Olly Alexander (Yorkshire, United Kingdom, 33 years old) is at the peak of his career. Two of his three albums as Years & Years have been number one in the competitive British market, in which he has achieved five top 10 hits on the singles charts. He has completed world tours, participated in the world’s biggest music festivals and has sung alongside legends such as Elton John, Pet Shop Boys and Kylie Minogue. As an actor, he has been the protagonist of one of HBO Max’s star series, It’s a Sin, by Russel T. Davies. And with him he was about to be the new Doctor Who. The only need he had to enter Eurovision was to satisfy his passion eurofan. It is so much so that the Spanish artists Pastora Soler, Azúcar Moreno and Chanel are among his favorite acts of all time.
Other music megastars have participated in the European song contest, but they have done so before achieving massive success, such as ABBA and Celine Dion, or years after having had it, such as Bonnie Tyler and Katrina & the Waves. The British, who this Tuesday presents the staging of dizzy As a guest of the first semi-final of Eurovision 2024, he admits that representing the United Kingdom in Malmö is a risk for his career. But he is one who doesn’t mind running, he says in a telematic conversation from Malmö (Sweden), headquarters of this edition of the festival, while humming the melody of the Bitch of Nebulossa, its Spanish competitor.
Ask. How has the experience been so far?
Answer. Nothing I’ve done, not the Brit Awards, not Coachella, is like Eurovision. It is a wonderful chaos that comes together with astonishing precision. They have been organizing this event for decades and have perfected the technique. It is a live concert, but above all, it is live television which has unfortunately become a rarity.
Q. No one in his position (an artist with 1.68 million followers on YouTube) has been brave enough to enter Eurovision.
R. I know that people expect a lot from me. But being known also works in my favor. Look, the music industry is a constant fierce struggle. She is ruthless. There are fewer and fewer opportunities for artists, even famous ones, to promote their work. Unless one of your songs sneaks onto TikTok, you’re in for a treat. So I have no doubt that participating in Eurovision is a positive opportunity. Almost 200 million people are going to listen to your song. As long as you are able to withstand the pressure and a possible lynching on social networks, which is something that can happen to you in any other situation…
I really like ‘Zorra’. Mary and Marc are charming (…)I don’t understand why there is controversy around the lyrics. This is Eurovision!
Q. Even so, did no one in the industry (agents or record label) try to dissuade you from performing?
R. In fact, my record company has supported me from the beginning. I understand that it is a risky move. Especially if I finish last… But even so, I have enough confidence in myself as an artist to know that I’m going to get through it. In fact, coming last can be very iconic.
Q. Now that you have taken the step, has any established artist told you that they would like to participate in Eurovision next year?
R. Hum… No. Ha ha ha.
Q. Understood. Who would you like to do it?
R. Sophie Ellis-Bextor [la intérprete de Murder in the Dancefloor] He has to represent the United Kingdom as soon as possible.
Q. You are a well-known LGTBI+ activist. Did Eurovision help you in that aspect?
R. It has always been a safe place for the LGTBI+ community. When I saw him as a child I was not yet aware of my sexuality. But I knew I liked the drama and fun that surrounded that night; it camp that it was and the huge group celebration that it has always been. It was the first massive platform that integrated queer people and became a space where we could be ourselves.
Q. How much do you know about Eurovision considering that you were born in the nineties?
R. When I investigated, I was surprised to see how formal it was in the sixties, with all the artists dressed in evening clothes and accompanied by an orchestra. The musical proposals at that time were incredible. But what can I say, indeed, I am educated in the Eurovision of the nineties (laughs).
Eurovision has always been a safe place for the LGTBI+ community
Q. How will you display your theme dizzy on stage in Malmö?
R. My four dancers and I open the locker room of a post-apocalyptic boxing school on stage. We want the performance to live up to the title of the song and be dizzying and a little crazy. Eurovision is a marathon of very different artists and you have to try to stand out. We have worked on a set design that, in addition to being entertaining, provokes the viewer.
Q. He started as a singer in a group indie, Years & Years, which later became his solo project. Would she be in Eurovision if he was still part of a trio?
R. I had to stay alone to be here (laughs). It was an incredible time, but I needed to release my own artistic identity. And yes, the idea of creating a song that was appropriate for Eurovision fit into that personality.
Q. Did your desire to become an LGTBI+ artist have anything to do with the separation?
R. I wouldn’t say exactly that, but it is true that during the time the band lasted I was discovering my identity and that generated the need to express myself through the things that inspired me, which were not necessarily those that inspired the three of us. The evidence fell under its own weight and I am happy I made that decision.
Q. Before starting the interview I heard him humming Bitch from Nebulossa.
R. I like it a lot. Mary and Marc are lovely. And pay attention to the dancers, they are the best. I don’t understand why there is controversy around the lyrics. This is Eurovision!
Q. He is also a Chanel fan. [que igualmente actuará como invitada en la primera semifinal de este martes].
R. Yeah! And from Pastora Soler. What she did at Eurovision was incredible. I was recently watching Azúcar Moreno’s performance again. Those women are very good. AND Bandit It’s a great topic. It happens to Spain like it does to the United Kingdom. It has had very good representatives in recent decades, but we don’t usually look very good. Who cares? We come to have fun.
Q. You were one of the Eurovision 2024 artists who signed a public petition calling for Israel to cease its attacks on Gaza. How is the controversy going now that all the artists are already sharing the same space, during the rehearsal phase?
R. There is an unspoken agreement to focus on music and live performances, which is what unites us all. We focus on the fact that it is a unique opportunity that we must take advantage of.
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