Whoever thought that our native language is not music or ear-friendly should perhaps take a close look at l-Ghanja tal-Poplu, which has been having a very healthy following for the past 40 years.  From humble beginnings as the YTC Folk Festival back in 1971, it grew in a very organised-and organic way. The festival essentially hinges on songs with a social theme. It always emphasised live performances.  As in previous years, this edition brought to the fore live performances, sometimes featuring sextets, in a very slick and organised manner.  This is one of the plus factors in this festival’s appeal and something that Eurovision organisers should well consider. L-Ghanja tal-Poplu’s charm comes out, inevitably year after year, with the wide, - and wide-angled themes that crop up in the participant songs.  Even the compositions are time and again, more eclectic than other song festivals, certainly less predictable and less restrained than typical competitive song festival fare.

71 participants took part in the preliminaries, which yielded one of the best final rounds in this festival’s history. Though around half a dozen songs sounded a bit predictable and sad to say, typical festival fare, the others were really good and competition was stiff. Most of the songs featured very good inspired at times witty lyric writing, indicating a more mature, and contrived style both from established as well as relative newcomers. I, for one, have never been much of a song festival fan, but l-Ghanja tal-Poplu is an exception, as it contributed a lot to our language, heritage and culture. It has done so in a very entertaining way and it richly deserved to be included as part of our national anniversaries’ festivities, setting the ball rolling for more other events.  This year, as in previous years,   Ghanja tal-Poplu  was held at Sir Temi Zammit Hall, at the University, and was broadcast on One TV. This year, the discerned follower could notice a surge in witty lyrics, some of them open-ended, others more direct, and even humorous, at times. Quccata, written by Rita Pace, and composed by Jeffrey Scicluna, won the best social theme section.  It revolved around clientism, and this was not just confined to partisan political issues. Though typically festival fare, its interpretation by 7 Spadi was very good. Karba tal-Mument, written by young songwriters Kevin Tanti and Chan Vella, was also very well interpreted by Christian Arding. It focused on marital and family breakdowns. Its lyrics delivered a very heartbreaking message, -(imwegga/tturufnat/ f’familja li spiccat, ma nafx min kien zbaljat, inhobbhom nibqa’ t-tnejn/inhaddanhom f’dawn l-idejn, which roughly translates into being hurt, emarginated because of family conflicts and separations, in which one cannot be so sure as to who is to blame, but nonetheless I still love both my parents).   It won the Best Interpretation Category. Numri, written by Paul Attard and composed by Mark Scicluna, was arguably one of the best entries this year. The song’s lyrics focused on poverty and usury, a national concern over the past few years. Its lyrics were simple but an intriguing play on words, and flowed poignantly but beautifully by singer Estelle Fenech Imbroll (Kuljum id-dejn tiela’, b’xi hadd dejjem warajja jsus/ Garrewli kulma ghandi ghax issa spiccawli l-flus- everyone chasing me for dues and I have had all my belongings taken away from me because I have become penniless). Sadly the song failed to win anything. Pupa hinged its lyrics on infidelity, and again its lyrics featured quite a few interesting twists on words. Once more, another young songwriter Mark Laurence Zammit teamed with another young talent, Denise Spiteri and its rather sparse interpretation was nonetheless, very welcomed. Denise won the best young talent. Veteran folksinger Frans Casha delivered a  homage to the late folksingers Fredu Abela (il-Bamboccu), Frans Baldacchino (il-Budaj) and Mikiel Abela (Il-Bambinu). It was entertaining, not exactly original  but very well delivered.  Bhal Ghasfura was a good take on a prodigal daughter and says so much about an even wider generation gap. Teddie Zammit delivered one of two songs that focused on prisoners, and their life after being imprisoned.  His song entitled Liberat, was quite moving and passed on a strong message about prejudice. The other song concerning prisoners was arguably the best interpretation on that night. Wara l-Kancell, written by Joe Julian Farrugia and interpreted impeccably by Miriam Christine and Olivia Lewis, was a no-frills song which focused very much on the mind of a prisoner. The delivery was intense, focusing on Miriam Christine’s piano playing and her singing in unison with Olivia.  Let us hope that someday soon, there will also be songs concerning victims of crime. Wara l-Kancell finished overall second runner-up. Frank O’Neill and co finished second with Kif Xrobtuli l-Menti, a song that focused about social media. Its interpretation by a mini-orchestra, its nice lilting rhythms, rendered it as the most entertaining piece for the evening, a nice, harmless sing-along, very much in Frank O’Neill’s direct yet no-frills style. The overall winner Jien Ma Nahdimx, is a Rita Pace and Mark Scicluna composition which treated a housewife’s work. Stoic but very positive, it featured Claudia Teuma Castelletti on piano and again, it was very brilliantly interpreted, and arguably one of the eight-odd contenders that eventually won. Perhaps, its very positive lyrics were its strongest point. I recall former minister Louis Galea stating that housework can take up 11 hours of daily work. This song goes much further than just material work-it focuses on family values and good upbringing, in what is the first-and primary educational and social cell of the individual.