Eurovision remixes. We get a new supply of them every year but following the closure of the Euro Club, many are rarely played again. Sure, DJs at Eurovision events dust them off for the fans to fill a dancefloor but few get mainstream plays after Eurovision.

There have been some exceptions over the years but many don’t even make it onto the promo CDs handed out at the press centre let alone the “actual” digital and physical releases of the Eurovision entry – some countries don’t even bother going to the trouble of remixing their songs at all. This, of course, is subjective. Some songs wouldn’t suit a hands-in-the-air but then again, some do, and the opportunity is missed.

A perfect example of this is Rise Like a Phoenix. The 2014 winning song could have lived on as a dance hit and club floor filler long after Conchita’s Eurovision victory but the chance has been missed as no officially sanctioned remixes of the song exist to date. Recent winners such as Emmelie De Forest, Loreen and Ell/Nikki, songs from differing genres, have received the remix treatment allowing their song to achieve a greater life expectancy across Europe and beyond. With an official remix package, Rise Like a Phoenix could have had this re-working but it seems the opportunity has been missed to further capitalise upon the success of the winning song.

Most Eurovision remixes do fade in obscurity but the remix also has the power to catapult a Eurovision entry to the top of the scoreboard. In 2003, Sertab Erener was sent to fly the Turkish flag in Riga with her song Every Way That I Can. The song that was initially released and the track which appeared on the official Eurovision compilation album did not make much of a splash.

However, the song was a huge leap into the 21st century for Turkey, particularly with a major artist from the country who was receiving major label backing from Sony Music. The song was not regarded by many as something that would give Turkey their first Eurovision win. That was, until the song was sent to Paris and reworked by Florien Laurent of Galleon. During the rehearsals in Riga, it became apparent that the Galleon version of the song was to be presented to the Eurovision audience, surprising many fans. As soon as the opening bars of the ramped-up remix pounded through the Skonto Hall in Riga and into living rooms rooms around Europe, Turkey became the country to beat.

Since Turkey’s win with the help of a remix, other songs could have fared better at Eurovision if versions lifted from their remix packages were given a chance on the Eurovision stage. One that stands out particularly is Anggun’s 2012 entry for France – Echo (You & I). The Anton Wick remix which was featured on the CD single was by far superior to the standard version of the song. Whether or not the remix would have performed better is purely speculation as obviously, we will never know but had the original version been substituted for the remix, Anggun could have been lifted from the bottom of the scoreboard. After all, had the scores at Eurovision 2012 been left to the televoters alone, France would have ended the night with the dreaded “nul points”. There is no doubt other examples where remixes could have outperformed the songs from which they were created and surely readers of this article will be able to come up with more.

Recently, with the popularity and reach of streaming services such as Spotify (other streaming services are available!) the Eurovision remix has gained more exposure. Over the last few years, many countries have put out full remix packages and some countries have offered remix competitions where fans and amateur DJs have been invited to submit remixes of a particular country’s Eurovision entry. A recent example of this has been Croatia’s 2012 entry Nebo by Nina Badrić. This competition resulted in a selection of the submitted remixes being collected and released as a second part to Nebo’s CD single and the remixes were made available across digital download and streaming platforms.

In recent years, the amount of remixes issues each year has been in decline. The current Eurovision season, 2015, has possible seen the fewest remixes for many years. Few have appeared for general release, Cyprus being an early exception. As the promo CDs are now available and have been distributed in Vienna, still few remixes exist.

Given the recent decline,  can a remix still improve the chances of a song and provide longevity after the competition is over, should countries make more effort to continue to include remixes in their promo packages and offer them on digital platforms? Or are they being consigned to history?

Follow our Eurovision Remix playlist on Spotify, find it here

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