The Eurovision Song Contest culminates in its grand final this Saturday night in Basel, Switzerland, with 26 nations vying for the coveted glass microphone trophy.
This year’s competition presents a less predictable outcome compared to recent years, unlike the foregone conclusions surrounding Loreen’s (Sweden, 2023) and Kalush Orchestra’s (Ukraine, 2022) victories.
Currently, bookmakers place Sweden as the frontrunner with their eccentric sauna-themed song, “Bara Bada Bastu.”
However, a novelty act has never secured victory. Historically, voters favor songs celebrating resilience and powerful pop anthems.
Ideally, the winning entry embodies both elements – a compelling pop anthem about overcoming adversity. This year’s lineup features several contenders fitting this description.
We interviewed five top contenders to understand what distinguishes their Eurovision entries.
KAJ marks the first Finnish act to represent Sweden in Eurovision, hailing from Vörå, a coastal town where Swedish remains the primary language.
This comedic troupe, formed during their school years, boasts over 15 years of collaborative performance. They unexpectedly won Sweden’s Melodifestivalen earlier this year, securing their Eurovision spot.
Their song, “Bara Bada Bastu,” is an accordion-driven tribute to sauna culture (Finland boasts over three million saunas).
“It felt natural to sing about,” says Kevin Holmström. “We genuinely enjoy saunas; it’s a universal experience.”
The first Swedish-language entry since 2012, the song highlights the sauna’s stress-relieving benefits. One wonders if this contributes to Finland’s consistent ranking as the world’s happiest nation.
“It’s a chicken-and-egg scenario,” laughs Jakob Norrgård. “I’m unsure what came first, happiness or saunas, but saunas undeniably lower heart rate.”
Their Eurovision performance includes a mock sauna complete with birch branches, hot coals, and dancers in minimal attire. The lyrics pose the question, “how long can you last?”
“Oh, we can make it last all evening,” confirms Jakob. “A sauna party lasting hours.”
“I prefer longer sessions with breaks,” says Axel Åhman. “Two to three hours, entering and exiting, enjoying drinks, maybe a sausage outside, then returning – for a relaxed, extended session.”
Regarding Finland’s perspective on their neighbors representing them, Jackob jokes, “Finns love a bargain; this is ideal. Sweden covers all expenses, but it’s also a Finnish victory.”
Austria boasts the year’s most striking opening lines: “I’m an ocean of love / And you’re scared of water.“
“It reflects my experience with unrequited love,” explains singer Johannes Pietsch (JJ). “It felt like a one-way street.”
The 24-year-old balances Eurovision with his role at the Vienna State Opera, where he’s appeared in productions like “The Magic Flute” and “Death in Venice.”
“A sold-out opera show holds 1,600; Eurovision’s audience dwarfs that,” he notes (last year’s broadcast reached 163 million viewers).
Pietsch’s song, “Wasted Love,” is a powerful ballad showcasing his counter-tenor, infused with EDM elements.
His stage performance involves a precarious sailing boat, symbolizing his struggle. This arresting performance demands significant preparation.
“That’s the opera singer in me; I practice daily,” he says. “Vocal warm-ups are essential, and before performing, I do ten push-ups and a minute of planks.”
Reaching the Eurovision final has been a lifelong dream since witnessing Conchita Wurst’s victory for Austria in 2014. Could he emulate that success in Switzerland?
“That would be fantastic for Austria. I’d love to achieve that. I consider Conchita a mentor; I’d want to make her proud.”
“I’m surrounded by a sandstorm, a sand tornado, and I’ll be wearing a custom Rabanne dress.”
French singer Louane describes the simple yet striking staging for her ballad, “Maman.”
The sand is real (how she avoids inhalation remains a mystery), symbolizing the passage of time, reflecting her mother’s passing from cancer.
“It conveys that even amidst sadness and deep pain, eventual peace is possible,” she explains.
“Maman” serves as a sequel to her 2015 song of the same name, written during her grief. “I’ve lost my taste for fun / I can’t find meaning,” she sang then.
The 2025 version incorporates elements from the original. For example, the original’s opening line, “Lovers move from bed to bed,” is updated to “No more lovers, no more beds.”
Motherhood helped Louane overcome her grief. The song details how holding her daughter’s hand evoked memories of her mother, yet without the accompanying pain.
The song’s closing bars feature her daughter’s voice.
“She won’t be in Basel,” says Louane. “She’ll watch on TV; she’s only five. But she’s incredibly proud. She keeps saying, ‘Maman, you must bring home the trophy!'”
The Netherlands initially invited last year’s disqualified contestant, Joost Klein, to return. However, he declined due to lingering resentment over his disqualification following an incident with a camera operator.
Instead, 21-year-old Claude Kiambe, who emigrated from the Democratic Republic of Congo at age nine, was selected.
“Congo wasn’t always safe,” he shares. “I couldn’t afford school…and I love school.”
His mother helped the family escape, and his Eurovision song is dedicated to her.
Titled “C’est La Vie,” it’s a vibrant blend of Afropop and French chanson, echoing the advice his mother gave him and his siblings in an asylum center.
“She’d say, ‘C’est la vie. Life is beautiful, even when hard.’ Learning about Eurovision, I knew I wanted to share that message.”
“I deeply respect her. She fought through life, and we’re here.”
Claude enters with an advantage, known for his 2022 hit “Ladada.” However, Eurovision required a new skill: choreography.
“I’d only known one dance move, but while writing the song, I realized I needed to step outside my comfort zone and dance.”
He mastered the choreography in three days. “We practiced from 11 am to 9 pm. I wanted to know it so well I could do it in my dreams.”
Erika Vikman doesn’t mince words when describing her song: “It’s about orgasm.”
Featuring powerful techno beats and what sounds like a Welsh male choir, it’s destined for Eurovision legend, regardless of its final ranking.
Vikman, formerly a Finnish tango queen, transitioned to pop, stating, “I can’t be very wild with tango.”
Citing Madonna, Cher, and Lady Gaga as influences, she’s one of few solo performers without dancers.
“Why? Because I’m selfish!” she laughs. “I want the spotlight. No, it’s about feeling like a rock star, owning my power without dancers.”
Her stage presence is undeniable, culminating atop a giant, fiery gold microphone. However, her costume is less revealing than her selection show attire.
“They said it wouldn’t be approved unless we toned it down, suggesting my outfit. So I compromised; we covered my behind.”
This compromise doesn’t sit well with her. “The song is about owning sexuality, and then someone controls me, saying, ‘you’ll corrupt children.’ It’s hypocritical.”
Despite censorship, Vikman’s odds improved significantly after her semi-final performance.
“I have a feeling,” she smiles. “I could be the dark horse.”
Following Thursday’s semi-final, UK act Remember Monday saw their odds improve – slightly. Initially predicted for 17th place, they now aim for 11th.
The trio, the UK’s first girl group since 1999, are determined to enjoy the experience, regardless of the outcome.
“This is surreal, beyond our wildest dreams,” says Lauren Byrne.
“It sounds cliché, but it’s everything we’ve wanted,” adds Charlotte Steele. “Performing with your best friends to millions? It’s incredible.”
“And,” Lauren concludes, “if we do poorly, we’ll keep returning until we win.”
Their upbeat performance, leveraging their musical theatre experience, plays to their advantage. A dress-ripping homage to Bucks Fizz, and their harmonies, are highlights.
“They’re incredibly experienced,” says Ace Bowerman (creative director for Dua Lipa and Blackpink), who designed their staging. “Their performance is constantly engaging the audience. We aim to create an energy where people want to be part of the band.”
Perhaps their West End background, an untested element in Eurovision, has underestimated their potential. However, the UK’s Eurovision history isn’t encouraging.
Only time will tell the final result.
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