Robertson's Reflection
This week a subtle rule tweak was released in Melodifestivalen. Subtle rule alterations have not been uncommon from SVT over the last twelve months. Some have obvious cause-and-effect such as putting a limit on voting calls made from each number in the case of the voting robot scandal. Others are seemingly made for show aesthetics to create the feel SVT want; reducing the songs to seven in each heat so that ‘enough space is given to each artist.’ Whether we believe this or not, the latest switch to the rules is proof that modern Melodifestivalen is more focused on its commercial success than any other requirement.
From this edition of Melodifestivalen every artist making it to the Andra Chansen round will see their songs released for immediate sale. This differs from before as previously only songs eliminated from competition would be allowed to be sold, played on radio and danced around to by small preschool children until every heat had been completed. SVT argue this is just about giving ‘more exposure to more songs’ but this has further impacts as well that unbalance Sweden’s pop music culture.
One impact is going to be the increase in Melodifestivalen exposure on the Swedish charts. Last year, Ace Wilder withstanding, Melodifestivalen’s chart impact was pathetic, especially during February before the big boys and girls got their chance. With the reduction in songs presented each week to three finding songs that don’t qualify good enough for commercial sales is less likely. If Andra Chansen songs can be included chart success is likely to follow. It is likely with this format that three, possibly four songs will go into the Melodifestivalen final as number one hits in Sweden. That makes it far more interesting from a media spotlight point of view, in recent years the chart domination has been so well reported in the media it influences the public voting, becoming exaggerated towards the pre-known favourites and is achingly predictable.
Of course another move is one that more songs are going to get that success in the charts. A current snapshot of the Swedish charts is like most countries dominated by English language tracks from foreigners, it is hard to score a big hit, which many an Andra Chansen entry could be. Remember there is no TV show in Sweden other than Melodifestivalen that will see you perform to one-third of the population at once. The lowering of songs competing as well as the increase to twelve in songs reaching the final is likely to increase the exposure for well-established artists that even if they aren’t winning Melodifestivalen; a good hit is still possible to achieve without being overshadowed by the winner. In the future we can expect this increased safety net will bring more people to Melodifestivalen who are bigger names in Swedish pop music.
Furthermore expect it to see ratings go up. Radio airplay is going to lift Melodifestivalen up on people’s radar and act as further free advertising. Anticipate it to be a beacon of positive news stories when otherwise the critique of Sanna’s and Robin’s hosting would be. If it can produce songs people can relate to early viewer fatigue through the series should in theory weaken, and higher ratings throughout would be the result of a show with more successes and more interest.
SVT’s move though is not one to confuse with making Melodifestivalen a more fair show though. That finalist songs have to wait to be released until after heat 4 is still an unjust anomaly. This is not about the songwriting aspect of Sweden’s biggest TV show, this is about protecting brand Melodifestivalen. The reasons for the change are clear to see but they point towards the importance of keeping SVT’s baby top of the viewing tree rather than on making for fair competition. SVT admit they don't know what the impact will be of this, but I am sure they are praying their tinkering games don't overly advantage those songs rejected on first listen.
Pictures by Milenko Badzic (ORF) and Henrik Montgomery (SVT)
