The screen fades from black to a sweeping, cinematic drone shot of a golden sunrise over the jagged mountain ranges. Soft, ethereal synthesizer pads swell, accompanied by the sound of a lone flute.
Voiceover: “Freedom is… the first breath you take when you reach the summit. It is the unmapped road stretching into the violet horizon and the wild, untamed rhythm of a heart that refuses to beat in silence. Freedom is not just a word we whisper; it is the melody we shout.”
The music builds, adding a driving drum beat and orchestral strings. The footage shifts from nature to humanity.
Voiceover: “But true liberty is found when solitary notes become a harmony. It is the invisible thread that ties a stranger in the north to a dreamer in the south, proving that while walls may divide our maps, they cannot silence our songs. Tonight, we cast aside the chains of the ordinary to embrace the chaos of the extraordinary. We are distinct, we are diverse, yet tonight, under this kaleidoscope of lights, we are one. BEING FREE TOGETHER”
Thousands of people in a stadium raising their lit-up wristbands, creating a galaxy of artificial stars.
Voiceover: “And now, the anchor is lifted! We welcome you to the jewel of the Sapphire Coast, a sanctuary where the ancient stones meet the digital age. From the bustling grand docks to the soaring spires of the Cathedrals, welcome to the city of open doors and open hearts! We are live from the glorious port city of Havanen, Holy Free! Let’s welcome our artists and our hosts, Basten de Hond and Bas Sieb-Westerman!”
The music goes techno, and birds start flying in colors of flags on the LEDs.
Flag parade with each artist/s coming onto the stage
Basten (left): We welcome everyone back to the stage, and we got a message from the PEB: “It’s been too long, but now is the time.” Is everyone ready???
Croud cheers.
Bas (right): Let us all be free tonight and sing to our hearts’ content, like a chirpy little birdies. We have 14 countries with us tonight and artist waiting in the greenroom.
Camera pans to many of the artists in the greenroom cheering with their flag.
Basten: A reminder since this is a 5th anniversary celebration, you can help us decide the winner. With maximum of 20 votes on each device, you can vote via your broadcasters across the South Pacific. The song that wins your hearts will get 12 points, you cannot vote for your own country.
Bas: Da es sich um eine Feier zum 5-jährigen Jubiläum handelt, möchten wir Sie daran erinnern, dass Sie uns bei der Wahl des Gewinners helfen können. Mit maximal 20 Stimmen pro Gerät können Sie über Ihre Rundfunkanstalten im gesamten Südpazifik abstimmen. Der Song, der Ihre Herzen erobert, erhält 12 Punkte. Sie können nicht für Ihr eigenes Land stimmen.
We see NERL in the open sea, as wide as she can see, fishing with the fishermen. Seeing all the Sardines being catched. Then we see her with some local bakers, the aroma of bread fills the air, a Freian version of Salmon Panini. We see her holding up the dish. Sardine Panini
So hot
We’re switching off
The smoke alarms
Got lost
But I feel my way into your arms
Love how you creep
Into my wildest thoughts
Something about you boy
Something about you boy
The dancers starts closing in on NERL, making sugestive moves.
We’re only one kiss away
My body can’t hit the brakes
One touch and it escalates aah
The dirty talking it turns to play
We’re all out of things to say
It’s too late we can’t escape aah
Pyro lights up. The dancers go out.
Ooh baby we can’t stop this fire
So why not feed the flames and
Burn it all down down down down
We can’t stop this fire
We’re like gasoline
We’re pouring it down down down
We’re only one kiss away
My body can’t hit the brakes
One touch and it escalates aah
Ooh baby we can’t stop this fire
There’s something about you love
Something about you love
The lights dims. Camera fades to only NERL
Oh I
I’ve burned my fingers
Many times
But now
No this time I don’t really mind
Love how you turn this hell
To paradise
Something about you boy
Something about you boy
The dancers starts closing in on NERL again.
We’re only one kiss away
My body can’t hit the brakes
One touch and it escalates aah
The dirty talking it turns to play
We’re all out of things to say
It’s too late we can’t escape aah
NERL reaches into the sky while dancers try to grab on.
Ooh baby we can’t stop this fire
So why not feed the flames and
Burn it all down down down down
We can’t stop this fire
We’re like gasoline
We’re pouring it down down down
We’re only one kiss away
My body can’t hit the brakes
One touch and it escalates aah
Ooh baby we can’t stop this fire
There’s something about you love
Something about you love
She lies on the floor during the instrumental. Grabing the dancers’ face one by one.
Ooh baby we can’t stop this fire
So why not feed the flames and
Burn it all down down down down
We can’t stop this fire
We’re like gasoline
We’re pouring it down down down
We’re only one kiss away
My body can’t hit the brakes
One touch and it escalates aah
Ooh baby we can’t stop this fire
There’s something about you love
Something about you love
There’s something about you love
Something about you love
There’s something about you love
Something about you love
There’s something about you love
The open seas, the beach, all paint a grandiose vision as two people in brightly-colored fabric comes into vision: Meli and Ra’ishi. Their hair billows in the wind around a campfire, where fresh-caught fish and Freian vegetables roast on skewers. A variety of Freian spices come into view, the spices with the most heat being selected to massage into the fish and vegetables as the pair prepare more skewers. In FiHami, food is a communal event, one that is celebrated with music and dance that reflects the island’s vibrant, violent past. Meli and Ra’ishi engage in dancing around the open fire, their traditional ponchos and long skirts fly in the wind as the pair re-enact a popular story- the arrival of the Finixi people on FiHami. At the end of the dance, skewers are passed around to the filming crew, until finally, Meli and Ra’ishi take their own skewers. Freian Hakanasake Reima’anate’
The music starts immediately with orange and pink lights, the spotlights focused on Meli and Ra’ishi, who wear more modernized versions of the outfits they wore for the postcard. The musical duo, on opposite sides of the stage, perform the Finixi Rakokofi, a non-ceremonial dance meant to resemble wildfires. They are united, twirling around each other when the music drops for the first verse.
Diving deep, out of breath, the surface out of sight
Darkest places hide some unknown sources of life
All the melodies, memories and all these lullabies
Cutting deep as the sensations start to revive
Not a curl out of place, not an extra movement in sight. Meli and Ra’ishi move in sync with each other as they sing, Meli’s strong Alto voice and Ra’ishi’s soft soprano blend together. Their bodies move together, now in tandem with the backup dancers who have made their way on stage, with each one bearing resemblance to oppressive figures in FiHami’s storied past. The dance they perform is the Tukoko’a, the warrior’s dance. Meli takes the stage in time for the pre-chorus.
Day after day I’m alive
Out of the maze, I design
The shape of a new paradise
Ra’ishi “shoves” Meli away and stomps her foot down as Meli twirls away and the stage lights turn a blinding yellow color, then orange as Ra’ishi hits the held note.
No, you won’t have my cries
From ashes into the sky, I will arise
Crimson dreams meant to die
Reveries of the mind
Guiding my way
Into dеvious light
Into the instrumental break, Ra’ishi “falls” to the floor, dead. The backup dancers sprinkle red plastic flower petals around where she lay down, “dead”. Meli takes the next verse alone.
How can we reconcile whеn the bridges have burned
One step from the edge, how can one dream to return
I was born in flames and I learnt how to walk in the fire
Turned my pain into the source of a brighter light
The backup dancer made to look like Texeteti’ comes onto the stage, followed by the dancer representing the last Antarchi emperor. Ra’ishi slowly makes her way into a seated position while Meli “fights” the backup dancers.
Step after step I come back
Still I can hear the lullaby
My ghosts lead the way I define
into the second chorus, Meli and Ra’ishi now sing together, in tandem, “pushing” the backup dancers off the stage, just in time for the bridge instrumental. The stage becomes very dark, save for a deep orange light that just barely illuminates the duo for Ra’ishi’s solo 1st half of the chorus. Meli jumps in again once the music picks back up for the rest of the song. As they sing, they are performing yet another traditional dance, the Hashikoko’, The dance of little hopes, from the time the Antarchi still ruled FiHami. Here we see the true symbolism of Meli and Ra’ishi’s outfits, their roles throughout the performance. Ra’ishi represented the fi-nix, the fighting spirit of the Finixi people, dressed in bright oranges and yellows. Meli, in pinks and yellows, represented the sun itself: healing and rebirth. The performance closed out with Meli holding Ra’ishi in her arms.
As soon as the lights come up, the duo jump back to their feet.
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