Review: “Melodi Grand Prix 2025” (Norway)

Norway will select its Eurovision 2025 entry via “Melodi Grand Prix 2025″.
The national final will be held on Saturday, February 15th, 2025.
The results will be based on the jury and a public vote.

In this article, I will review the 9 competing songs in the national selection.
The songs will be covered in alphabetical order (of the artists):

#1. Bobbysocks – Joyful

It’s a Schlager song.
The song starts with vocal harmony and keyboard playing. The intro is part of the chorus. The first part is the chorus, which starts with drums playing. Surprisingly, the lazy lyrics continue to the first verse. They sing most of it together. This part closes with the trumpet playing. The first verse is lighter, with a very simple melody (which sounds a bit like a children’s song). The melody is based on keyboards and bass stringing. The chorus comes again, quite repetitive, and develops very expectedly. The second verse is performed as a kind of speaking, almost effortlessly. The pre-chorus is performed with a pitch that’s a bit too high for one of them. The modulation at the end wasn’t essential and made it sound worse.
The song’s title is “Joyful,” but for me, it wasn’t joyful at all. I barely survived those 3 minutes. The melody was too saccharine. The lyrics are full of cliches that we have read and heard in the past. There’s nothing bad in doing something nostalgic. But it must have some essence or uniqueness. The vocals aren’t on point either, they tend to be shaky. The number of times the word “joyful” appears, as many as I wonder how the song sneaked into the line-up.

#2. Kyle Alessandro – Lighter

It is a mid-tempo pop with folk elements.
The song starts with a dark and mysterious atmosphere. The melody starts with a violin playing in the background, Thereafter, keyboards and soft-electronic elements are added. We hear samples of pre-recorded backing vocals, Kyle sings the first verse accurately in a mid-tone of voice. The rate is quite slow. The pre-chorus is a bit more rhythmic, and the rate builds gradually as the beat becomes stronger. Towards the end, we can hear some orchestral elements. The chorus is based on a constant catchy beat. The arrangement of the chorus is like “Q&A”, where Kyle‘s singing is stopped for pre-recorded vocal loop and drum beat. Towards the end, he sings more emotionally and adds some manners.
The second verse is more rhythmic. It is based on another kind of beat, with a base of keyboards and wind instruments. The backing vocals are more dominant, The second pre-chorus is slower and more melodic. The tempo continues to the second chorus, where he sings in a slightly higher tone of voice. The post-chorus is a danceable drop, with the sounds of broken glass and violin playing. This part will probably be utilized for a dance break. The bridge is more laid back and exciting. It is based on piano playing. Kyle ends this part with a long high note and some vocal decorations that lead us to the last chorus. The song ends with a festive violin playing
In general, I like the song, but I can’t say I love it. Something in the chorus let me down. It feels like the verse and the pre-chorus builds up, but the wish isn’t fulfilled. It is a song that becomes more and more likable each time you listen to it. The violin, which somehow symbolizes Norway’s participation in the Eurovision adds a lot. I can see it ending as the winner of “MGP 2025”.

#3. Ladybug – Hot as Hell in Paradise

It’s a pop song, with dance and 1990s music influences.
The song opens with operatic backing vocals. The first verse begins with keyboards and xylophone playing. Iris starts the singing part with a low tone of voice. The first pre-chorus is more energetic, featuring soft synth elements and a mid-tempo beat. She sings the part fast, and the lyrics are questionable (“Eenie Meenie Miney Moe”). Before the chorus, we hear pre-recorded husky male vocals, which adds to the mystery. The first chorus is catchy. It is based on drums and dance beats. She sings it effortlessly, with a mid-tone of voice. We get more from her vocal-wise, while we get some backing vocals. The backing vocals feature some opera singing, which continues to the part before the second verse.
The second verse isn’t as mysterious as the first one. The melody is based on drum and dance-pop beats. This continues to the pre-chorus as well. The second chorus is easy to sing along with and, therefore, sticks in your head. Once again, the backing vocals are bold. This time, she sings some long notes that lead us to the last chorus, which is more laid back and based on percussion, keyboards, and clap beats.
Overall, the song has a great sound. I like the linkage to the 1990s music. The operatic elements (which have become one of the “MGP” characteristics) are on point. It will probably be the song that people enjoy listening to, but I am not sure about how competitive it is. The only thing that let me down is part of the lyrics, especially the ones in the pre-chorus.

#4. LLL – Parasite

It is electro-synth pop.
The song opens with synth elements and a heterogeneous electro-tempo. The first verse opens with one of the girls singing; her voice is thin and soft. As the first verse progresses, the electro beat becomes more powerful and dense. The first pre-chorus starts with keyboards playing and some effects, but the beat is mostly “hidden”. They sing this part more emotionally. The chorus is based on a deep synth-house beat with a long amplitude, it is mostly instrumental besides the word “parasite”. Their voices are processed with some effects.
The second verse is performed by another vocalist with a bit more mature voice. The production is 1980-coded but with some modern elements. We can hear the other members in the backing vocals. Another vocalist performs the second pre-chorus and includes some effects like voice duplication. The second chorus comes with a longer drop, but it is richer lyrically. All of them sing this “bridge” part together. It is finalized by synth sounds, and we get an additional pre-chorus with a higher tone of voice.
The instrumental part of this song is really good and even contagious. I hope they can deliver vocally in live performance. One of my concerns is the wide use of effects in the studio version.

#5. Nataleen – The Game

It is a dark pop song,
The song starts with low chords and a low tone of singing. The first verse’s melody is composed of multiple layers, including a sampling of some orchestral and string elements. The first pre-chorus is a direct continuation of the first verse, but it is more rhythmic and features more vocal effects. The chorus starts with an intense countdown. The chorus continues with powerful singing, while the melody is based on a constant beat.
The second verse continues with the same beat, but this time, it isn’t that dominant. The rate is more “controlled”. The second pre-chorus brings back the acclaimed mysterious vibe of the song. The familiar countdown leads us to the second chorus. This time, the chorus emphasizes Nataleen‘s voice; it starts out more laid-back and relies on a fading beat and keyboard playing. She sings it with more intention.
The bridge starts with a bold keyboard playing and dramatic singing. It gets bigger and bigger, with backing vocals, until it explodes into another chorus.
It’s one of the more competitive songs in the lineup, which also has a chance to win selection. I like it, mainly due to the well-built drama and excellent vocals. Some parts of the melody sound a bit basic, but still, the overall experience is quite impressive. Many people compare it to “Queen of The Kings”, but I genuinely think it is better.

#6. Nora Jabri – Sulale

It is a mid-tempo ethnic pop song.
The song opens with a pre-recorded male vocal singing the song title while some twirling. The first verse’s melody is based on a keyboard loop piece and clap beat, which makes its structure cyclic and monotonous. Nora sings it with a low-mid tone of voice. The first pre-chorus continues similarly; she sings it with longer notes. The production is more ethnic, as this part opens with “Habibi”. The clap beat continues here, and we can hear some backing vocals. The first chorus takes us to the intro, the sounds are of tribal pop, with some male backing vocals.
The second verse is similar to the first one, with some more studio effects. Nore sings it with longer notes. The second pre-chorus sounds more like commercial pop. The second chorus is similar to the first one, but with an ethnic drop in the end, which is based on folk sounds of string and drums. The chorus is quite thin lyric-wise and goes in circles.
There’s something forgotten about the verses. It sounds like an oriental song that fails to qualify in the “Melodifestivalen” heats. It’s a shame because it should have potential, but it feels like the creation process didn’t go to the end in either of the possible directions and genres. The only thing I could remember was the “Sulale”.

#7. Sondrey – Vagabond

It is a dance house pop song, with 1980s musical influences.
The song starts with a minimalistic modern production. The first verse’s melody is based on keyboards playing. The production relies on electronic elements and effects like fading vocals. Later on, we get more soulful singing from him. Towards the end of this part, the percussion beat is gradually built. The first pre-chorus is more rhythmic; it is based on a growing beat and sampled keyboards playing. The first chorus continues in the same line, the singing is faster. The out-chorus is a mid-tempo beat and it features a pre-recorded vocal loop with some metallic effects.
The second verse starts very minimalistically, with the emphasis on his voice and keyboards playing. This verse is much shorter, and we move to the second pre-chorus. It explodes faster this time. However, the chorus is less energetic. Vocally, we’re getting longer notes from Sondrey. The vocal loop appears here as well. The last pre-chorus is less rhythmic. The song ends with a simple singing.
The genre is very “The Weekend” coded. Both vocally and melodically. I expected a bigger chorus with some more singing parts. However, it is different from the other songs in the line-up and feels like its creation was more thoughtful.

#8. Tone Damli – Last Song

It is a disco-dance pop song.
The song starts with a typical 1980s/1990s beat. The first verse begins with sweet singing (and a bit silly lyrics). The melody is based on a guitar-sampled beat and keyboard playing. The first pre-chorus is based on bass playing and the previous beat; she sings it with longer notes and some effects. The first chorus begins with humming, and the lyrics rhyme. The melody is based on a danceable disco beat, which is composed of keyboards and strings. The atmosphere is summery, light, and uplifting. The chorus ends with some disco effects over her voice.
The second verse starts with a minimalistic production, with thin keyboards playing. Later on, the dance beat is added back. The second pre-chorus is catchy and gives her space to express her vocal abilities. The second chorus is similar to the first one. The processed vocals are more dominant, but this Tone sings with them. The song ends with one last chorus.
Overall, it is a kind of guilty pleasure. It is a bit generic and expected but does

#9. Wig Wam – Human Fire

It is a glam rock song.
The song opens with electronic guitar riffs; the intro is a part of the chorus. The first verse is based on a unified bass playing. We hear keyboards in the background, and later on, drums are added. The lead singer enters with his well-known smokey voice. He sings this part in a mid-high tone of voice. The first chorus comes after; it is a typical stadium rock hymn. The lyrics rhyme. We hear additional band members in the backing vocals. The melody is more energetic, as it is mainly based on drums and electric guitar.
The second verse is quite similar to the first one, but it is performed with a husky voice this time. There are some effects on the lead singer’s voice. The second chorus is catchy, putting the drums and bass in the center. The bridge is less melodic and more dramatic. The lead singer sings this almost out of the air. The melody is based on drums playing. It explodes into a wishful electronic guitar solo. From there, it transitions into a softer singing and, later on, one last chorus with smokey vocals.
Overall, it is a solid and safe rock entry, which develops very expectedly. Wig Wam are faithful to their style. It is very by the book and therefore accessible (also for non-rock lovers). However, it misses any edge or wow factor.