[interview] Kaleen: her journey from backstage to the Eurovision stage
In the calm of summer between two Eurovision seasons, Kaleen, who represented Austria in 2024, gave us an interview to talk about her career, her performance in 2024, the famous » camera bug and her collaboration with Abor & Tynna this year. Our warmest thanks to her!
Hi Kaleen, thank you so much for agreeing to do this interview with us. We're really pleased to be able to talk to you today. What role did dancing and singing play in your childhood and your artistic development?
I grew up in a musical environment, I have videos of my father when I was little and I could only sleep when there was music playing. My mother soon discovered that I had a talent for rhythm and enrolled me in ballet classes. I also learned to record myself singing my favourite songs in my father's recording studio. I always knew I wanted to be on stage singing my own songs. By practising different styles of dance such as hip-hop, Latin dance, jazz and tap, I never got bored.
In that sense, Eurovision was the perfect target for you?
Yes, that's the main reason why I fell in love with Eurovision. It's a perfect show for someone like me, because I can both sing and dance on stage. I also have the opportunity to work on creative concepts and television production, which I'm passionate about. It's a platform that combines everything I love.
What did it mean to go from being a member of the production team to a live performer?
I grew up on stage, and that's where I flourish the most. I'm a person who also loves to create everything that happens behind the camera, like writing a song, creating and rehearsing choreography, or developing a camera concept. For me, each of these ingredients is special and has a lot of value in itself. Bringing it all together and then being the performer on stage to execute it all is my perfect circle. It was a dream come true for me to get up on that stage.
Looking back a year later, would you say that the results weren't important and that the most important thing was the human experience and the people you met?
Let's take Rosa Linn , she didn't do very well in terms of results at Eurovision. She was very disappointed, but I wondered why, because the results are just 5 minutes that "ruin" » everything, while all around we're having incredible weeks. Then, Eurovision also serves as a platform for artists. We saw this with her song Snap, which was commercially successful after Eurovision.
During this year's semi-final in Basel, Switzerland had a camera problem. How did you deal with your own camera incident at the Final in 2024?
It was much worse because it was in the final and during my dance break. But it didn't bother me. For me, how I felt on stage was more important. I didn't even realize it had happened during my performance because I was focused on the energy of the audience. I don't think it changed the outcome, and now I'm part of the history of the competition.
You worked with Abor and Tynna this year. What was it like working with them?
The song was fun, so it was easy. It was very interesting to be on the other side and be able to talk to them about my experience. They also had a lot of questions, of course. I remember my own participation in Eurovision, when I asked other artists how it went, how they managed the in-ear monitors, and if they could hear the audience well. It was great to chat with them.
How do you work with an artist for Eurovision? Do you come up with the ideas, like the treadmill for Parg this year?
It depends. Sometimes the song is already done, like with Brunette. On réfléchit à la mise en scène, à la couleur, aux accessoires… Pour Parg (Arménie) cette année, c’était mon idée d’utiliser le tapis de course, notamment à cause de la forme de la scène. On développe le concept en pensant aux paroles, à l’histoire, et si l’artiste peut le faire physiquement. Ça ne s’arrête jamais vraiment tant que le show n’a pas eu lieu. C’est une sorte de coaching scénique où on s’assure que l’artiste est à l’aise, tout en s’assurant que le public à la maison perçoit bien les émotions.
I would like to talk about the leak of your song before Eurovision. How did you react?
My team were a bit stressed, because the song was leaked the very day I was announced as the artist. Personally, I was just happy to finally be able to talk about my participation in Eurovision. The response was so positive that it created a buzz. I haven't regretted the leak and I still don't know how it happened. It was a very short period anyway, and it had no impact on the result. If people hadn't liked it, that would have been a problem, but that wasn't the case.
I've read in other interviews that your inspiration is Beyoncé.
Yes. I attended one of her concerts in 2009 and was fascinated by her singing, dancing, and stage presence. She is very involved in all aspects of her production, from lighting to stage design, and that's also how I work.
What are your favourite Eurovision songs?
I love “Ne partez pas sans moi” by Céline DionIt's one of my favorite Eurovision songs. I also like " Take Me to Your Heaven " and " Après toi“. I'm more old school. I like these songs for their music, not for their staging.
After the victory of JJ, Eurovision will take place in Austria next year. Have you been contacted about appearing during Eurovision 2026?
I'd love to be able to do a concert in the Eurovision village during the week. I'd also love to be a host, but that's not up to me. I'd love to be on stage, I don't know if Austria sees me as host but I can see myself there! (laughs) But I know that whatever happens I'll be involved in the production.
Thank you so much for your time. Have a great summer and I look forward to seeing you in Austria next year!
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