Monroe’s Eurovision entry “Regarde” is one of the most technically fascinating performances of the year. With its blend of classical crossover style, soaring head voice, and dramatic dynamic range, the song is a masterclass in vocal artistry.
Whether you are a fan of the performance or a singer wanting to understand what makes Monroe’s technique so compelling, this breakdown will walk you through the key vocal elements at play throughout “Regarde.”
The Role of Thyroid Tilt in Regarde
From the very first phrase of the song, Monroe leans heavily into thyroid tilt. The thyroid cartilage is the part of the larynx that most people know as the Adam’s apple, and when it tilts forward, it elongates the vocal folds, which is what brings on vibrato (or VBR) and helps create that characteristically expressive, slightly emotional tone. In “Regarde,” this tilt is present right from the opening, setting up the head voice passage that follows.
Some of the key effects thyroid tilt creates in Monroe’s performance include:
- A built-in sense of emotional resonance even in softer moments
- A smooth path into head voice without forcing the transition
- Natural vibrato that feels connected to the phrase rather than added on top
Head Voice and Chest Voice Transitions
One of the most impressive aspects of “Regarde” is how Monroe navigates the shift between chest voice and head voice. Many classical-leaning singers stay in a thinned, elongated vocal fold quality throughout, which can start to sound overly classical in the lower range.
Monroe does a beautiful job of allowing the vocal folds to thicken back into chest voice quality when the melody descends, creating a sense of two distinct tonal colours that still feel like one unified instrument.
It is worth noting that Monroe makes this swap early. She adjusts into head voice on the second note of certain phrases, well before the voice would force the change. That is the professional approach: you make the adjustment before you need it, not when the voice demands it.
The Classical Crossover Sound
“Regarde” sits in an interesting space between pop and classical singing, and Monroe leans into that with her tonal choices throughout the song. A rounded lip position appears in certain sections, signalling a more classical resonance and creating a feeling of space within the sound.
It is important to understand that classical singing is not really about creating physical space in the mouth. The tongue remains relatively high at the back. What changes is the vowel shaping, which gives the impression of space by increasing resonance.
For singers working on this kind of classical crossover tone, a few things to keep in mind:
- Resonance creates the feeling of space; do not physically try to “open up” your throat
- Rounding the lips can shift the tone toward classical without requiring drastic changes to your technique
- Twang is your friend for volume; you do not need to darken the sound by pushing the larynx down
Vibrato and Vocal Pressure
In several sections of “Regarde,” the vibrato (VBR) takes on a wider, slower quality that leans toward what some coaches describe as a wobble rather than true vibrato. True VBR is created through thyroid tilt and sits within approximately a quarter tone on either side of the target pitch. A wobble, by contrast, is often driven by breath pressure, where the air is being pushed through the vocal folds more forcefully than necessary.
Monroe is clearly an exceptionally well-trained singer, and in the context of a live first performance with extremely high stakes, this is a very minor technical observation. The important takeaway for singers working on “Regarde” is to focus on holding back the breath rather than pushing it out. The air will flow naturally. The goal is to let the vocal folds do the work.
Volume, Twang, and the Final Notes
As “Regarde” builds toward its climax, Monroe works hard to create the impression of increasing volume and emotional intensity. One of the most useful tools here, and one that would have made this section even more effortless, is twang.
Twang is a narrowing of the laryngeal space that amplifies the voice naturally and efficiently, without the need to shove the larynx downward to create a sense of bigness. Pushing the larynx down does create a darker sound, but it actually sends much of that sound back into the singer’s head rather than out to the audience.
A useful guideline for singers tackling the big finish of “Regarde” is to stay around 80 to 90 percent of your maximum volume throughout the song. The final notes should feel like a release, not an explosion. The earlier you start managing your dynamic ceiling, the more power and control you will have when it matters most.
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.