The Wiwi Jury — our in-house panel of music unprofessionals — continues to rate and review the 41 competing entries of Eurovision 2019. Next we turn to the United Kingdom, where Michael Rice has “Bigger Than Us”. Were we impressed by the size? Read on to find out!
Michael Rice – “Bigger Than Us”
“Bigger Than Us”
Lucy: Holy power ballad, Batman! We have a fab British entry being sung by someone who really loves the contest through and through! As soon as the songs for Eurovision: You Decide were released, it was pretty clear Michael Rice would walk the competition and go to Telleraveev. “Bigger Than Us” is emphatic, stirring and is sung so well by Michael. His voice has similar qualities to James Arthur’s but has a bigger (…bigger, biggerrrrr) appeal to a wider audience – it’s less gravelly and has a more instant impact. The fact he is so ridiculously likeable is a bonus. Is he going to win Eurovision? Probably not, but the UK have a good track record of staging in recent years and with the best song the BBC have dealt out in a decade or more, a top five could be possible. And hey, the UK could use something like this right about now.
Score: 9/10
Angus: Let me be clear. Michael can sing with a capital S and his positive outlook on Eurovision is to be commended in a UK representative in the 21st century. Alas, “Bigger Than Us” is a ballad-by-numbers. To his credit, Michael milks what he has been given for all it is worth. He has vocal runs that put Dami Im to shame, nails every note and unlike others performers in this year’s lineup, the boy can sing the falsetto notes when required. “Bigger Than Us” does have a memorable hook, but that’s only because the chorus is bludgeons you into submission through repetition. Michael is fantastic and were this The Voice he’d be the winner without doubt. But this is a song contest and as in years gone by, the UK song just isn’t up to scratch.
Score: 5/10
Barnabas: “Bigger Than Us” was clearly the best choice of what the revamped “You Decide” had to offer, and the song came to life in Michael’s interpretation. It’s not an outstanding song, but with a good staging (see Lucie Jones in 2017) it can be a step in the right direction after the disaster “Storm” was last year.
Score: 6.5/10
Ron: “Bigger Than Us” might be a bit generic — even its singer admits it — but its impact is bigger… much bigger. It’s an anthem. Michael Rice is serving it with all of his power (although there are some places for improvement) and make us all clap, sing along and feel hopeful for some good times. Such a feel-good song that leaves you with a smile. I hope the UK will manage to make it to the middle of the scoreboard in Tel Aviv with this one.
Score: 7.5/10
Deban: “Bigger Than Us” is at best a TV show winner’s single that manages to top the chart for a week. However, in this format, we don’t have the benefit of seeing Michael emerge from 14 live shows. Mr Rice has a decent voice, but he also bears a strong tendency to overdo it on stage. He needs a measured but emotionally charged approach to belting out this generic pop ballad.
Score: 6/10
Florian: First of all, shoutout to Laurell Barker for penning another Eurovision entry! Having Sweden’s John Lundvik on the team is also another plus for this act. While it didn’t connect with me at first, this is a solid entry. Michael Rice is known for his good vocal delivery and surely he won’t let his fans down in Tel Aviv. This needs some work with regard to the staging to add new refreshing elements. If that happens, this could do better than expected.
Score: 5/10
In the Wiwi Jury we have 29 jurors but only have room for six reviews. The remaining scores are below:
| Anthony: 7/10
Antony: 6/10 Antranig: 5.5/10 Bernardo: 6.5/10 Calvin: 4/10 Chris: 6.5/10 Essi: 5/10 Izhar: 5/10 Jack: 6.5/10 Jonathan: 6.5/10 Josh: 8.5/10 Julian: 4.5/10 |
Kristin: 6/10
Luis: 5.5/10 Lukas: 6.5/10 Mikhail: 3/10 Oliver: 3/10 Pablo: 4.5/10 Renske: 7/10 Robyn: 6/10 Sebastian: 6.5/10 Tobias: 6/10 William: 5/10 |
We have removed the highest and lowest scores prior to calculating the average. This is to remove outliers and potential bias. We have removed a low of 3 and a high of 9.
Wiwi Jury verdict: 5.83/10
What do you think of this song? Share your own score and review below!
My last of the year – eventhough I only find it to be average. It could even be below average due to its annoying chorus and its overbearing cheesiness (and not in a good way) feeling the song itself has. The only positive thing out of this is Michael’s vocals… but I don’t know if it’ll be enough to put him in the left side of the scoreboard
SVT really dodged a bullet by not letting John Lundvik sing it
As hardcore Eurovision fans I sometimes think we forget that the juries only hear each song two or three times, and when it comes to the final the vast majority of the 100 million+ viewers/televoters will hear each song once. A Eurovision song needs to make an instant impact – something I think Michael Rice delivers every time. Everyone I know who’s seen him give a live performance of ‘Bigger Than Us’ for the first time is really impressed. We all know that a song on its own can’t win the Contest. There are so many other factors in play,… Read more »
As hardcore Eurovision fans I sometimes think we forget that the juries only hear each song two or three times, and when it comes to the final the vast majority of the 100 million+ viewers/televoters will hear each song once. A Eurovision song needs to make an instant impact – something I think Michael Rice delivers every time. Everyone I know who’s seen him give a live performance of ‘Bigger Than Us’ for the first time is really impressed. We all know that a song on its own can’t win the Contest. There are so many other factors in play,… Read more »
This will defiantly not finish last as it will most likely do well with the juries and we all know how juries can really sway votes… Sweden 2015 anyone, but because of the low fan support it will finish around the same area of Bonnie, Molly and Lucie so pretty much 17-20th place
This song will not do well with the juries or with the public. It might get some pity points from Ireland or Australia.
Normal hardcore wiwibloggs fan… quite delusional as if this wont do well with juries, juries LOVE ballads and with that voice there’s no way he won’t have a good jury result. But televote it will be bottom 5
I’ll tell you what’s up with the UK. It’s that the BBC have allowed the contest to be a pop-up event which is only important in Eurovision week. If Eurovision songs were playlists on BBC radio and allowed to become hits, then we might attract the sort of experienced act which it takes to win the contest these days. Michael’s obviously grown up listening to Mariah Carey and good luck to him, but he’s a rookie with an ordinary song. More than that is needed, even to get into the top 20.
This song would not make the final if it had to compete in the semi. The UK has not taken Eurovision seriously for many years. It’s time to get rid of the Big 5 and make them compete.
I do think it’s unfair that the big 5 are automatically in the final. However can you imagine the newspapers in the UK if we are paying into the competition but not actually in the Saturday night show! I mean Brexit mayhem is bad enough… lol
@Gavin I don’t think the UK news would really care that much either way. The UK treats Eurovision as a joke. Maybe that would change if it needed to qualify. Ideally, the costs should be distributed among the 40+ members, maybe according to size of country. The Big 5 are essentially buying their way into the final. It’s unfair and you get subpar songs as a result.
I’m from the UK and I have to say the contest was treated as a massive joke throughout the early 2000’s but in recent years (2014 on wards) it has gained a LOT more respect. I don’t think our song is a winner this year, but the effort that has been put in (Micheal’s damn stunning vocals and a decent music video) SHOULD make a difference. To say that all the big five have had terrible songs in the past five years is a bit of a joke – Italy as you said have sent some good songs, with fairly… Read more »
This is the typical case where a singer is better than the song. “Bigger Than Us” is cheesy, predictable and uninteresting. However, Michael is a very capable artist and clearly elevates a rather bland song. Though his frenetic hand movements no matter what his singing and his inclination towards enlarging every final note like a diva are annoying. Anyway, this made an overall solid package that reminds me of UK 2017 with Lucie Jones. I don’t think the UK is improving that place but the jury will give it some love. I never thought that the UK would be in… Read more »
About the Big 5, I’d say that at least Spain is trying to do something different, and I think they will get a decent result (+- 15th), if they stage La Venda well.
France, UK and Germany tho… all three lack originality and strength to do well.
!! Early performance of the Dutch song from two years ago discovered on YouTube (1:00)
https://youtu.be/DtzDJs62NtE
That was a score I wasn’t expecting for the UK predicted somewhere between the 6.0 to 6.5 range. After reading the comments of the readers of wiwibloggs.com and the Wiwi jury I do agree with you on some of it not all but some. Michael is a brilliant singer, no doubt he can sing and when people say he can’t compare to the Netherlands, Sweden and Russia… The Netherlands I get and understand why its the favourite to win but Sweden and Russia just no.. Now, I aint going to be blowing smoke up your arse tell you that Michael… Read more »
I can see the UK doing an Australia 2017, hated by ESC fans but loved by juries. If this was Sweden sending “Bigger than us”, the score would be around 7 or higher. I really think You Decide needs to be scrapped, as it really hasn’t been up to scratch (2018 was the strongest year, but chose one of the weakest songs). Bigger than us really isn’t a bad song at all, it’s very decent, but it’s far from original. Of course wiwibloggs aren’t “music professionals”, so with great staging and a great live performance, the UK could do a… Read more »
I disagree on You Decide being scrapped as a national final is a good choice for the UK it just needs to be finnesed and polished which is difficult for a County where competing in eurovision is considered career suicide.
“You Decide” was a good “first step”, but now it’s time to move forward and invest more in songwriting.
Portugal is an example to be followed.
Thanks Liam. When I was at You Decide at the Hammersmith Apollo in 2017, someone working for the Beeb encouraged me to get song demos sent to them, because at that time they needed new songs. But then that was also around about the time that the decision to use the “songwriting camp” method happened. I’m not against that approach in theory, but my point is that the Beeb seemed to go with the camp approach because it was disappointed in the lack of quality song entries being received at the time. I love your idea about sending a song… Read more »
I disagree slightly with the toxicity phrasing that’s not what I was trying to say at all. If a well known established artist would to represent the UK (be internationally known in Europe and around the world or nationally known within the UK, for instance, Louisa Johnson, Jessie J, Calum Scott or Kevin Simms) and if they were to finish poorly or underperform in the contest it more or less spells the death of their career. Look what happened to Blue, a favourite to win in 2011 and ended up not even finishing Top 10 and I know that the… Read more »
At Eurovision an act is more than a song and a singer (and this song is not big). That means moments can be created. My guts tell me Michael Rice is so enthusiastic in what he is doing and has enough talant so that he can create somthing. I don’t say it will be easy. This year I am more than ever curious what will happen at the Grand Final. When the day has come that we can predict the outcome and no bis surprises occur any more than this contest is over, at least for me.
I hope you are right.
I think Michael elevates this mediocre song. I don’t think he can elevate it to a top 10 perfomance. And I think you agree that mediocre songs in past Eurovision years got into top 10 position.
The blandest and most cliché song out there. Bottom 5 overall for me. Sorry, but I much prefer Oto(who got a very unfair score) over this one.
That doesn’t really make sense. They’re two different songs – one happens to be quite good, the other happens to be quite bad. The fact they share a songwriter is not relevant.
@Tibor: Harsh, but fair. 🙂
@Una: I want to agree with you, but not this time. Sorry. If there were two Swedish songs and one was excellent and the other mediocre, all points would/should go to the excellent entry. There’s no obligation to mirror the points due to having the same background or songwriter – That’s just sense.
I should have read Purple Mask’s comment before I posted more or less the exact same thing, my bad…
Thankfully, the UK (since 2015) has gotten away from the humiliating joke acts that they were sending when their utter contempt for the Eurovision song contest was obvious. The problem is that everything they send is no more than adequate. Joe and Jake, Lucie, Surie and now Michael. All the same problem. Having the 30th best song every year as an automatic qualifier is not much better than Electro Velvet or Scooch.
As for Michael, specifically, he’s a decent singer trying to sing a John Lundvik song. He does alright but nothing more than that really.
It’s a pure “painting by numbers” entry. Not a hint of surprise anywhere about it…utterly predictable and rather old hat. He can sing alright, but he deserved a better song. I fear this may end up in the bottom 5….
Totally agree. When will the UK get serious about this?
Besides the exaggerated amount of times the word “bigger” appears (I’ve counted 46 between Michael and his backing vocals), it’s a decent and pleasant entry. I wish it was less predictable, because we know exactly when Michael will have that “X Factor winner moment” and what he will do with it. His vocal skills are pretty solid though. He’s likeable, but in the national final he was too choreographed and seemed awkward with that. The backing vocals also could had played a bigger part. In other words, it needs the John Lundvik treatment. 5.75/10
2.25 points of difference. Czech Republic and Estonia both have 2.50, so they hold the record. Still, can last seven break it? If you hate Zero Gravity it might… 🙂
“Zero Gravity” made to my top 10 (spoiler alert :P), so we’ll be fine on that one. I guess we won’t disagree much about the Netherlands, Italy (those with very good reviews from both of us), Sweden and Cyprus (those other 2, with not very enthusiastic ratings). So it leaves San Marino. Honestly, I still don’t know where to place it exactly in my ranking. I hope Robyn will give me 2 more days to think about it. 😀
The most repetitive word this year is “Na” from San Marino (129 apparently), but I find Belarus to have the most repetitive impression, because she repeats the WHOLE SENTENCE 32 times with no variation.
Great statistics.
Great statistics.
Great st… you get the point. 😉
Karma strikes again, and again, and…
To be more precise (it’s a lazy Saturday): 6 sets of “na-na-na na-na-naaaa”, 3 of “na-na-na na-na” and impressive 26 sets of “na-na-na” (those are the ones sang by Serhat). So, it’s repetitive as hell, but at least there’s some variation, just as all the “biggers” in the UK’s song, divided by Michael and his backing vocals. But the 32 “yes, you gonna like it” feel like 320, because they all sound the same and are all sang by Zena. I totally agree, Colin.
I didn’t know Romania liked Big 4 professional accounting firms so much!
It’s bigger, eh? Bigger, eh?… 😀
Now I can imagine Donald Trump speaking the lyrics to ‘Bigger Than Us’, while gesturing throughout.
He’d probably be talking about the size of his wall, or his hands.
I have a bit of a problem with the repetition too. Latvia 2019 does the same thing with their Lu-uh-uh-uh-ve phrase where it’s over used during the first two minutes of the song and then for the last minute, that is all that happens. Maybe both songs are trying to emphasize their messages, but sometimes it comes across as a lack of creativity. Good luck from Texas.
Well noticed, Latvia’s entry also suffers from the same repetition. Though I think in its case it’s more a jazz thing, than the intention to create an earworm hook. In both ways, I’m always left with a feeling that the song could had ended a while ago, which is obviously not good.
it’s bigger than us, and yes! YOU GONNA LIKE IT (x300)!
Now we just have to add Serhat’s and Michael’s backing vocals repeating “like it, like it” in the background.
I also read this comment, Una. I just checked and counted 27 “heys” (all on the chorus) and 3 or 4 “yeys” in “On a Sunday”. Don’t know how the person got to 47, maybe counting everytime Ester extends the end of a word with some sounds (Michael does the same thing, by the way, as many R&B singers). It’s a singing style, some will like, some won’t. The “heys” don’t bother me at all, because I don’t see them as lyrics repetition, but as Ester using her voice almost as an instrument, to set the rhythm.
I loved “Sweet Lies” and I voted for it in the National Final. But my favourite hardly ever wins.
Personally, I think Freaks was the best song on You Decide. They just needed to have an artist who believed in the message of the song, and avoid the word “soccer”. But I still like Michael and think he does a good job.
@Una: Haha, I love your comments; you have so many dimensions. Titles, for me, only really matter to creative writers (poets, authors etc.) and PR managers. A song can really just be a song. As a case and point, the British band Blur made an awesome song once: it’s called “Song 2”. 😀
There were four songwriters involved in producing this song, but there is one of those songwriters whose music really resonates through this song – John Lundvik. There is even a video clip on YouTube showing a Lundvik version of the song being recorded. Some of you have already commented on here that what happens when you switch out John Lundvik for Michael Rice is that the song sounds like a talent-show winner’s song. Indeed it does, but it turns out this was the point. Because one of the criticisms of the UK’s entries over the past decade is that none… Read more »
Unfortunately I believe the rest of Europe is also over this Xfactor type of songs.. UK has the most talented artists of the whole of Europe but they don’t want to go because Eurovision is looked down upon and they are scared it will harm their career. That was the same in the Netherlands (not qualifying 8 years in a row..) until Anouk (big artist in NL with some international hits) decided to go and prove that Eurovision viewers do vote for quality entries which are not typically Eurovision songs. Since then the Dutch artist all want to participate .… Read more »
You might be right. However, ESC is supposed to be a song contest, not a performer’s contest. In principle, anyhow.
I can’t point if the British audience keeps voting for the singer and not for the song because they’re used to do that in reality competitions, or if they do that because BBC is failing to give them really good songs. Maybe a little bit of both? I don’t like the format, but they could try what Finland has been doing. This would make people finally vote for a song. Though it wouldn’t help if BBC keeps pushing weak material.
Since they started “You Decide”, I do not think that a single good song has been put forward. I’ve said it elsewhere and I’ll say it again…if you write a song without an artist in mind and without the artist participating in its creation, how can you expect the artist to produce a performance that connects with the song?
That philosophy seems unnecessarily restraining, Briekimchi. Dolly Parton didn’t write I Will Always Love You with Whitney Houston in mind but Whitney clearly connected with the song. If an artist can’t be expected to connect to material because they didn’t write/produce it themselves, what does that imply for the connection to the audience who also won’t have played a part in production? Is the audience always having less of an experience because they didn’t produce the content? Another way of looking at it, is that art is always in flux and whoever comes into contact is also producing it in… Read more »
What David F said. 🙂
That’s a good idea. It would help them select the right song, but also maybe help convince an established artist to compete if they thought there was no risk of losing to somebody else and they might get a few album tracks out of it as a bonus. It’s how the UK selected there songs previously after all, in the 60s and early 90s.
Indeed. In 1992, I remember sitting through a whole show of Michael Ball songs for our “Song for Europe” choice. That actually happened. One step out of time, indeed. 😉
I hope they served a good port with all that cheese.
Harmless entry, just like most of the past British entries. I know he has a great voice, and he’s charismatic…but it’s a sea of strong male ballads and he can’t compete against Netherlands, Sweden and Russia.
5/10.
I am from the UK and as much as I loved SuRie’s personality last year her song was DREADFUL however this year I actually LOVE this song it’s in my top 15 and I don’t understand all the hate for it yea I know it’s not the best but Michael is amazing his vocals are definitely the best this year, in my opinion, and if the staging is really good then I think the UK could possibly get top 15! 7.5/10
“He has vocal runs that put Dami Im to shame”
This really made me laugh!
That might just have been (and there have been many contenders) the most ridiculous thing I’ve ever read in these jury reviews!
Well…that would be a reasonable thing to think, considering they were so much ahead in the jury vote. Also it was the first year of the new voting presentation so people weren’t used to it. I’m sure many people thought the same thing.
If someone made me listen to the 41 ESC entries without knowing to which country they belong and asked me to identify the one belonging to the UK I would, without any doubt, pick this one. They always send this kind of middle-of-the-road songs (maybe that’s actually the best they can do, because when they try to go mad, things like their 2015 act can happen). Lucy Jones was sort of an exception because, athough the song was not really special either, she really elevated it on stage. But I cannot imaging Michael achieving that with his song and, although… Read more »
How does this get a lower score than SuRie? No way was that song better than this!
I’m also bothered by the fact that France scored way higher. If there is one Big 5 song that would take a pause in the semi if it had to, it’s the pretentious tune from France. UK actually sent a good song. Generic, sure, but good. When Sweden or Australia do that, then it’s 7.33 average and everyone is okay with it.
Colin, agree! My ranking of automatic qualifiers:
1. Italy
2. Spain
3. UK
4. Germany
5. France
1.italy, 2.spain, 3. france, 4.germany, 5. UK, that order in my opinion.
France scored slightly higher with me than the UK (6 x 5.75), but I spent the whole season struggling with this particular dispute . On one hand, I think that the French track is more refined and that Bilal is more interesting on camera. On the other hand, Michael is obviously a much better singer and I think “Roi” is too self-absorbed, while “Bigger Than Us” is easier to enjoy.
SuRie her song was great, i also enjoyed her live performance, how she kept going despite that protester on stage
The song is in my Eurovision playlist this year and that means a lot. But my problem is that the radio version with clean vocals and a powerful choir is something he can’t deliver at Eurovision which makes it a soo underwhelming. I’m afraid they won’t snatch a top 15 position this year
Hey, Eurofans! Mark my words: PORTUGAL WILL WIN THIS YEAR… Btw, I’d like to share with you my website, since it has everything to do with music and other art creations, it’s https://www.silentiumproject.com/ ! This is not spam, okay? This is a new project that I’I’m a big part of called “Silentium Project” – our motto is “Feeling Expression through Art Creation”, so yeah, you’ll love it 😉 I’m always commenting here, and I want to share this new project that I’m a part of with this Community that I so much love… Please, if you could engage and give… Read more »
Michael Rice has a great voice. Great performer and really comes across as a nice guy (loving the friendship between him and Sarah McTernan of Ireland).
Songwise, this is a good song but not memorable enough. It’s just there. Not bad but not good. I think maybe staging may elevate this like in 2017. But I don’t think this will break top 10. I predict 16-20 in the final for UK. 5/10.
Same situation as last year – amazing performer with an uninspired song. Even the song’s structure is not so different either. Lucie Jones did so well because of the revamp that made her song both emotional and dramatic, great performance and effective staging. But I don’t see how the BBC could improve the staging for this song. Or make the song itself more interesting for the viewers. And a great performance is sadly not enough. 4/10.
I agree with you comment, but…did Lucie’s 15th place was good? This is UK, homeland of good artists and great music, how sad is that when we all think that not placing last is good
Regarding recent British representatives, Lucie was in a category of her own. Usually placing 15th is quite good… unless you are an automatic qualifier, because then staying in the semi wasn’t even an option. Italy being 16th in 2016 was considered an underachievement. Honestly, compared to how UK usually finishes, Lucie’s result was decent. However, her not finishing top 5 is ridiculous, especially with THAT staging.
We disagree on this one. As you can see, I felt this during the performance and especially after that wonderful video. You said you have praise for only two songs left, but for me, aside from the UK that is, there are still three songs on my playlist. I don’t dislike others too, but two reviews still might not be highly praising either. 🙂
If we compare it to the other John Lundvik song in the competition, as a song it’s not really that much worse but somehow Sweden sells it better. Michael Rice is actually a better singer than John, but he really wants to show it, which makes him look like a talent show contestant (which, of course, he is). Lundvik’s performance is way more polished and professional.
Too Late For Love is miles better. The chorus alone makes it better. They aren’t even comparable songs, both in quality and genre. Michael is a loud singer, but not a better win. I haven’t heard John miss a note during any of his performances, plus he has have of charisma.
insipid 90s-style ballad and awkward performer. svt dodged a major bullet by politely asking john lundvik to give it away. televote poison at its finest.
This entry comes to life when he sing it live, emotional performer with beautiful voice. Decent entry, it shouldn’t be in bottom 10 imo.
btw, ESC official channel people, you had one job with thumbnail title of the video LOL
i find him very off-putting as a performer. what he does with his hands makes him look really awkward but i can see why some find him endearing.
Unfortunately I have seen this meme where Sarah looks down at a guys pants and says is your number 22? And the guy turns out to be Mr. Rice singing it’s bigger , bigger !! Lol The vocals are really good . The guy is likable. But I am Not a fan of shouty ballads and this does seem like a vocal show-off again , especially considering the meme ruined the message of the song for me. A 5.5/10. This would appease the jury , the public maybe not so much. The jury support could have made it qualify even… Read more »
UNITED KINGDOM – This song is one of my biggest growers this year. It’s certainly in the box of typical Eurovision style, but it’s an example of how you can own it. There are many types of boxes and this could have easily been turned into a dreary cardboard box, but they refined it into a jewelry box instead. Michael gives his 150% into every performance and believes every word he says. In his interpretation I actually believe that love is the key and it makes me somewhat emotional. On paper, the song could have been very neutral, but in… Read more »
Ooo – a very interesting endorsement from you; I wasn’t expecting that! 🙂
What can I say? This song really grew on me (6.5 was my NF score) and now holds my 14th spot. I’d be happy if UK manages to score on the left side.
I don’t know what’s funnier – the fact that someone predicts this could have a top 5 finish or that the thumbnail says perfomrnace lmao
Granted, I think this will do better than everyone’s expecting but I expect a similar result to Lucie, both jury and televote wise.
Might get top 15 with good staging, but there are better power ballads and other types of ballads this year and this one doesn’t stand out. The song is so repetetive that he single-handedly makes the word ‘bigger’ the 10th most used word of the year. I gotta give credit to Michael, he has an outstanding voice and he might become a star in the UK with a really strong ballad. 6/10
SO underrated.
why, it is just a boring outdated ballad, it belongs in the 70’s
The 70s? This doesn’t sound 70s at all. But hey, none of your comments make sense anyway 😉
i know it doesn’t sound like the 70’s, i just was making a point it sounds old fashioned, and not like today’s music
There’s old-fashioned and there’s dated. Actually, a lot of today’s music has strong 70s influences, probably because the 70s were the best era for pop music and it hasn’t really improved since then. This track is more like a 90s throwaway.
yep