Ukraine’s Eurovision entry “Ridnym” by LELÉKA is one of the most emotionally charged and technically extraordinary vocal performances of the year. From its delicate, almost princess-like opening to its record-breaking sustained high note, this song showcases a level of vocal training that is rare to witness.
In this breakdown, we will explore the singing techniques that make “Ridnym” so masterful and what every singer can learn from LELÉKA’s approach.
Thyroid Tilt: The Foundation of LELÉKA’s Sound
If there is one technique that defines this performance, it is thyroid tilt. The thyroid is the cartilage at the front of the neck, often referred to as the Adam’s apple, where the vocal folds sit. When the thyroid tilts forward, the vocal folds are able to thin out, and this is what gives us that beautiful sung tone complete with natural vibrato. It is also what gives “Ridnym” its slightly classical, almost ethereal lean throughout.
Thyroid tilt is also responsible for the cry quality that runs through the entire performance. Whether the singer is expressing intense joy or deep sadness, the same muscular setup creates that emotional pull in the voice. It is the single biggest difference between speaking and singing, and it is absolutely essential if you want your singing to actually sound sung rather than just spoken on pitch.
Thin Vocal Folds Throughout Ridnym
Throughout the verses, and even in louder sections, LELÉKA stays in a thinner vocal fold position. The sound seems to roll forward continuously rather than stopping or thickening, which is what would happen if she moved into a fuller chest voice. Some of the key qualities of this approach include:
- A continuous, flowing tone that does not “stop” between notes
- Gentle pulling back on the volume when landing on lower notes to protect pitch accuracy
- Subtle breathy moments, almost like a sigh, used as a coloring tool
- A clear, gentle vibrato that emerges from thyroid tilt rather than being forced
The careful avoidance of landing too hard on lower notes is something professional singers train for over years. It keeps the lower register from sounding heavy, pitchy, or out of tune.
The Cry Quality and Emotional Connection in LELÉKA’s Performance
The word “cry” in vocal terms does not mean literally crying. It refers to that pleading, emotional quality in the tone that is created when the thyroid tilts and the vocal folds thin. This is what makes the audience feel the emotion of the song so deeply. LELÉKA uses cry consistently, particularly in the higher, more sustained moments of “Ridnym.”
Interestingly, while emotion is exactly what we want to feel as listeners, professional singers must hold their own emotions back slightly. If you actually let yourself break down while singing, the vocal folds cannot create the thin, controlled position needed. The result is a voice that wants to crack rather than soar, which is why emotional control is just as important as emotional expression.
Folk-Inspired Phrasing in Ridnym
There is a distinctly folky feel woven through this performance, particularly in the pre-chorus moments. Folk singing traditionally lives in either the happiest or the saddest emotional states, and both rely heavily on thyroid tone and cry quality. Some of the elements that give “Ridnym” its folk character include:
- Widened, slightly brighter vowel shapes rather than rounded classical vowels
- A “calling” quality in certain phrases, reminiscent of traditional folk songs
- Bursts of added volume on emotionally charged words to create contrast
- Subtle shifts between thinner and slightly thicker fold positions for stylistic effect
By choosing to widen the vowels instead of rounding them, LELÉKA keeps the song from sounding overly classical and allows it to sit comfortably in the folk-pop space.
The Record-Breaking Long Note by LELÉKA
Here is the headline moment of the performance. The sustained note at the climax of “Ridnym” is reportedly the longest note ever sung in Eurovision history, lasting around 23 seconds. The pitch is an E6, which sits four semitones above a high C. To put that into perspective, this note lives in territory that very few singers can even touch, let alone hold steady for that long.
What makes this note so impressive is not just its length or height, but its stability. The tone is more stable than most singers could produce even in a short phrase. To achieve this kind of result, LELÉKA must do all of the following:
- Hold the diaphragm back by keeping the ribs expanded and engaged
- Restrict vibrato slightly, since vibrato actually speeds up airflow
- Allow the tongue to drift slightly back, which can help with very high pitches
- Open the mouth a little more to accommodate the higher pitch
- Maintain incredible breath economy from the very first moment of the note
This is the kind of outcome that comes only from years of dedicated training, breath work, and posture awareness.
Mixed Voice and Vowel Shaping in Ridnym
Listeners might hear the higher, fuller moments and assume she is using a “mixed voice.” What is really happening is that the thyroid tilt is being carried up into the higher range while the vocal folds thicken just slightly. This creates the volume needed for those big moments without losing the sung quality. It is more of a classical setup with a small adjustment toward fold thickness for projection.
Vowel shaping plays a huge role here as well. Notice how on the final phrase, brighter, wider vowels keep the sound rooted in folk-pop rather than rounding into operatic territory. These small stylistic decisions are what give “Ridnym” its unique sonic identity.
Breath Control and Stamina by LELÉKA
To sustain the kind of phrasing and final note that this song demands, breath control is everything. There are several things any singer can work on to build this same kind of stamina:
- Posture work, especially keeping the ribs expanded and stable
- Using software like Sing and See to monitor pitch stability in real time
- Training the diaphragm to hold back rather than collapse during long notes
- Practicing controlled crescendos through sustained tones
- Learning to use vibrato as a coloring choice rather than a default setting
When all of these elements come together the way they do in LELÉKA’s performance, the result is something that sounds effortless but is actually the product of countless hours of careful, deliberate work.
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.