On May 15, Austria’s entry for the Eurovision Song Contest (ESC) in Basel will be presented. We’ve reached out to various music genres to hear their opinions on Austria’s contribution.
We talk with artists from different music genres about Austria’s entry, from jazz to classical music to pop and rock.
Christian Gründlinger-Pröckl:
JJ Johannes Pietsch will represent Austria with the song *Wasted Love* at the Song Contest, and we ask Jogy Wolfmeyer, who not only sang himself in his youth but later ran the internet platform *Pride News*, which was, so to speak, the international equivalent of *Rennbahn Express* and a predecessor to music blogger Perez Hilton.
With a wide reach, *Pride News* entertained music lovers in the German- and English-speaking world for years with the latest news from the music scene. From David Bowie to Queen, to Justin Bieber and emerging boy bands like One Direction. He himself was very drawn to jazz and had a preference for jazz rock and avant-garde music. How did you get into music?
J. Wolfmeyer:
As a child, I loved to sing and had to at least hum along to every song, even if I didn’t know the lyrics. I attended a music-focused secondary school, where we were taught everything from opera, jazz, pop, rock, to other music genres. We also had to dance a minuet and move to different kinds of music. My further education took me to Graz, where I met various artists while going out. I ended up as a temporary waiter in a jazz club called Skarabäus, where I met Anton „Toni Gruber,“ who sadly passed away from cancer four years ago. Many might still remember his chart-topping song: “Willst Du eine Banane, na na na I wü kane.”
Back then, he had several bands, and I started by helping to put up posters on advertising columns and later occasionally sang on stage with them.
At the Red Sonja in Skarabäus, numerous musicians came and went, many of whom were not yet known at the time and only became famous years later when I was back in Vorarlberg, suddenly hearing them on the radio. I even wanted to organize the first EAV (Austrian Humor Band based on Pop and Rock) concert at the Bludenz Unterstein Stadium, as I knew Eberhartinger and Spitzer from Graz, which gave me the opportunity to negotiate directly. But this turned into the most bizarre political issue in Vorarlberg’s history.
The city government at the time refused to hold the event, arguing against a wild rock band that would cause violence and excess, claiming the Unterstein Stadium would be destroyed to its foundations by wild hooligans and that the sports stadium was not a music venue anyway. Exactly one year later, the city of Bludenz used my event concept to host the Klostertaler at the stadium.
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The entire cultural scene in Vorarlberg was a battle against windmills until Gernot Pfeifer, the then-owner of the Wichner discotheque, opened a cultural cellar where I once again stepped in as a temporary waiter.
As a cultural worker in Vorarlberg, you were left behind if you weren’t part of the ÖVP or, like Bilgeri, didn’t kiss up to the powers that be while denouncing others. The lesson in Vorarlberg was simple: the region that held onto the miniskirt ban and twist ban the longest, even into the 21st century. It was a tough time, and your only option was to escape to Switzerland, where culture was embraced without restrictions. That’s why I think Basel is a fitting host city for the ESC, as culture has always been openly celebrated there, regardless of its direction. Vorarlberg’s conservative stance has lost many talented artists who have since moved away, like Klaus Prünster, who now lives in Upper Austria.
I would also say that Vorarlberg is the third-world country of culture in Austria, which is why I sought more activity through videos and the internet, leading to the creation of *Pride News* as a platform with 12 million views per day. After the website was stolen by the provider, who then fled abroad due to numerous legal pursuits, it was too costly to promote the site with a new domain, so I had to discontinue the service.
Christian Gründlinger-Pröckl:
So, Jogy, what do you think of Austria’s ESC entry?
J. Wolfmeyer:
So, what is there to say about JJ’s song, *Wasted Love*? The arrangement is incredible. I think Bernd Tagwerker can tell us even more about how it’s structured—it’s really impressive. I’m absolutely thrilled with this song because, musically, it’s just top-notch. It’s superbly arranged from start to finish, including that transition to techno or rave, so to speak. Really well done, and the idea behind it is certainly very well thought out. As someone who grew up in a time when combining pop, rock, and opera wasn’t unusual—think Freddie Mercury and Montserrat Caballé with *Barcelona*, or Zucchero and Pavarotti with *Va Pensiero*, or solo artists like Klaus Nomi with *Simple Man* and Pink Floyd’s *The Wall* album—this combination isn’t groundbreaking for us from that era.
However, I must say: it suits Austria. The song fits Austria because Austria is associated with classical music—Vienna, the metropolis of classical music, or Salzburg.
I have to say, it’s coherent. It fits perfectly with Austria’s entry, just as polka would fit Poland (*Polka was founded in Czechoslovakia as a homage to the oppressed Poles. Polka means Polish woman*). For me, it truly presents or represents Austria and fits it very well.
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I also listened to the mashup with JJ and Conchita, and I have to note a small criticism, which is just my personal opinion. I don’t think the combination works very well. Their vocal timbres don’t quite match for me. I actually think JJ would harmonize better with Kristian Kostov.
My suggestion, dear JJ, is to meet up with Kristian, and maybe a song could come out of it. I think the vibes would be amazing. Especially since I’ve kept an eye on Kristian Kostov since he participated with *Beautiful Mess* seven years ago.
I wondered what he’s been up to and followed him a bit. He’s very much following in David Bowie’s footsteps, I think. He keeps reinventing himself, doing something different, and is very creative. I believe a musical partnership could help JJ gain experience with someone who’s also from the Song Contest scene, has participated in other contests, has established himself in certain areas, and has experimented and developed further. I think it would really help JJ with what he wants to do in the future and where his path leads. I’d definitely recommend that the two sit down and create something together.
I’m curious to see what would come out of it.
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Nikolai Russ:
The next interview partner is a tenor who has traveled from Lake Zurich to Lake Constance, Vienna, Bavaria, Stuttgart, and even New York to present some of the finest classical music experiences. From Wagner, Strauss, to Mozart and Bach, tenor Michael Heim’s musical repertoire is extensive. But please tell us yourself about what you’re currently working on musically or what people should know about Michael Heim.
Michael Heim:
Well, what is there to tell about me? I’m a happy heldentenor and currently rehearsing the lead tenor role at the Hamburg State Opera for a world premiere. The opera is called *The Illusions of William Mallory*, composed by Rodolphe Bruno Bulmier, a Frenchman. The libretto is by Inge Klöpfer, a well-known author and business journalist. The piece is based on a business scandal, which I won’t name or elaborate on. It’s about work, capital, and corruption. Mallory acts as a catalyst between the company management and the workforce. He has to ensure that the company, which needs to downsize and cut costs, does so without causing an uprising. And he manages that quite well. And, yes, for the first time—forgive the word, but there’s no better way to describe it—I get to play and sing the jerk. I’m the business boss who hires Mallory and can be seen as a sacrificial pawn. But that’s already too much detail. I’m incredibly excited. In about a week, we’ll have the premiere, and I’m very curious to see how the modern music, which I find fantastic and exciting, will be received by the audience.
Soon after, I’ll make my debut at the Bregenz Festival in the opera *Oedipe* by Enescu. I’ll play the King of Thebes, and as the name suggests, it recalls Sophocles’ tragedy about Oedipus, who gave his name to the Oedipus complex. I play the King of Thebes, Laios, who is murdered by his son, who then marries his mother. So, I have an important but not very long role in the opera, as I’m killed by my son in the first part.
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That means I can jump into the lake surrounding the stage earlier. Those are the most notable points for me in the near future.
https://www.michaelheim.info/
Nikolai Russ:
Michael, what do you think of this year’s ESC entry from Austria, JJ, and what’s your opinion on it?
Michael Heim:
But now, much more exciting, JJ. What this young man delivers is incredible. Honestly, I haven’t really followed the Song Contest in recent years because it’s moved in a musical direction that’s not quite my thing. But Austria has made history there, from Udo Jürgens to Wilfried—I remember him too. There have been big differences in quality. Of course, you can’t forget Conchita. That’s when I perked up again because I really liked him, or her.
But what JJ delivers is truly phenomenal. He’s a student of Linda Watson, a famous opera singer who teaches in Vienna. You can tell this guy has charisma. He has a beautiful voice and incredible technique. What he’s doing is truly unique. Nowadays, you can do a lot with computers, AI, and so on, but you can tell he sings superbly live. As far as I know, at the Song Contest, if it’s still the same, he has to sing live. And that already proves he has exceptional talent. He’s a countertenor, and I read that he also sings the third boy in *The Magic Flute* at the Vienna State Opera. I know that opera quite well because I used to sing Tamino myself often, and the three boys are, first, delightful, and second, not so easy to sing. In the Vienna State Opera, a huge house, he has no microphone. Here, he can sing with a microphone, but you still need solid technique to carry over a large orchestra. That’s not so simple. And how challenging this song is, how intricately it’s composed. Anyone can measure how hard *Wasted Love* is by trying to sing it themselves.
I’m absolutely thrilled. The way he uses his voice is just impressive. I’m so excited that Austria, the land of music, is so wonderfully represented. I’m already nervous and excited for JJ—not nervous in the sense of hoping he’ll make it, no, I’m absolutely convinced he’ll finish near the top. I think he’s already ranked second with the bookmakers, right? If I remember correctly. With that voice, he could have a fantastic career as an opera singer. For many years now, there’s been a big focus on Baroque music, with many great countertenors emerging, and he could join their ranks and become a world star. But if he succeeds at the Grand Prix, he’ll outshine all opera singers because he’ll get much more publicity and could earn more. I wish him that, of course, and I’m keeping all my fingers crossed for him.
Toi, toi, toi!
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Klaus:
The next interview partner is a composer and musician, well-known in Vorarlberg. With bands like *Impression* and *Kruthobl*, he made a name for himself. Pop and rock music are his domain, but he has also written film music for small projects and, according to Jogy Wolfmeyer, is one of the most talented composers who writes exactly what you expect, as if you were musically connected to him. Tell us about your work and what experiences are important to you as a musician.
Bernd Tagwerker:
At 12 years old, I already knew I wanted to make music myself. My biggest musical influence came from the Beatles, who showed me that you can make a good living from music if you make it big.
At 14, I founded my first band, *Impression*. At that point, nothing could deter me from my dream, and I quickly found musicians who made that dream possible. We performed in various places, and we even managed to win *Popdrom*, I believe it was in 1987, the biggest competition in Central Europe. That was our springboard to the future.
The then-*Police* producer Nigel Gray even offered us a record deal, and I also worked with David Bronner, who produced the ESC song *Rise Like a Phoenix* for Conchita Wurst.
I also had some performances with Nick P., whom I accompanied on the keyboard during his tour and played the Hammond organ for studio productions.
Additionally, I’ve composed film music for various projects.
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Klaus:
As a composer and musician, how do you assess Austria’s entry?
Bernd Tagwerker:
I listened to JJ’s song *Wasted Love* specifically because he has an absolutely brilliant voice. The piece is excellently arranged, from the outstanding lyrics to the string arrangement.
Everything fits together; you can’t go wrong with it.
I also find the mix of pop and techno very successful, as I said, very well arranged and musically of extremely high quality. He is very talented.
The strings in the song remind me of Austria, as it’s known in music. We’ve always had outstanding musicians like Mozart, and during the Austro-Hungarian Empire, we were at the center of the most brilliant classical music. We can be proud of having such a musical history in Austria.
Also proud that many musicians like Beethoven, Mozart, and Strauss saw Austria as the center of music.
So, I wish JJ a lot of success, and yes, I’m keeping my fingers crossed for him.