The BBC has released this year’s shortlist for the UK’s Eurovision entry and it seems as though – slowly, but surely – we are beginning to find our step with the modern competition. As ever, we’re armed with opinions, stats and theory in order to figure out what will give us our best chance in Lisbon in May.
Once a reliable refuge from the miseries of the modern world, the pop charts are becoming every bit as grim as real life. 2017 in particular has really seen things take a turn for the maudlin – but why is it happening? Why are we so obsessed with sad sounding songs at the moment?