ButterTart's 100 Greatest Melodifestivalen Songs - 2002 to 2024 (1 Viewer)

ButterTart

ButterTart

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This should kill a bit of time until Ollyvision starts, no?

I was originally going to rank EVERY entrant from 2019 to 2024 in honour of five years since my first visit to Sweden but I realised that half of that would be me spitting bile at whatever speck of nothingness an assortment of cunts and Cazzis had shat into the public consciousness.

Instead, I've decided to present unto thee my 100 favourite evergreen #stillyoung classics. I deliberated over including winners even though they've graduated to Eurovision status, so I've settled on a compromise; they won't be included in the list BUT they'll get a write up wherever I would have put them if they'd not gotten above themselves and gone international.

Get ready for a lot of 'THIS? REALLY?', 'oh FUCK OFF, BUTTERTART' and 'Is this still going? He hasn't updated it in fourteen months'. You may disagree with some of my choices, but please remember you're objectively wrong and you should feel terrible about that.

SHALL WE?
 
Before we get into the countdown proper, let's wave apologetically at the ten songs which were slightly too shit to limbo under even my low bar.

110. Evan – Under Your Spell (2006)
Heat 4 - 8th place

“thats the weakest voice in the whole competition - what happened to his bollocks. :daf:”
Orthodontics7, 11/03/2006


109. Alvaro Estrella - Bailá Bailá (2021)
Finalist - 10th place

“This is a bit like Nathan Moore crashing a Lisa Scott-Lee gig with a b-side.”
Herserenehighnessannifrid, 20/02/2021


108. Danny Saucedo – Happy That You Found Me (2024)
Finalist - 6th place

“Like a CHEAP Will Mellor if Will Mellor had ANY VALUE WHATSOEVER (he doesn't).”
@GinAg (39), 24/02/2024


107. Sonya – Etymon (2006)
Heat 2 - 5th place

“Etymon is horseshit, big disappointment.”
Floella, 02/03/2006


106. Kikki, Bettan & Lotta - Vem é dé du vill ha (2002)
Finalist - 3rd place

“lazy and schlager by numbers that sounds 1982 and not 2002.”
Lars, 31/01/2009


105. EMD – Baby Goodbye (2009)
Finalist - 3rd place

“I hope the judges fuck them over. They would be an absolute catastrophe in Moscow without a backing track to rescue them.”
@VoR, 22/02/2009


104. Fröken Snusk - Unga & fria (2004)
Vote For The Most Recent round - 3rd place

“The tea leaves are saying Fröken will DIE ON HER ARSE come Saturday.”
@win_the_game. 06/02/24


103. Lisa Miskovsky - Why Start a Fire?
Finalist - 9th place

“Wake me up when she's finished."
@Kratz, 25/02/2012


102. Eddie Razaz – Alibi (2013)
Heat 3 - 6th place

“Is Eddie Razaz a GAY? My 'dar is going CRAZY!”
@Kala, 16/03/2013


101. Martin Almgren – A Bitter Lullaby (2018)
Finalist - 8th place

“What is this Christian rock shite?”
@win_the_game, 17/02/2018
 
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100. Elecktra - Banne maj (2024)



Heat 5 - 6th place​


“She sounded like Frank Bruno”
@GinAg (39), 02/03/2024

We begin our journey through the quivering back passages of the Swedish music industry with this beautiful and enigmatic female woman. I originally thought this had made no impact on me but, after a succession of Homer Simpson going to clown college moments over the past few weeks, I’ve deteriorated to the point where I’m just randomly shouting BANNE MAJ at strangers in that Zippy from Rainbow accent.

This sounds pleasingly similar to Show Me Heaven, albeit if Lili & Susie had performed it mid-stroke while eating toffee. It’s a fun, infectious nod to schlager which fully deserved to bomb in its heat while at the same time being something of an unsung hero of 2024.
 
99. B-Boys International feat. Paul M - One Step Closer (2005)



Heat 4 - 6th place​


“it sounded like a 5ive B-Side”
David, 18/12/2008

I mean, there’s absolutely no defending this but I’m going to anyway. If this doesn’t scream #FUN4BUTTERS then fuck alone knows what does; a collection of venerable session singers dressed in C&A Clockhouse’s Bugsy Malone range and failing to correctly execute any part of their performance :disco:

The chorus is an ephemeral MASTERPIECE and the whole thing should have you bopping unless you’re incurably dead or homosexual inside. I like to think that these boys were gearing up for a comeback before having their thunder well and truly stolen by Bjornzone.
 
ButterTart said:
99. B-Boys International feat. Paul M - One Step Closer (2005)



Heat 4 - 6th place​


“it sounded like a 5ive B-Side”
David, 18/12/2008

I mean, there’s absolutely no defending this but I’m going to anyway. If this doesn’t scream #FUN4BUTTERS then fuck alone knows what does; a collection of venerable session singers dressed in C&A Clockhouse’s Bugsy Malone range and failing to correctly execute any part of their performance :disco:

The chorus is an ephemeral MASTERPIECE and the whole thing should have you bopping unless you’re incurably dead or homosexual inside. I like to think that these boys were gearing up for a comeback before having their thunder well and truly stolen by Bjornzone.
Click to expand...

Yes! I loved this one as well! :disco:

Fun fact, this actually topped the pre-jury committee's selection of the 32 songs. :D
 
98. Michael Feiner & Caisa - We're Still Kids (2013)



Heat 1 - 6th place​


“What a complete and utter shambles tonight has been. I hope the Swedish press rip this show to shreds.”
@VoR 02/02/2013

Christ alive, THE SAX :disco:

I absolutely loved this in the early days of my dalliance with Melodifestivalen, long before I discovered that the show had previously produced other, much less incompetent smashers.

In studio form, this is actually a fucking stone cold BANGER. Sadly, Feiner elected to have Mina Anwar understudy Caisa provide the vox. Caisa is a singer for people who find Pia Maria’s vocals too powerful and intimidating, with the raw charisma of a promotional newsletter from a local bathroom tile wholesaler, so failure was all but assured from the moment she first opened her mouth to miss a note. It’s a shame, because this could have placed a lot higher in more capable hands.

Still, though, THE SAX :disco:
 
97. Brandsta City Släckers – Kom Och Ta Mig (2002)



Finalist - 5th place​


“God, they all sound so dated. You'd think it's 1997 or something.”
Tal, 12/01/2009

Comment on my long, tidy hall :disco:

Honestly, what a BANGER. Kevin Webster and his pals let an orphanage burn to cinders to ensure they made it to the show on time and it was WELL WORTH IT. Bubbly, sprightly and twee, with the firefighter outfits adding just the right touch of ‘seriously, what is this SHIT?’ to the performance. I'm still discovering new and thrilling layers to the piece even after all this time; how had I never spotted that the drummer is none other than John Cena?

This lot came back the following year but it was a bit wank so brace yourselves for disappointment as it won’t be appearing in this rate.

Also, the coordinated two-man clapping is the sort of true friendship I aspire to and I WILL convince somebody to do it at the next Moopmeet.
 
ButterTart said:
99. B-Boys International feat. Paul M - One Step Closer (2005)



Heat 4 - 6th place​


“it sounded like a 5ive B-Side”
David, 18/12/2008

I mean, there’s absolutely no defending this but I’m going to anyway. If this doesn’t scream #FUN4BUTTERS then fuck alone knows what does; a collection of venerable session singers dressed in C&A Clockhouse’s Bugsy Malone range and failing to correctly execute any part of their performance :disco:

The chorus is an ephemeral MASTERPIECE and the whole thing should have you bopping unless you’re incurably dead or homosexual inside. I like to think that these boys were gearing up for a comeback before having their thunder well and truly stolen by Bjornzone.
Click to expand...

Somehow, I just KNEW this would get a like from @Madíson
 
96. Petra Nielsen – Tango! Tango! (2004)



Finalist - 4th place​


“Fucking hate this faux latin/tango shite. She over-performs like a third-rate stage school graduate whose career high was playing Velma Kelly at the local fringe theatre.”
@win_the_game, 14/03/2018

From my extensive research prior to writing this entry I have learned that Petra Nielsen is best known for being a human woman, although I was able to find very little evidence of this in her performance here.

Flanked by two of the most egregious flamers ever to have someone attempt to put a leg on their shoulder, Petra absolutely throws herself at the choreography and manages to deftly avoid any accidental collisions with sensuality or grace along the way. It’s batshit, boisterous and has not a molecule of subtlety to its name, so obviously I fucking love it. That she bears more than a passing resemblance to Anita Dobson only adds to the 'honestly, what am I watching?' of it all. I could weep when I think of how easy it was for middle aged women to glide through to the final with ANY OLD SHITE back in those days.

Follow up single Cash! Cash! made little impact on the Swedish chart, although her recent comeback Fanta! Fanta! did surprisingly decent numbers in Spain.
 
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ButterTart said:
99. B-Boys International feat. Paul M - One Step Closer (2005)



Heat 4 - 6th place​


“it sounded like a 5ive B-Side”
David, 18/12/2008

I mean, there’s absolutely no defending this but I’m going to anyway. If this doesn’t scream #FUN4BUTTERS then fuck alone knows what does; a collection of venerable session singers dressed in C&A Clockhouse’s Bugsy Malone range and failing to correctly execute any part of their performance :disco:

The chorus is an ephemeral MASTERPIECE and the whole thing should have you bopping unless you’re incurably dead or homosexual inside. I like to think that these boys were gearing up for a comeback before having their thunder well and truly stolen by Bjornzone.
Click to expand...

This was the pre-selection jury’s favourite! I think it’s great on record, they just didn’t find the right act to sell it
 
=95. The Mamas – Move (2020)



WINNER!
​

“I've forgotten the Mamas already.”
@Christian, 01/02/2020

The first winner on the list so, as I mentioned in the first post, this is where I would have put it had I officially included them.

Jasmine Masters, her off the voice and my close, personal friend LouLou were by no means my favourites of the year but I fully believe they were the correct winners. This was so wholesome and just EXUDED such confidence that there's no denying it deserved its flowers. Plus, it kicked off the ongoing Dotter revenge narrative which is a smashing bit of long-term storytelling.

Stepping out from the shadow of their glorified fluffer John Lundvik a year prior, The Mamas rode a steed of doughty competence straight through the perceived two horse race of Dotter and Doctor B. One of the few bright spots of the Dignitas waiting room that was the Eurovision 2020 line-up, this would have kept Sweden quite comfortably knocking around in the top ten come May. Alas, it was not to be, and The Mamas became only the second Melodifestivalen winner in history to never perform at the Eurovision grand final.
 
95. Timoteij - Stormande Hav (2012)



AC - Lost to Top Cats​


“This needs MORE CHOREOGRAPHY. DITCH THE FUCKING INSTRUMENTS and SLUT UP Timoteij :evil:”
@Penelope, 11/02/2012

Sweden’s most Swedish girl band had a second crack at Mello with this glittering example of the much maligned ‘power shanty’ subgenre.

I don’t like it as much as Kom, because liking anything as much as Kom is an unrealistic and entirely unnecessary ambition, but it’s still a proper banger in its own right. Having to finger their instruments meant they were once more required to just stand there looking dramatic, but by this point they’d mastered the craft; the fact that three – four after a few pints – are very easy on the eye didn’t hurt the overall presentation.

They were eliminated at AC by rockabilly obscenities Top Cats, which clearly knocked the girls about a bit. One went so far as to attempt musical suicide by trying to represent Ireland at Eurovision, wisely relegating herself to backing singer when she regained her sense of self-worth.

I’d honestly KILL for something like this to show up next year.
 
94. Emil Henrohn - Mera mera mera (2023)



Heat 4 - 7th place​


“It does feel very PROVINCIAL”
@Dark Carnival, 25/02/2023

Emil did his wife and children proud with this fancy little bop which I was fundamentally unable to hate despite my best efforts. Christ alive, this is a catchy song, as evidenced by the fact that just doing this write-up has left me with MERA! MERA! MERA! going around in a loop in my head. Give me half an hour and I’ll need to headbutt the corner of a table in an effort to make it all stop.

Formerly a member of tween Ace of Base tribute act A*Base (which sounds more like a tool hire outlet), Emil's current occupation is 'influencer', which means he's an unemployed grifter. Despite this, he actually doesn’t seem to be an irredeemable cunt and very much got into the spirit of things last year. When I saw him perform at the pre-party he sang the song three times in a row as a literal interpretation of the lyrics, a joke which wore thin about eight seconds into the second intro.

Sadly, at Melodifestivalen itself he was made to perform in the same heat as Loreen and so this nascent bundle of joy became the first casualty of the ensuing continent-wide loss of perspective.

MERA! MERA! MERA!
 
93. Molly Sandén – Youniverse (2016)



Finalist - 6th place​


“What a load of FUCKING SHIT. To think people had a go at Insomnia for being a Euphoria rip-off!”
@Penelope, 27/02/2016

Penelope vs Youniverse was a compelling subplot I discovered while wading through the 2016 threads for quotes, and I hadn’t even considered any similarities between this and Euphoria until now so THANKS FOR RUINING IT, PEN.

Molly’s got a right set of lungs on her and she’s not afraid to use them in this sweeping triumph from one of the best Melody Festivals of all time. Regular readers will know that I view ballads and mid-tempos with the same fear and suspicion as Nigel Farage would a desperate migrant child crossing the English Channel in a fishing boat, so to make it onto this list with one is no mean feat. While this lacks the emotional punch of Why Am I Crying? It more than earns its spot as one of the 27 charter members of the 2016 league of songs which deserved the win more than fucking FRANS.

Molly went on to provide the vox for that pedant-baiting Eurovision film and then sang at the Oscars, which is a nice little diversion to tide her over until she makes her return to the big leagues.
 
92. Jon Henrik Fjällgren - Jag är fri (Manne Leam Frijje) (2015)



Finalist - 2nd place​


“Jon would crash and burn at Eurovision - a total charisma void. He can't perform the song for shit, and won't have the back story to rely on when the rest of the world don't know him. The song is utter shit too.”
@Samuel, 21/02/2015

Dragged away from his idyllic childhood in balmy Colombia and forced to live in sub-zero temperatures in a remote village with only three hours of sunlight per year, Jon Henrik channelled his PTSD into the art of joiking, which is sort of like doing the Vic Reeves club singer voice except without plosives.

This was the first of the 3’6” workhorse’s many stabs at Melodifestivalen and, for a long while, his best. Total absence of charisma aside, I feel like JHF would have been a fantastic representative for Sweden at Eurovision (I mean, Heroes won for them that same year so it’s not like they’ve any cause for regret, but still…). Europe loves it when countries go ethnic and this was the only time he could have got the nod with an entry that didn’t sound either forced or like a conscious effort to rip off KEiiNO.

Rey Mysterio Fjällgren Jr will be making another appearance further into this rate, but I can well imagine that for a lot of people this was when he peaked.
 
91. Liamoo – Bluffin (2022)



Finalist - 4th place​


“The intermittent dancing is a bit unfortunate, and the trousers aren't helping.”
@FetchFugly, 12/02/2022

Before thrilling the world with this year’s musical digestive biscuit 'Dragon', a song I’ve now heard multiple times and still can’t hum, LIAMOO was actually quite an exciting prospect at Melodifestivalen whose eventual victory seemed inevitable.

Bluffin (Spelt with neither a g nor an apostrophe, which to me is a form of abuse) is easily his strongest outing yet; a thumping yet fairly minimalist dance track which is genuinely one of the best songs of the year in studio form. It never seemed to be a contender for the win but, unlike in 2024, Liamoo’s presence in the final definitely enriched the overall line-up.

Brave Liamoo is a sufferer of Crone’s Palsy, a condition prevalent among Swedish male recording artists which causes them to lose all sense of rhythm and basic limb control when left alone on a stage, and he experienced quite a nasty flare up during both of his performances in 2022. I can only hope that one day we’re able to beat this thing and end the epidemic of gormless dancing that’s ravaged the contest in recent years.

wave like a human.gif
 
ButterTart said:
95. Timoteij - Stormande Hav (2012)



AC - Lost to Top Cats​


“This needs MORE CHOREOGRAPHY. DITCH THE FUCKING INSTRUMENTS and SLUT UP Timoteij :evil:”
@Penelope, 11/02/2012

Sweden’s most Swedish girl band had a second crack at Mello with this glittering example of the much maligned ‘power shanty’ subgenre.

I don’t like it as much as Kom, because liking anything as much as Kom is an unrealistic and entirely unnecessary ambition, but it’s still a proper banger in its own right. Having to finger their instruments meant they were once more required to just stand there looking dramatic, but by this point they’d mastered the craft; the fact that three – four after a few pints – are very easy on the eye didn’t hurt the overall presentation.

They were eliminated at AC by rockabilly obscenities Top Cats, which clearly knocked the girls about a bit. One went so far as to attempt musical suicide by trying to represent Ireland at Eurovision, wisely relegating herself to backing singer when she regained her sense of self-worth.

I’d honestly KILL for something like this to show up next year.
Click to expand...


Oh I DO prefer Stormande Hav to Kom. The live performance is also notable for the look of fear on Guitar Timoteij goes for the big note... and misses.
 
90. Eden – Comfortable (2023)



Heat 2 - 7th place​


“Eden's pronouns are they/them - as in they are very boring and we're unlikely to hear them again in the finals.”
VoR, 11/02/2023

I know, alright? I FUCKING KNOW. Sad children with genocidally dull ballads have become a boil on the arse of the modern contest. It’s no wonder they’re struggling to build new stars with the sort of shit they’re forced to debut with. Even so, at the rate they’re multiplying it was inevitable one would eventually snake its way into my heart, and that one is ‘Comfortable’.

Doomed from the moment they opened their mouth, Eden nonetheless turned in a sweet, engaging performance which makes it all the sadder that they were immediately dismembered and tanned on leaving the stage for use in Charlotte Perrelli’s 2025 comeback face.

Comfortable is a cut above the (admittedly dogshit) quality of other entrants in its genre. It’s simple and understated with a degree of emotional depth and a lovely melody. I absolutely believe this sort of entry usually has no place in Melodifestivalen, but I’m happy to give credit for the one occasion it was done well.
 
89. Clara Klingenström Behöver inte dig idag (2021)



Finalist - 5th place​


“Poor Clara walking on stage, all hyped and pumped to perform. And just like random unknown girl #34 on Melodifestivalen, we never heard from her again. Years later and people wonder whether her participation was real or just an illusion, like Linda Grip and Adrijana.”
@Haiku Rewrites, 27/02/2021

Clara had to watch from the sidelines in her heat this year as she crashed out with the second strongest song in her semi, while the world’s laziest novelty song and a simp-pop horror that would have been beneath the UK a decade ago inexplicably slithered into the next rounds.

Behöver inte dig idag finds the chinless chanteuse in happier times, with a song completely unburdened by expectation which took everyone by surprise when it reached the final, steamrolling two elderly women at AC along the way.

There’s an authenticity and lack of polish to this which I really enjoy, something that was built on and perfected by Cornelia the following year. It has a stirring, hooky melody with zero bells and whistles, reaching the final purely on quality. There’s clearly a lot to be said for just going out there with a guitar and a lingering odour of roll-up cigarettes if the track is good enough (Are you listening, Charlotte?).

In truth, I expected this to rank higher than it eventually has, which is more of a comment on the quality of the rest of the field than a failing on Clara’s part.
 
ButterTart said:
89. Clara Klingenström Behöver inte dig idag (2021)



Finalist - 5th place​


“Poor Clara walking on stage, all hyped and pumped to perform. And just like random unknown girl #34 on Melodifestivalen, we never heard from her again. Years later and people wonder whether her participation was real or just an illusion, like Linda Grip and Adrijana.”
@Haiku Rewrites, 27/02/2021

Clara had to watch from the sidelines in her heat this year as she crashed out with the second strongest song in her semi, while the world’s laziest novelty song and a simp-pop horror that would have been beneath the UK a decade ago inexplicably slithered into the next rounds.

Behöver inte dig idag finds the chinless chanteuse in happier times, with a song completely unburdened by expectation which took everyone by surprise when it reached the final, steamrolling two elderly women at AC along the way.

There’s an authenticity and lack of polish to this which I really enjoy, something that was built on and perfected by Cornelia the following year. It has a stirring, hooky melody with zero bells and whistles, reaching the final purely on quality. There’s clearly a lot to be said for just going out there with a guitar and a lingering odour of roll-up cigarettes if the track is good enough (Are you listening, Charlotte?).

In truth, I expected this to rank higher than it eventually has, which is more of a comment on the quality of the rest of the field than a failing on Clara’s part.
Click to expand...

The sheer delight she had that she made Andra Chansen was such a joyful moment. :disco:

I didn't, nor probably Tess Merkel (No Record Label) and Anton Hagman (Loreen saboteur), seeing it coming so it was just brilliant that she went on to do so well in the Final too!
 
Haiku Rewrites said:
The sheer delight she had that she made Andra Chansen was such a joyful moment. :disco:

I didn't, nor probably Tess Merkel (No Record Label) and Anton Hagman (Loreen saboteur), seeing it coming so it was just brilliant that she went on to do so well in the Final too!
Click to expand...
It was an organic success, which I think galvanised people behind it. I forgot it happened at the expense of poor Tess, mind.
 
ButterTart said:
89. Clara Klingenström Behöver inte dig idag (2021)



Finalist - 5th place​


“Poor Clara walking on stage, all hyped and pumped to perform. And just like random unknown girl #34 on Melodifestivalen, we never heard from her again. Years later and people wonder whether her participation was real or just an illusion, like Linda Grip and Adrijana.”
@Haiku Rewrites, 27/02/2021

Clara had to watch from the sidelines in her heat this year as she crashed out with the second strongest song in her semi, while the world’s laziest novelty song and a simp-pop horror that would have been beneath the UK a decade ago inexplicably slithered into the next rounds.

Behöver inte dig idag finds the chinless chanteuse in happier times, with a song completely unburdened by expectation which took everyone by surprise when it reached the final, steamrolling two elderly women at AC along the way.

There’s an authenticity and lack of polish to this which I really enjoy, something that was built on and perfected by Cornelia the following year. It has a stirring, hooky melody with zero bells and whistles, reaching the final purely on quality. There’s clearly a lot to be said for just going out there with a guitar and a lingering odour of roll-up cigarettes if the track is good enough (Are you listening, Charlotte?).

In truth, I expected this to rank higher than it eventually has, which is more of a comment on the quality of the rest of the field than a failing on Clara’s part.
Click to expand...

Stop this countdown, this is too low.
 
88. Shirley Clamp - Att älska dig (2005)



Finalist – 4th place​


"Att Alska Dig makes me feel the worst sort of queasy. It's just complete garbage, like the overture to some musical based on the life and times of Scooch.”
@Suomi, 03/12/2008

God bless Big Shirl, doggedly persevering long after others would have taken the hint. These days, she turns up every few years to pad out the runtime of her heat and overpower the green room with the scent of Estee Lauder Youth Dew. Back when she was allegedly in her early 30s, though, she was responsible for some absolute brutes, and Att älska dig is unquestionably my favourite from that era.

This is a soaring number with an infectious vein of optimism coursing through it, every bit the anthem you’d expect from a mid-00s schlager lout plying her craft. It’s also quite saccharine – this wouldn’t sound out of place being played at an American beauty pageant as the winner takes the stage to receive the crown which validates her eating disorder. That only adds to the overall presentation, though. I’m too lazy to translate the lyrics but I assume they’re fittingly triumphant (Cue somebody with more knowledge of this stuff whispering in my ear that it's a damning treatise on the Hungerford Massacre)

S-Clam will be making another appearance later in this rate but, dear reader, with what song?
 
One of my Shirley Clamp random trivia facts was that one of her first TV appearances before Melodifestivalen was appearing as Maria McKee on the Swedish version of Stars in their Eyes in the 90s.
 
87. Sara Lumholdt – Enemy (2011)



Heat 3 - 7th place​


“She's very annoying. Cocky little bitch. Sounds like an En-Vogue b-side and she's just as shite as Marie.”
@Samuel, 17/02/2011

Former (and current?) A*Teen Sara Lumholdt took to the stage in 2011 dressed like Cheryl Cole and ready to fight fight fight for this 4th place ticket to AC. Sadly, the Cherly inspiration went beyond the sartorial and into the vocal, with Sara brutalising every note in her lower register as if it were a toilet attendant who wouldn’t give her a lollipop.

Catastrophic performance aside, this is a TERRIFIC pop song. Whereas modern entrants could be accused of not having enough chorus, Enemy has about twelve. I LOVE the build to the eventual ‘you’re the enemy’ hook and ‘it’s your name on the bullet in the barrel’ is such a banger of a line. I feel like this could have gone a lot further with a singer who actually possessed the physical capability to manage the verses live, but it remains a go-to in studio form. Autotuned into oblivion in the studio version, the 'I'm taking you - I'm taking you DOWN' big note is a satisfying payoff, whereas in the performance itself it sounded slightly more like one of those car crashes in Coronation Street where the driver is slumped unconscious against the horn.

Sadly the enemy on that fateful night turned out to be the Swedish public, who shunned Sara in favour of popular and beloved Mello icons… umm… The Playtones and Sara Varga. Jesus wept.
 
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