Albania’s Eurovision entry this year, “Nân” performed by Alis, is a stunning piece of vocal artistry. Blending operatic technique with raw emotional delivery, the performance is a masterclass in how to use classical singing tools inside a contemporary stage moment. Below is a breakdown of the main vocal techniques at work in this performance, and what you can learn from them as a singer.
Thyroid tilt and the sound of anguish in Nân
The defining quality of this performance is the heavy use of thyroid tilt. The thyroid cartilage (the Adam’s apple area where the vocal folds live) tips forward when we sing, which elongates the vocal folds. This is one of the main differences between speaking and singing, and it is exactly what gives Alis that crying, pained, almost pleading quality throughout “Nân.” You do not need to understand Albanian lyrics to feel the sadness, because thyroid tilt is doing the emotional work for the listener. If you want to recreate this kind of expressive sound, thyroid tilt is the technique to study first.
Thick vs thin vocal folds in chest voice transitions
Around middle C (C4), the male voice typically has to do something to take the chest voice higher. Alis navigates this beautifully. In the opening, the vocal folds are thinner, with a touch of breath sitting in the tone. As the song climbs, the vocal folds thicken and more thyroid tilt is added, allowing him to power through the upper register without losing closure. Things to notice in this transition include:
- A breathier, slightly classical tone in the lower verses
- Thickening of the folds as the melody rises
- Added thyroid tilt to bring energy into the sound
- Cleaner closure (less breath) the higher he goes
Twang and AES narrowing in Nân
In moments where the breathiness disappears and the sound suddenly becomes more focused and penetrating, what you are hearing is twang, also called AES narrowing (aryepiglottic sphincter narrowing). The area just above the larynx tightens slightly, which is what creates that bright, carrying quality. It is not nasal, and it is not pushed. Alis uses this to take the voice from gentle and breathy to fully present in the room, and it is a key reason “Nân” cuts through an orchestral arrangement so effectively.
The classical influence in Alis’s performance
There is a clearly classical leaning to this performance, and a few hallmarks give it away:
- Vibrato that signals heavy thyroid tilt
- One consistent vocal setup across each phrase, with consonants dropped into the line rather than chopping it up
- A mouth shape that stays relatively contained, even on the biggest notes
- Resonance happening at the back of the throat rather than out of a wide-open mouth
That last point matters. Opening the mouth too wide pushes the larynx down and throws the coordination off. Alis keeps the mouth shape disciplined, which lets the resonance do its job.
Soft palate, cheekbones, and posture in Nân
Watch closely and you can see Alis raising the cheekbones throughout the performance. This is a small physical cue that helps lift the soft palate, the doorway to the nose, which is essential for classical resonance. You can also see him gently lifting his chin and leaning back slightly on the bigger phrases. That posture does two helpful things:
- It anchors the sound through the larger muscles of the back
- It engages the front abdominal and fascial line, which helps stop the larynx from drifting too far forward
These are subtle but powerful support tools for any singer working in this style.
Balancing breath, pressure, and quieter moments
One thing worth noting is the slight constriction that creeps into the quieter second verse. When singers reach for vocal fold closure but do not quite get it, the false vocal folds can push down to compensate. It can absolutely be a stylistic choice (and may well be here), adding to the pain and anguish of “Nân,” but it is also a reminder that a healthy voice should be able to sing softly without breath and without pressing. That kind of balance is what makes a singer sustainable on stage.
What singers can take from Alis’s performance of Nân
If you want to bring this kind of expressive, operatic-leaning power into your own singing, the core skills to build are:
- Thyroid tilt for emotional, crying quality
- Thick fold coordination to carry chest voice higher
- Twang/AES narrowing for projection without push
- Soft palate lift for classical resonance
- Posture and back-muscle support for the bigger phrases
- Clean, pressure-free quiet singing in the lower range
This is what allows singers like Alis to deliver a performance like “Nân” without burning out the voice. Build these step by step and you can sing anything you want, whenever you want it.
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.