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: âFreedom 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.â
The music builds, adding a driving drum beat and orchestral strings. The footage shifts from nature to humanity.
Voiceover: âBut 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 TOGETHERâ
Thousands of people in a stadium raising their lit-up wristbands, creating a galaxy of artificial stars.
Voiceover: âAnd 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! Letâs welcome our artists and our hosts, Basten de Hond and Bas Sieb-Westerman!â
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: âItâs been too long, but now is the time.â Is everyone ready???
Croud cheers.
Bas (right): Let us all be free tonight and sing to our heartsâ 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-jĂ€hrigen JubilĂ€um handelt, möchten wir Sie daran erinnern, dass Sie uns bei der Wahl des Gewinners helfen können. Mit maximal 20 Stimmen pro GerĂ€t können Sie ĂŒber Ihre Rundfunkanstalten im gesamten SĂŒdpazifik abstimmen. Der Song, der Ihre Herzen erobert, erhĂ€lt 12 Punkte. Sie können nicht fĂŒr 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
Weâre 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.
Weâre only one kiss away
My body canât hit the brakes
One touch and it escalates aah
The dirty talking it turns to play
Weâre all out of things to say
Itâs too late we canât escape aah
Pyro lights up. The dancers go out.
Ooh baby we canât stop this fire
So why not feed the flames and
Burn it all down down down down
We canât stop this fire
Weâre like gasoline
Weâre pouring it down down down
Weâre only one kiss away
My body canât hit the brakes
One touch and it escalates aah
Ooh baby we canât stop this fire
Thereâs something about you love
Something about you love
The lights dims. Camera fades to only NERL
Oh I
Iâve burned my fingers
Many times
But now
No this time I donât 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.
Weâre only one kiss away
My body canât hit the brakes
One touch and it escalates aah
The dirty talking it turns to play
Weâre all out of things to say
Itâs too late we canât escape aah
NERL reaches into the sky while dancers try to grab on.
Ooh baby we canât stop this fire
So why not feed the flames and
Burn it all down down down down
We canât stop this fire
Weâre like gasoline
Weâre pouring it down down down
Weâre only one kiss away
My body canât hit the brakes
One touch and it escalates aah
Ooh baby we canât stop this fire
Thereâs something about you love
Something about you love
She lies on the floor during the instrumental. Grabing the dancersâ face one by one.
Ooh baby we canât stop this fire
So why not feed the flames and
Burn it all down down down down
We canât stop this fire
Weâre like gasoline
Weâre pouring it down down down
Weâre only one kiss away
My body canât hit the brakes
One touch and it escalates aah
Ooh baby we canât stop this fire
Thereâs something about you love
Something about you love
Thereâs something about you love
Something about you love
Thereâs something about you love
Something about you love
Thereâs 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 Raâishi. 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 islandâs vibrant, violent past. Meli and Raâishi 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 Raâishi take their own skewers. Freian Hakanasake Reimaâanateâ
The music starts immediately with orange and pink lights, the spotlights focused on Meli and Raâishi, 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 Raâishi move in sync with each other as they sing, Meliâs strong Alto voice and Raâishiâs 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 FiHamiâs storied past. The dance they perform is the Tukokoâa, the warriorâs dance. Meli takes the stage in time for the pre-chorus.
Day after day Iâm alive
Out of the maze, I design
The shape of a new paradise
Raâishi âshovesâ Meli away and stomps her foot down as Meli twirls away and the stage lights turn a blinding yellow color, then orange as Raâishi hits the held note.
No, you wonât have my cries
From ashes into the sky, I will arise
Crimson dreams meant to die
Reveries of the mind
Guiding my way
Into dДvious light
Into the instrumental break, Raâishi âfallsâ to the floor, dead. The backup dancers sprinkle red plastic flower petals around where she lay down, âdeadâ. Meli takes the next verse alone.
How can we reconcile whДn 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 Texetetiâ comes onto the stage, followed by the dancer representing the last Antarchi emperor. Raâishi slowly makes her way into a seated position while Meli âfightsâ 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 Raâishi now sing together, in tandem, âpushingâ 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 Raâishiâs 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 Hashikokoâ, The dance of little hopes, from the time the Antarchi still ruled FiHami. Here we see the true symbolism of Meli and Raâishiâs outfits, their roles throughout the performance. Raâishi 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 Raâishi in her arms.
As soon as the lights come up, the duo jump back to their feet.
Hejerr Makallu, Um anse jim (I hear a melody), Sedunn
Havanen
Hejerr Makallu, dressed in one of his signature 70s shirts, is seen fishing from a quay. Struggling playfully, he catches one Freian ingedient after another. He then cheerfully cocks and hands out ybelÄ - traditional Sedunnic wraps - to by-passers*.*
As the stage is illuminated, Hejerr Makallu is seen standing alone with an old, used guitar. A screen behind him glows slightly. His song is in Sedunnic, but the screen shows subtitles.
I hear a melody, spun from the finest thread
It trembles in harmony, from a lost longing
And it sings within me, a great tune cascade of joy
It reshapes my mind, it makes me blissful and glad
The screen now starts showing illustrations of what he is singing. The illustrations are colourful, treading a fine line between looking like dreamy stock photo and something from a slightly psychedelic picture book.
The cypress becomes a lyre, and the birch plays bass
Mists dance in a frenzy, as the windmill plays ecstatic
And the sun whirls in a spinning dance and the heavens crack with sound
A rainbow loses its senses, it floats, it leaves us now
The artist now dances and vibes with the music.
So I too leave the whirl-spinning Pacifica
Born so weak and tender, I find my freedom in words
And then I suddenly understand everything, the wings burst into starlight
I wake up in my own bed, in my own lifelong blues
The stage light becomes brighter and warmer.
I hear a melody, spun from the finest thread
It trembles in harmony, from a lost longing
And it sings within me, a great tune cascade of joy
It reshapes my mind, it makes me blissful and glad
Carli Skeer, Mod ik mein hund bring Himmel en? (May I bring my dog to Heaven?), Transsuneria
Ruste
Carli Skeer and his team, dressed like farmers, are seen in a rustic-looking kitchen that has windows that provide a scenic view of Ruste. They proudly prepare a fried rice dish with lots of colourful spices. As they taste it, a team member is seen rushing to the water tap, apparently it was too spicy for him. They all lauagh in a friendly manner.
The stage is eluminated and reveals the facade of a traditional Transsunerian farm. Carli Skeer is seated on a rock, obviously in deep thought. He is holding a banjo. The song is in Transsunerian, but there are Austral lyrics on a screen.
It was late one evening, we had played at a fairground
Tired and freezing, I stayed behind the stage for a while
When I heard someone mumbling something about longing, and there in
The grass sat a man with a little dog
Carli Skeer gets up and walks around, pacing with the music.
âHey, musician, can you answer me a question?
Itâs an honest one, and I mean every word
When our Lord puts out lifeâs small flame
And itâs time to leave this worldâ
"Are you allowed to bring your dog with you into heaven?
Heâs kind, and heâs been a truly faithful friend
Heâs smart and good, and all his taxes have been paid
If thatâs allowed, musician, then Iâd be gladâ
A small screen lights up next to the rock, showing an older dog of a shepherd bread.
I answer in the simple way one does:
âYour dog will surely go to heaven
When it dies.â
Someone shouted, âItâs time to head home!â
And when I sat down in the car, I thought
About the question again
âHey, musician, can you answer me a question?
Itâs an honest one, and I mean every word
When our Lord puts out lifeâs small flame
And itâs time to leave this world
Carli Skeer, walks over to the dog, which seems to react to him wagging its tail slowly.
Are you allowed to bring your dog with you into heaven?
Heâs kind, and heâs been a truly faithful friend
Heâs smart and good, and all his taxes have been paid
If thatâs allowed, musician, then Iâd be gladâ
For him the question mattered so deeply
That he deserved an honest reply
But who can truly answer
Whether dogs that die get to stay on earth or not?
He sits down again on the rock, and the dog circles before laying down next to him, looking at the artist.
âHey, musician, can you answer me a question?
Itâs an honest one, and I mean every word
When our Lord puts out lifeâs small flame
And itâs time to leave this world
Are you allowed to bring your dog with you into heaven?
Heâs kind, and heâs been a truly faithful friend
Heâs smart and good, and all his taxes have been paid
If thatâs allowed, musician, then Iâd be gladâ
Carli Skeerâs eyes meet the dogâs affectionate gaze. The lights fade until only the old dog is visible. It now looks directly into the camera, slightly wagging its tail gently. The screen soon also fades. A spot light is then aimed at the performer. He smiles.
The six band members of Partymetal walk around the city centre and are suddenly dragged into a very cozy looking restaurant. The dining room has classical 70s looks with wood panels, thick white table covers and somewhat extra interior decor.
The camera cuts to the singers and songwriters, Kevin and Nick, who are wearing their hairnets quite silly on their heads and now prepare a good old schnitzel with a potato salad in the kitchen together with the head chef. While frying the cutlet, they are shown singing passionately into the spatula.
At the end the food is served to the other band members, but only after the chef gave the plate a small kiss on the side.
In the intro of the song, the stage is dark and only illuminated by blue and pink specs of colour coming on to the beat. After the tremolo, the main lights focus on Nick, who is having his hair cut to a bob and is wearing short, summery linen clothes. His eyes look intensely into the camera as he rattles down the first few lyrics.
Summer mood, hot sand under my feet
Cold beer, cheap wine
Yeah, thatâs all that we need
We got the moves, we got the moves
And everybodyâs like:
From the side of the frame, Kevin jumps onto Nick and shouts at him
Oh, frick yeah!
Let`s do it again!
Now the entire stage is lit up with sunny, yellowish colour, the camera focusing on drummer, bassist and guitarists jamming out the metal melody line.
We got the moves, we got the moves
When everybodyâs like:
âYesterday we drank too much, letâs do it againâ
We got the groove, we got the groove
So everybody, put your hands right up
Tonight is the night!
In the center stage Nick stands with a almost ridiculously big microphone in front of his face. A disco ball is barely visible on top of the frame as he starts singing and swaying his hips to the next few lines
We are young, we are free
Sipping on booze on a sunny beach
Weâre alive, we believe
That summertime memories, will never fade away
He steps sideways and the next camera cut shows Kevin standing in front of him. The camera crew pans around, so that in the end the band is visible in its entirety again. All make their âpigeon moveâ in the interlude before the next verse. Nick gets a tiny looking microphone out of his trousers to sing into, when the stage darkens a little more again, featuring colours of a sunset.
Weâre living a good life
High life
Everybody wants that hot vibe
We wanna feel it just all over and over again
More, just gimme more
'Cause weâre addicted to the groove, oh yeah (Kevin screaming from the off:) We do it again!
The camera cuts to a closeup of Kevin, who is looking from above at it like in one of those old rap videos. In the background the lights seem to go more dark blue by the second.
We got the moves, we got the moves
When everybodyâs like:
âYesterday we drank too much, letâs do it againâ
We got the groove, we got the groove
So everybody, put your hands right up
Tonight is the night!
Again for the start of the chorus, the non-singing team members are being focused on as Nick sings in the background
We are young, we are free
Sipping on booze on a sunny beach
Weâre alive, we believe
That summertime memories, will never fade away
Nick and Kevin are seen jumping around in the next shot, just having a good time.
Will never fade away (x2)
The two singers disperse, running towards either side of the stage looking at the audience. The camera giving an alternating perspective from someone in the first row looking at each of them for every major line of lyrics.
We donât need no club
All we need is the sun
Yeah, we will rave like hell 'till the weekend is done
We got the moves, we got the moves
And everybody put your hands straight up, tonight is the night
We sing!
In that moment, the camera crew is behind Nick, who is stretching his arms out, almost as he would be going into a hug with the audience, and the entire arena is flooded by the warm stage lights. The audience erupts as planned:
Döp-dödödödöp-döp-dödödödöp
As the synth guitar sounds come in, the lights switch back to the darkblue and pink accent tones. The camera crane moves along the stage also showing the disco ball emitting light as the party continues.
Döp-dödödödöp-döp-dödödödöp (x4)
Now we see Keving again as he roars out the next few lines with pyro supporting his emotions in the background.
We got the moves, we got the moves
When everybodyâs like:
âYesterday we drank too much, letâs do it againâ
We got the groove, we got the groove
So everybody, put your hands right up
Tonight is the night!
Everybody in the club
We donât need no damn club
Get down, âcause weâre gonna party like hell
And we wonât stop until the sunâs up
Hits out glowing eyes like âboom boomâ
We gonâ put the track on repeat
For the penultimate shot, Nick is laying on the ground with his mini mic again. Smiling a little seductively at the viewer.
We are young, we are free
Sipping on booze on a sunny beach
Weâre alive, we believe
That summertime memoriesâŠ
He sits up as the guitarists and Kevin join by his side for the last chorus, which they use to party hard once more.
We are young, we are free
Sipping on booze on a sunny beach
Weâre alive, we believe
That summertime memories, will never fade away
Will never fade away
Will never fade away
The last shot belongs solely to the drummer showing off his skills until the entire stage turns black again after the last note has been hit.
The sunriders are shown going windsurfing on the lake. After having had a fun time, they ride and run onto the beach again, where a cute old couple has set up a table for them with a kind of fish soup. They eagerly eat it, while chatting with the couple, who seem to have had caught the fish by themselves earlier that day. As it slowly becomes the evening, a campfire is set up, at which the lead singer sits with a guitar playing a lovely tune.
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