts that have a greater chance than others to, without mutual order, reach the top five.

The Mamas because they will get a lot of sympathy votes after last year's formidable osis when they won but still did not get to compete in Eurovision.

Eric Saade because for some reason he always goes home - it's old.

Daughter because she is good and so is Clara Klingenström, in addition Klingenström has that genuine, undisguised indie charm, which could lead to an Anna Bergendahl effect in 2010. Yes, and so Tusse of course.

The winner

And the winner is: Tusse.

Because he combines almost everything that the Swedish people seem to like this year: Modern pop, strong chorus, voice that holds, genuine charm and also an air of underdog.

The song has a touch of The mamas gospel, at the same time as Tusse Chiza is a completely new and fresh artist in the Melodifestivalen context.

As icing on the cake, you can interpret the song a little as you like, either as a politically charged BLM number or just as an uplifting tune about nothing special.