Israel

The Fire In Your Eyes Boaz Mauda

I must admit I was underwhelmed by the Israeli preselection this year. Having given each of the songs a cursory listen I ruled out its chances of producing anything with much potential: there was little wrong with the quality on display, but at the same time nothing really stood out. The only thing that seemed to be instant about them was that there were all instantly forgettable.

I took the 'scandal' that spurted fitfully and briefly (rather than erupting) about jury members and celebrities being instructed to support The Dana International Song with a pinch of salt, having been largely unmoved by its victory in the first place. But as is so often the way with Eurovision and Eurovision entries, a bit of perspective can change your view on these things enormously.

As a work of musical composition, this year's Israeli entry stands out as one of the most layered and rewarding in the contest: each time you listen to it, something new is revealed to you. The arresting opening would instantly pinpoint the geographical origins of the song even if the language it were being performed in failed to, and it sets the scene for the complex and stirring three minutes that follow.

There are three parts of this song in particular that I would love to be able to revel in as isolated scores: the acoustic accompaniment to the verses, underpinning the fragility at the heart of their lyrics; the piano in the chorus; and the sweeping strings, so evocative and so important in relating the emotion of what is arguably the most beautiful ballad of this year's contest.

Were it not for the jury wildcard system of this year's semi-finals I would be worried about Israel's chances of making it to the final; this is not the kind of song I trust televoters to vote for, unless it comes together perfectly on the night. Boaz is a striking performer, but the song is vocally very challenging, and should he struggle at all its chances may be sunk, especially performing so early on.

The other risk the song runs - one that has marred many an Israeli entry of late - is the scope for its backing vocals to go awry. In the studio version they are quite subtle, and I hope they can find the right performers to bring this to the stage. If instead we are treated to a repeat of En Davar, Leha'amin or Together We Are One, which took 'shrill' and 'awful' to new heights, the value of the song as a whole could be lost.

My only criticism of the song is related to its structure: for a composition whose ebb and flow sees it build so successfully, the lack of emphasis placed on the final chorus strikes me as something of an oversight. I personally feel that the chorus is strong, so to almost casually drop back into it after the rousing instrumental break feels odd.

That said, The Fire In Your Eyes remains a powerful entry and one that I would hope to see in the final in the event of a deserving performance - even if it is only the jury who recognises its worth.