Conchita - Album Review

Loreen's Euphoria is the best Eurovision song of all time and there are few who would challenge that bold, but right, claim. The usual collection of camp pop fare was obliterated by this immense pop song and it seemed like no other winner could trump it. So far they haven't, but in 2014 something more important than a 'pop moment' happened, a gay man dressed as a woman with a beard took home the coveted glass trophy and sent social and political waves hurtling across Europe, sending the likes of Russia into a panic over the future of the European continent. One Russian politician spat, "There's no limit to our outrage. It's the end of Europe" and on the other hand the liberal countries proclaimed their support, loud and proud. Thomas Neuwirth's Conchita Wurst was not only now the most talked about future popstar but also one of the most socially and politically relevant; a startling reflection of the tempestuous relationship that still exists between society's acceptance of gender and sexuality 'differences'.

Now a year on she's released her debut album, Conchita, and you'd forgive me for being very dubious about what musical 'delights' were about to served to me on my first listen. This is actually a brilliant debut pop album, packed with relevant electronic chart friendly beats, baroque pop infusions and a vocal ability that would put some of the other female popstars in the Top 40 to shame. Eurovision winning entry Rise Like a Phoenix isn't the most instant love affair but on repeated listens you appreciate the powerful vocal delivery and Bond Theme worthy string arrangement and climax. This theatrical epicness is furthered by the stunning Put That Fire Out, which builds from understated to explosive. The balladry isn't consistently and instantly captivating, but it's never tired or repetitive. Midge Ure cowrite Pure takes two or three plays before its charms can be uncovered, yet the final chorus is just as powerful as its counterparts. Unfortunately, Other Side of Me is a little too Andrew Lloyd Webber and where the theatrical elements are enjoyable and well strategised on other songs, they fall a little flat here. 

Where Conchita really nails it is on Sebastian Arman credits Up For Air and Colours of Your Love, two magnificent pop numbers, the former employing a thumping synth and twinkly electronic backing layered underneath a convincing and emotive vocal performance. The latter starts off as a piano led ballad with haunting vocal echoes leading into an escalating bridge and an Eastern infused electronic synth breakdown with Conchita singing "My heart is like a battlefield/ You make me surrender/ You light me up like gasoline/ I'm dying in friendly fire." The Eastern vibes continue into Out of Body Experience, one of the weaker album tracks with no lasting hook to speak of. However, misfires like this are in short supply and are only less enjoyable when compared with lovely tracks like Somebody to Love and dance floor ready diva moment Firestorm, the moment when the the latter half of the album comes alive as she coos "Who could love you more?" over an amazing Euro dance breakdown. If a song could be a bomb, this one would be nuclear. The only other song that sits equal with this is You Are Unstoppable, a poppy affair about taking a leap of faith layered with strings and a chorus so enormous it defies expectation

If the Cabaret vibing of Where Have All the Good Men Gone? is anything to go by, this album is an expression of Conchita's own personal journey through loves and losses. Then, how personal can an album be if it only features one writing credit from the performer (Heroes)? There were times when I forgot I was listening to a man in a dress, Neuwirth's ability to become Conchita convincing me that the album is performed by an established Diva and that really is refreshing. By this point in our now very old world, we should be able and willing to cast aside presumptions of gender and sexuality and just bloody get on with it. Conchita is a great pop album sung by a man dressed a woman with a beard who sings very well as a man or woman and that's enough of a step forward for now. 

4 / 5