We’ve been skirting around the edges of this for the best part of a decade now, trying to explain from the sidelines exactly why the UK keeps getting things so badly wrong at Eurovision. But after another last place finish, we’ve decided to fully map out the Popbitch Eurovision manifesto once and for all…
Bruno Mars has definitely found his groove. After a series of successful, yet sonically schizophrenic, singles the pint-sized popster has settled into a sound that he clearly really likes. From Treasure, to Uptown Funk, to 24K Magic – and now Finesse – he’s clearly making the funk work for him. But are we wrong to think that it all sounds a bit familiar?
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?
Weird though it seems, Sam Smith’s song – Writing’s On The Wall – has become the first Bond theme ever to top the charts. How has Sam Smith managed it? We stripped all twenty-three Bond songs down to their bare essentials to see if there was any explanation for it. Any explanation at all.