Veronica Fusaro brought something refreshingly unexpected to the Eurovision stage with her song “Alice,” representing Switzerland. Rather than following the usual formula of soaring belts and flashy runs, “Alice” is a slow, rocky number that leans into restraint, mood, and texture.
If you have been wanting to explore a more grounded, expressive vocal style, this song is packed with techniques worth studying. Let’s break down the key vocal elements happening in “Alice” and how you can start applying them to your own singing.
Chest Voice in the Lower Register
One of the most striking things about “Alice” is just how low Veronica Fusaro sits for much of the song. She sings down around the A3, which is the A below middle C, and that is quite low for a female chest voice.
To make this work, the vocal folds need to remain relatively slack and slightly open to allow breath to pass through. Without that openness, it becomes very difficult to produce those lower pitches cleanly.
When singing this low, volume control is essential. You will notice Veronica stays very close to the microphone throughout these sections. Keeping the volume soft allows the vocal folds to stay relaxed and gives room for a natural bit of crackle and texture in the sound. It is almost like speaking on pitch, which is actually a great starting point if you are working on strengthening your own chest voice.
Here are some things to keep in mind when working on your lower chest voice:
- Keep your volume low and controlled; do not push for projection in your lowest range.
- Allow breath to flow gently through slightly open vocal folds.
- Stay close to the microphone if performing, as this range does not carry as much natural volume.
- Think of the sensation as “speaking on pitch” before adding more sung qualities.
Falsetto and the Cry Quality
As “Alice” moves into the chorus, Veronica Fusaro shifts into what can best be described as a falsetto cry. This is a fascinating choice because the chorus sits around the A flat 4 and B flat 4, which are still well within the female chest voice register. Many singers would default to a fuller belt in this area, but Veronica opts for a thinner, breathier quality instead.
In true falsetto, the vocal folds become stiff, and only a very small portion at the front makes contact. That is why the sound feels lighter and a bit “hooty,” with less core tone than a full chest voice. It is not a weak sound; it is simply a different texture, and in “Alice,” it gives the chorus a haunting, intimate character.
If you want to experiment with this falsetto cry technique, try the following:
- Start by finding a comfortable note in your mid range and gently allow the voice to “flip” into a lighter, breathier tone.
- Focus on the feeling of the vocal folds becoming thinner and stiffer rather than pressing them together.
- Add a slight “cry” quality by engaging your thyroid tilt, which brings a touch of emotion and brightness to the sound.
- Practice transitioning smoothly between chest voice and falsetto so the shift feels intentional rather than abrupt.
Thyroid Tilt and the Difference Between Singing and Speaking
Thyroid tilt is one of the most important concepts to understand if you want your voice to sound truly “sung” rather than simply spoken on pitch. In “Alice,” you can hear moments where Veronica Fusaro brings in that cry quality, particularly at the ends of phrases. This is the thyroid cartilage tilting forward, which stretches the vocal folds and creates a brighter, more emotionally resonant tone.
This mechanism is what helps singers take their chest voice higher without strain. It also brings the vocal folds closer together, which adds clarity and focus to the sound. Without thyroid tilt, singing in your chest voice can sound flat and speech-like. With it, even simple melodies start to feel musical and expressive.
The key takeaway from Veronica Fusaro’s approach in “Alice” is that thyroid tilt does not have to be dramatic. Even a subtle amount transforms the quality of the voice and helps bridge the gap between a spoken delivery and a fully supported singing tone.
Constriction and the False Vocal Folds
Another texture that appears throughout “Alice” is constriction, which is created by the false vocal folds pressing down onto the true vocal folds. This is part of the body’s natural closing mechanism designed to protect the lungs, but singers can use it deliberately to add grit, emotion, and a sense of strain to their sound.
In the lower sections of the song, Veronica Fusaro uses this technique to create that “I am having such a bad day” quality in her voice. It adds rawness and vulnerability without requiring a lot of volume or power. When working in your lower range, you can experiment with a gentle amount of this pressure to add character, but it is important not to overdo it, as excessive constriction can lead to vocal fatigue.
Dynamic Range and Building Emotion
One of the most interesting observations about “Alice” is the relatively narrow dynamic range between the verse and chorus. In a live performance setting, especially at something as high energy as Eurovision, dynamic contrast is a major tool for engaging an audience. The shift from quiet verses to a powerful chorus is what triggers those emotional “wow” moments and fires off mirror neurons in listeners.
Veronica Fusaro keeps things fairly restrained throughout, which suits the mood of the song but does leave room for more vocal fireworks. If you are performing a similar style of song, consider these strategies for building dynamic contrast:
- Start your verses soft and intimate, then gradually increase intensity heading into the chorus.
- Use a fuller chest voice or a stronger belt in the chorus to create separation from the verse.
- Add a repeated chorus at the end of the song with even more energy to give the audience that final emotional peak.
- Think about how your instrument arrangement supports the vocal dynamics; pulling instruments back in the verse gives the voice more room to grow.
Working Within Your Strengths
One thing that stands out about “Alice” is that Veronica Fusaro clearly plays to her strengths. She stays within a comfortable range, uses textures and tones she is confident with, and delivers a performance that feels authentic to who she is as an artist. She also plays guitar throughout the performance, which adds another layer of artistry.
While there is always room to push boundaries and explore new parts of your range, there is also real value in knowing what you do well and leaning into it. “Alice” is a great example of how a song does not need to be packed with vocal acrobatics to be compelling. Sometimes the most powerful performances come from restraint, control, and emotional honesty.
If you want to learn more about how you can learn to implement these singing techniques into your own voice, let’s sit down for a chat and discuss if the vocal academy is the right fit for you. You can join us here.