Now several months on from Eurovision 2024 we’ve all had a chance to mull over the results of the contest. The Eurovision 2024 final saw some very dramatic results, but 11 acts did not get a chance to see that. We thought we’d have a deep dive into these acts and give you our opinion on What Went Wrong. Today we’re going to discuss Czechia’s Aiko.
Today Daniel, Kittens, and Angus take a look into what they thought went wrong with Czechia’s performance.
Who is Aiko?
Aiko, which is the stage name for singer Alena Shirmanova-Kostebelova is a Czech singer, who currently resides in Brighton in the United Kingdom. In 2015, Alena participated in the singing reality show “Česko Slovenská Superstar”. This was the springboard to Alena starting off her musical career. A few years later, in 2018 Aiko released her first album, “Aiko”. In 2020, Aiko released a second album “Expiration Date”. Alongside her second album, Aiko also released her first stand alone single “Hunt” in 2020 as well.
Throughout her career, Aiko has performed at many festivals and big events, so is no stranger to big crowds. One of Aiko’s big musical achievements is that she was the first artist from Czechia to appear at Times Square in New York. In October 2023, Aiko released her third album “Fortune’s Child” – which contained the original version of her Eurovision 2024 song “Pedestal”. Since winning ESCZ, Aiko has also released the single “White Flag” in April 2024.
Aiko participated in Eurovision 2024 with the song “Pedestal”. Steven Ansell wrote the song alongside Aiko herself. As well as writing the song, Steven also produced the track.
What are there issues with the selection
Daniel – I will defend ESCZ more than a lot of people will be willing to, I think they’ve overachieved in recent editions and they’re a good set of people doing what they can on what is a very small budget. The budget is where the problem lies. Sadly, with the viewing figures not being what they would hope, I don’t think we’ll be seeing significant improvements any time soon.
Kittens – ESCZ is another one of those selections which has great potential but hasn’t quite reached it yet. I do think that they’re doing great with what they’ve got, and although the selection has issues, it’s definitely not dire. The selection of songs this year felt good, there was something in there for a lot of people. A good variety on a small budget, they delivered more than some bigger shows do!
Angus – There is a lot to be commended about ESCZ. It has gone from an awkward-but-fun online only showcase thing to a proper national final. I do think that the emphasis on international fans should be reduced over time, but at the same time I do think that this motivates the broadcaster to come with musical diversity and lets them highlight some really cool Czech artists. Does the production value (not necessarily budget!) need to be upped, especially the live sound quality and mixing? Sure! But that comes with time and practice.
Was the song and act good enough to be in Eurovision?
Daniel – Yes, easily.
Kittens – Yes absolutely. Despite the initial misgivings stemming from the ESCZ performance, Aiko really hit the ground and started delivering consistently once pre-party season kicked in. The song wasn’t personally to my tastes, but had great production, a good revamp, and had the audience energy behind it. A great mix of anger and drama and self-love, delivered by a really excellent performer.
Angus – Yes yes yes. Aiko is a strong live performer, who at Eurovision delivered strong vocals while also (in my opinion) performing well as a stage and as a television act. The song itself meanwhile was also really strong, embracing current, popular trends in music without sounding or feeling derivative.
Did the staging compliment the song and stand out
Daniel – I think this staging was brilliant, and one of the best uses of the stage we got this year.
Kittens – I wasn’t really sure what to expect, but Czechia have pulled it out of the bag on staging on multiple occasions now. I’m glad they took the time and effort to do it again this year. Really excellent work and one of the few who really used the boxes effectively. Showed that they knew what could be done with what was there without having to bring too much extra – an exemplar.
Angus – For the second year in a row, I am firmly convinced that Czechia utilized the LED screens the best out of all the delegations. There was amazing use of the moving ceiling boxes too, which was further elevated by some truly excellent camera angles and editing choices. The pyro was exactly as much as the song needed, and Aiko’s stage presence was beautifully enhanced by the dancers as well.
Could this song have qualified if changes were made?
Daniel – If the song doesn’t qualify in the way it was presented here, it doesn’t qualify in any way. Sometimes you just get unlucky. I think this is one of those cases,
Kittens – I echo that this song got unlucky. It just missed out on qualification, and honestly, I was pretty sure it was going to make it. I don’t think making any changes would have made the difference, and it is mostly a victim of circumstance.
Angus – I truly don’t know what else Aiko or the Czech delegation could’ve done. While I did worry about this song’s chances at times, the moment I saw the staging this would get fairly easily into the finals. I suppose the only thing this had going against it, leaving it 5 points adrift from the finals, was literal luck of the draw. It performed after Switzerland, and went up against 2 other rock songs (which NQed and barely Qed, respectively) plus some other tracks that were heavy hitters. Besides the rock songs, I think some other entries fished in a similar pond of voters and with rock entries tending to not do amazingly with the televote, perhaps it was inevitable that in the end “Pedestal” sadly (and barely) lost out.
What are our outlooks for future contests?
Daniel – Please don’t withdraw I need my annual dose of Adam Mišík – On a real note – I hope that ČT don’t take this NQ to heart, because they’re doing some real good things and I think this is no more than a (very unfair!) blip in the road.
Kittens – I’ve said it before and I’ve said it again – ESCZ is on a path to greatness. Every iteration has improved on the past one. I’m hoping they can find the budget to keep going and not withdraw. Take this NQ as just an unlucky circumstance and not a pattern. Keep going, keep looking, watching and learning and Czechia will be rightfully back safely qualifying and on the left side of the board. You have what it takes!
Angus – ČT, despite showing what feels like fairly minimal interest in the contest, has been doing very well at Eurovision. Even in years where the results weren’t quite there, I think the Czech entries were largely very credible and showed their music industry in a positive light. Keep going, keep sending musically varied and strong entries, and keep showing what you have to offer. Good results, either in the contest or afterwards commercially, should just be around the corner, and I can’t wait to see what Czechia serve up next year.
Czechia’s Eurovision Journey
Czechia made their debut in the Eurovision Song Contest in 2007, with Kabát’s “Malá dama”; however, their debut entry finished last in a 28-song semi-final, scoring only 1 point. This kicked off three consecutive non-qualifications, with their best result coming in 2008, finishing in second-last place. Having withdrawn in 2009 due to poor results, Czechia returned to the Contest in 2015. In 2016, Czechia qualified for the first time with Gabriela Gunciková’s “I Stand”.
Czechia opted for a national selection in 2024, ultimately choosing Aiko with the song “Pedestal”. “Pedestal” scored 38 points in the second semifinal, placing eleventh and just missing out on the Grand Final.
What do think about our thoughts? Do you think Czechia could have qualified? Let us know in the comments or on social media! Be sure to follow ‘That Eurovision Site’ on Twitter, Facebook, Instagram, TikTok, Threads and Bluesky as we prepare for Eurovision 2024!
Source: That Eurovision Site
Image Credit: Corinne Cumming / EBU
Tim J