Sometimes a song does exactly what it says: Ellen Winther’s “Vuggevise” (Lullaby) literally is about singing a lullaby to a child. Denmark hasn’t had much luck in the contest since their spectacular debut, and this certainly doesn’t do much to change that: it is inoffensive and moderately pleasant, and that’s about it.

This is probably the first entry from Sweden to really impress me. Inger Berggren sings “Sol och vår” (Sun and Spring), which is a bright, cheering tune with a neat little key change and some of the more fascinating lyrics we’ve seen at the contest so far. Berggren’s character is a young girl caught up with a con man who flatters her, takes her to lunch, and then walks out without paying the bill, stealing her fur coat for good measure. It’s the tension between the lyrics and music which go a long way to making this song a success, but I’m curious to see how this is performed. I’m hoping Berggren’s character isn’t just dismissed as a silly girl which some of the lyrics imply she might be.

I forget which song from one of the previous contests I suggested might be the first Eurovision schlager song, but if I was uncertain about that label then, I harbour no doubts this time: Germany’s Conny Froboess and her performance of “Zwei kleine Italiener” (Two Little Italians) is the first undeniably schlager entry at the contest. From the simples rhythms and accordion flourishes to the lyrics about two Italian women who are homesick for Naples, this marks the entry of a more pop-oriented genre to the contest. And because it’s schlager, it is also more catchy than you’d think.