Tue. Jun 10th, 2025
Eurovision 2024: A Guide to All 37 Songs

The 2025 Eurovision Song Contest kicks off this Sunday, with a “turquoise carpet” parade featuring participants from all 37 nations.

However, the intense competition truly begins on Tuesday with the first semi-final, where five countries will be eliminated.

Another six will face elimination in the second semi-final on Thursday, before the Grand Final unfolds in Basel, Switzerland, on Saturday, May 17th.

This year’s diverse lineup includes returning contestants, an opera singer, a subtly suggestive song, and a dance anthem about a deceased space dog.

It’s a captivating spectacle.

To aid your understanding, we’ve categorized the 37 competing songs into broad musical genres (though this proved somewhat challenging).

Regardless of outcome, UK entrants Remember Monday have provided a memorable title for their entry: What The Hell Just Happened?

A high-octane pop anthem, it cleverly incorporates elements of Queen, Andrew Lloyd Webber, and the Beatles, perhaps aiming to evoke Britain’s rich musical legacy.

Its eight tempo changes might prove challenging for viewers, but the band’s exceptional harmonies and vibrant personalities should compensate.

Significantly, the song avoids typical Eurovision clichés of repetitive dance tracks and overwrought ballads – a characteristic shared with this year’s frontrunners.

Leading contenders are Swedish representatives KAJ, whose song Bara Bada Bastu celebrates the sauna’s restorative powers, featuring dancers in minimal attire.

Remarkably catchy, it’s received praise from ABBA’s Bjorn Ulvaeus, who has reportedly performed it in his own sauna.

Strong competition comes from Austrian singer JJ, and his operatic ballad Wasted Love.

A classic tale of unrequited love, it showcases his counter-tenor skills before transitioning into an unexpected techno segment.

A bookmakers’ favorite, its potential weakness lies in its resemblance to last year’s winner, Nemo.

Uniquely distinctive is Ireland’s entry, Laika Party – a 90s trance-pop anthem about a dog sent into space by Russia and left to perish.

Singer Emmy attempts an optimistic portrayal of this tragic tale, but despite a lively performance, it remains somewhat somber.

More upbeat is Luxembourg’s Laura Thorn, whose La Poupée Monte Le Son is reminiscent of France Gall’s 1965 winning entry, Poupée De Cire, Poupée De Son.

While the original concerned a “fashion doll” manipulated by Serge Gainsbourg, Thorn’s version focuses on reclaiming control.

If you think a man like you can manipulate me, go back to your mum,” she retorts. A powerful statement.

This year’s contest features two songs celebrating Italy’s rich culture.

Unsurprisingly, the first originates from San Marino.

Titled Tutta L’Italia, it celebrates various aspects of Italian culture, from football to vineyards, and even the Mona Lisa.

Written by Gabry Ponte – known for Eiffel 65’s Blue (Da Ba Dee) – it’s a lighthearted blend of dance beats, traditional accordion, and Calabrian folk dances.

However, the staging might hinder its success, with Ponte isolated behind his DJ equipment while masked singers perform.

More memorable, yet unconventional, is Estonia’s Espresso Macchiato.

Performed by Tommy Cash (the only Eurovision contestant to have collaborated with Charli XCX), it’s a playful portrayal of Italian stereotypes, featuring the memorable line: “Life is like spaghetti, it’s hard until you make it“.

While aiming to avoid innuendo, Eurovision’s entries present some challenges.

Three artists attempt suggestive lyrics, led by Malta’s Miriana Conte, with the club track Serving.

Initially, the chorus included “serving kant,” with “kant” being Maltese for “singing” and a homophone for a suggestive English word.

This reference to drag/ballroom culture prompted complaints, leading to a rewrite. The revised song, though successful in attracting attention, is ultimately marred by Europop clichés.

Another artist employing double entendres is Australia’s Go-Jo, inviting listeners to “take a sip” of a milkshake from his “special cup”. The interpretation is left to the audience.

With a touch of Electric Six’s disco funk, Milkshake Man is catchy enough to potentially boost Australia’s ranking after last year’s semi-final finish.

Finally, Finland’s Erika Vikman presents Ich Komme, described as a “joyous message of pleasure, ecstasy and a state of trance”.

Structurally mimicking lovemaking, it evokes classic gay anthems like Kylie’s “Your Disco Needs You” and Donna Summer’s “Hot Stuff” – culminating with Erika soaring on a large gold microphone.

The devastating reality of cancer impacts three contestants, inspiring poignant and reflective songs.

French singer Louane delivers the most compelling account. Her song Maman, is a heartfelt dialogue with her mother, who passed away when she was 17.

Louane describes her ensuing emptiness, filled with self-destructive behavior. The song concludes with her recounting her newfound purpose as a mother, a deeply moving tribute.

Norway’s 19-year-old Kyle Alessandro shares a similar narrative, inspired by his mother’s cancer battle and remission. His upbeat pop song, Lighter, celebrates resilience.

Klemen Slakonja, a Slovenian comedian, wrote the ballad How Much Time Do We Have Left after his wife’s bone marrow cancer diagnosis. The performance symbolically depicts the family’s disorientation.

His wife’s survival and stage presence makes this a particularly poignant performance.

This year’s Eurovision showcases a significant departure from the repetitive Eurodance anthems of the past.

Belgium’s Red Sebastian contributes an ode to all-night raves.

Where no words are needed to feel the connection / Where clocks never tick and where love is the ending.”

A fan favorite, the 90s rave influences of Strobe Lights might feel dated to some, yet the performance is impressive.

Denmark’s Sissal offers a similar style with Hallucination, reminiscent of Loreen.

Germany’s Baller, a catchy trance anthem, performed by Austrian siblings Abor & Tynna, has faced setbacks due to illness but could still make a comeback.

Iceland’s Væb present Róa, an energetic dance-rap song about rowing between Iceland and the Faroe Islands. Despite its ambitious theme, the song lacks depth.

Spain’s Melody succeeds with Run With U, a blend of house music and flamenco guitar. Azerbaijan’s entry shares a similar style.

Albania’s Shkodra Elektronike combine ethnic music and electronic sounds in Zjerm (Fire), envisioning a world of peace and harmony.

Greece’s Asteromáta, performed by Klavdia , is a haunting ballad about refugees’ connection to their homeland.

The Netherlands’ Claude, a refugee from the Democratic Republic of Congo, shares his positive outlook in the joyful C’est La Vie.

Last year’s “goth gremlin witch” Bambie Thug has inspired several similar entries.

Poland’s Justyna Steczkowska incorporates a Slavic magic spell in Gaja, a powerful performance about escaping a toxic relationship.

Marko Bošnjak‘s Poison Cake is a melodramatic response to homophobic hate he received.

Latvia’s Tautumeitas offer Bur Man Laimi (“a chant for happiness”), a captivating blend of traditional Latvian wedding songs and ethereal sounds.

Cyprus’s Theo Evan presents the enigmatic Shh, a riddle to be solved during the performance.

Czechia’s Adonxs delivers the gothic pop anthem Kiss Kiss Goodbye, confronting his absent father.

Lithuania’s Katarsis offer the downbeat rock song Tavo Akys (your eyes), a powerful statement about societal decay.

Armenia’s Parg and Serbia’s Princ contribute “Survivor” and “Mila,” respectively, though their impact remains to be seen.

Italy’s Lucio Corsi presents the glam rock ballad Volevo Essere Un Duro (I wanted to be tough), a moving anthem for those who feel like outsiders.

Portugal’s Napa delivers the 70s-inspired soft rock song Deslocado (out of place), reflecting on migration and displacement.

Ukraine’s Ziferblat‘s Bird Of Pray blends new wave, birdsong, and a familiar guitar riff, carrying a message of hope for reunification.

Israel’s Yuval Raphael‘s New Day Will Rise is a poignant ballad reflecting on loss and resilience.

Georgia’s Mariam Shengelia performs Freedom, a stirring ballad about personal freedoms, amidst controversy regarding her political affiliations.

Montenegro’s Nina Žižić tackles domestic abuse in Dobrodošli, a refined orchestral ballad.

Finally, defending champions Switzerland are represented by Zoë Më, whose song Voyage is a gentle plea for kindness.

Eurovision 2025 offers a diverse and emotionally resonant collection of songs. See you in Basel!

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Eurovision 2024: A Guide to All 37 Songs

The 2025 Eurovision Song Contest begins Sunday with a “turquoise carpet” parade featuring contestants from all 37 participating nations.

The main competition commences Tuesday with the first semi-final, eliminating five countries.

Another six will be eliminated in the second semi-final on Thursday, leading to the Grand Final in Basel, Switzerland, on Saturday, May 17th.

This year’s diverse entries include returning contestants, an opera singer, a subtly suggestive song, and a dance track about a deceased space dog.

It’s a diverse and eclectic mix.

To aid your understanding, we’ve categorized the 37 songs into broad musical genres (though, admittedly, this proved challenging).

Regardless of outcome, UK contestants Remember Monday have provided a memorable title: What The Hell Just Happened?

This high-energy pop anthem cleverly blends influences from Queen, Andrew Lloyd Webber, and The Beatles, subtly referencing Britain’s rich musical legacy.

Its eight tempo changes might pose a challenge for viewers, but the band’s strong harmonies and captivating stage presence should compensate.

Importantly, the song avoids typical Eurovision clichés of repetitive dance beats and predictable ballads—a characteristic shared with this year’s frontrunners.

Leading the pack are Swedish representatives KAJ, whose song Bara Bada Bastu, a tribute to the sauna experience, features dancers in minimal attire.

Its infectious melody has garnered praise from ABBA’s Bjorn Ulvaeus, who has shared his enjoyment of the track in his own sauna.

Strong competition comes from Austrian singer JJ and his operatic ballad Wasted Love.

This classic tale of unrequited love showcases his counter-tenor skills before unexpectedly transitioning into a techno segment.

A bookies’ favorite, its only potential weakness lies in its resemblance to last year’s winner, Nemo.

A unique entry is Ireland’s Laika Party—a 90s trance-pop anthem about a dog sent into space by Russia and left to die.

Singer Emmy attempts a positive spin on a tragic story, but despite an energetic performance, the song’s somber theme remains.

More upbeat is Luxembourg’s Laura Thorn, whose La Poupée Monte Le Son is reminiscent of France Gall’s 1965 winning entry, Poupée De Cire, Poupée De Son.

While the original focused on a “fashion doll,” Thorn’s version emphasizes empowerment. “If you think a man like you can manipulate me, go back to your mum,” she asserts.

This year’s contest features two songs celebrating Italian culture.

Unsurprisingly, the first is from San Marino.

Titled Tutta L’Italia, it celebrates Italian football, vineyards, and even the Mona Lisa.

Written by Gabry Ponte (of Eiffel 65’s Blue (Da Ba Dee) fame), it’s a blend of dance beats, accordion, and Calabrian folk dances.

However, the staging might be a drawback, with Ponte isolated behind his DJ equipment while masked singers perform.

More memorable, yet eccentric, is Estonia’s Espresso Macchiato.

Performed by Tommy Cash (featured on a Charli XCX record), it playfully caricatures Italian stereotypes, including the memorable lyric: “Life is like spaghetti, it’s hard until you make it“.

Several artists attempt suggestive lyrics, notably Malta’s Miriana Conte with her club track Serving.

The original chorus, referencing a Maltese word with a suggestive English equivalent, prompted complaints, leading to a rewrite.

While generating publicity, the song’s Europop clichés remain a concern despite Conte’s strong vocals and flamboyant performance.

Australia’s Go-Jo also uses suggestive wording in Milkshake Man, a disco-funk track.

Its catchy tune might help Australia advance to the finals after last year’s semi-final appearance.

Finland’s Erika Vikman‘s Ich Komme, described as a song about “pleasure, ecstasy, and trance,” mimics the physicality of lovemaking, evoking classic gay anthems. Its ending features Erika soaring on a large microphone.

Three contestants address the impact of cancer.

France’s Louane‘s Maman is a poignant conversation with her deceased mother. The song’s inclusion of her daughter’s voice is deeply moving.

Norway’s Kyle Alessandro‘s Lighter draws inspiration from his mother’s cancer recovery, conveying resilience.

Klemen Slakonja‘s How Much Time Do We Have Left reflects his wife’s bone marrow cancer experience, featuring a symbolic upside-down lift during the performance.

This year features a notable absence of generic Europop anthems.

Belgium’s Red Sebastian‘s Strobe Lights celebrates the liberating energy of all-night raves, despite its somewhat dated 90s rave elements.

Denmark’s Sissal‘s Hallucination evokes Loreen’s style, encouraging audience participation.

Germany’s Baller, performed by Austrian siblings Abor & Tynna, is a catchy trance anthem; Tynna’s recent recovery from laryngitis could impact its performance.

Iceland’s Væb present Róa, a dance-rap song about rowing, while Spain’s Melody offers Esa Diva, a house track with flamenco influences.

Azerbaijan’s Mamagama presents Run With U, a Maroon 5-esque pop song featuring a saz riff.

Albania’s Shkodra Elektronike offer Zjerm (Fire), fusing ethnic music with electronic sounds, promoting peace and harmony.

Greece’s Klavdia‘s Asteromáta is a poignant ballad about refugees’ connection to their homeland.

The Netherlands’ Claude‘s C’est La Vie is a joyful tribute to his mother, blending chanson and zouk.

Several entries echo the gothic pop style of last year’s Bambie Thug.

Poland’s Justyna Steczkowska‘s Gaja incorporates a Slavic spell, accompanied by a dynamic performance.

Croatia’s Marko Bošnjak‘s Poison Cake is a melodramatic response to homophobic attacks.

Latvia’s Tautumeitas offer Bur Man Laimi (“a chant for happiness”), a captivating blend of traditional Latvian wedding songs.

Cyprus’ Theo Evan‘s Shh is a riddle-like song, its meaning to be revealed during the performance.

Czechia’s Adonxs delivers Kiss Kiss Goodbye, a gothic pop song exploring themes of paternal absence.

Lithuania’s Katarsis present Tavo Akys (your eyes), a downbeat rock song about societal decay.

Armenia’s Parg‘s Survivor and Serbia’s Princ‘s Mila are strong performances but may face semi-final elimination.

Eurovision’s rock revival continues with Italy’s Lucio Corsi‘s glam rock ballad Volevo Essere Un Duro (I wanted to be tough).

Portugal’s Napa‘s Deslocado (out of place) is a soft rock song about migration.

Ukraine’s Ziferblat‘s Bird Of Pray is a unique blend of 70s new wave, birdsong, and a familiar guitar riff.

Israel’s Yuval Raphael‘s New Day Will Rise is a poignant ballad reflecting recent events in Gaza.

Georgia’s Mariam Shengelia‘s Freedom has faced controversy due to alleged political affiliations.

Montenegro’s Nina Žižić tackles domestic abuse in Dobrodošli, an orchestral ballad.

Defending champions Switzerland’s Zoë Më‘s Voyage is a gentle plea for kindness, automatically qualifying for the final.

Eurovision 2025 showcases a wide spectrum of musical styles and personal narratives. See you in Basel!

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Eurovision 2024: A Guide to All 37 Songs

The 2025 Eurovision Song Contest kicks off this Sunday with a “turquoise carpet” parade showcasing acts from all 37 participating nations.

However, the real competition begins on Tuesday with the first semi-final, where five nations will be eliminated.

A further six will face elimination in the second semi-final on Thursday, leaving the finalists to compete in the Grand Final in Basel, Switzerland, on Saturday, May 17th.

This year’s diverse entries include returning artists, an opera singer, a subtly suggestive song, and a dance track dedicated to a deceased space dog.

It’s a truly eclectic mix.

To aid your preparation, we’ve compiled a guide to all 37 songs, categorized loosely by genre (though this proved somewhat challenging).

Regardless of the outcome, the UK’s entry, Remember Monday, with their aptly titled song, What The Hell Just Happened?, has certainly provided memorable headlines.

This high-energy pop anthem cleverly incorporates elements of Queen, Andrew Lloyd Webber, and the Beatles, perhaps aiming to evoke Britain’s rich musical legacy.

Its eight tempo changes might pose a challenge for viewers, yet the band’s strong harmonies and engaging personalities are likely to win them favor.

Importantly, the song avoids typical Eurovision clichés of relentless dance beats and overly dramatic ballads, a characteristic shared with several frontrunners this year.

Among the top contenders are Sweden’s KAJ, with their sauna-inspired anthem, Bara Bada Bastu, featuring dancers in minimal swimwear.

Its infectious melody has even earned the praise of ABBA’s Bjorn Ulvaeus, who has reportedly been singing it in his personal sauna.

Strong competition comes from Austrian singer JJ and his operatic ballad, Wasted Love.

This classic tale of unrequited love showcases his counter-tenor voice before unexpectedly transitioning into a techno breakdown.

A bookies’ favorite, its main weakness lies in its resemblance to last year’s winner, Nemo.

Offering a unique contrast is Ireland’s entry, Laika Party – a 90s-inspired trance-pop anthem about a dog sent into space by Russia and left to perish.

Singer Emmy attempts an optimistic interpretation of this tragic tale, yet despite an energetic performance, it retains a melancholic undertone.

More upbeat is Luxembourg’s Laura Thorn, whose La Poupée Monte Le Son pays homage to France Gall’s 1965 winning song, Poupée De Cire, Poupée De Son.

While the original depicted a “fashion doll,” Thorn’s version emphasizes empowerment, with lyrics like “If you think a man like you can manipulate me, go back to your mum.”

This year’s contest features two entries celebrating Italy’s rich culture.

Unsurprisingly, one originates from San Marino, the independent microstate within Italy.

Entitled Tutta L’Italia, it celebrates Italian football, vineyards, and even the Mona Lisa (Gioconda).

Written by Gabry Ponte (of Eiffel 65’s Blue (Da Ba Dee) fame), it’s a lighthearted blend of dance beats, accordion, and Calabrian folk dances.

However, the staging might be a drawback, with Ponte isolated behind his DJ decks while masked, anonymous singers perform.

More memorable, yet unconventional, is Estonia’s Espresso Macchiato.

Performed by Tommy Cash (who has notably collaborated with Charli XCX), it’s a playful, albeit somewhat exaggerated, portrayal of Italian stereotypes, including the memorable lyric: “Life is like spaghetti, it’s hard until you make it“.

While aiming to avoid innuendo, Eurovision’s entries present several suggestive themes.

Three artists notably push boundaries, starting with Malta’s Miriana Conte and her pulsating club track, Serving.

The original chorus, featuring the Maltese word “kant” (singing), also sounded similar to a suggestive English term, prompting complaints and a subsequent rewrite.

While generating publicity, the controversy hasn’t diminished Miriana’s impact; her flamboyant performance with a giant disco ball is undeniably captivating, despite the song’s Europop clichés.

Australia’s Go-Jo also employs wordplay in Milkshake Man, inviting listeners to “take a sip” from his “special cup,” leaving the interpretation to the audience.

With its blend of Electric Six-inspired disco funk, the song is catchy enough to potentially return Australia to the finals after last year’s semi-final appearance.

Finally, Finland’s Erika Vikman‘s song, Ich Komme, is described as a “joyous message of pleasure, ecstasy and a state of trance”.

Mirroring the physicality of intimacy, it evokes classic gay anthems like Kylie’s “Your Disco Needs You” and Donna Summer’s “Hot Stuff,” culminating in Erika soaring into the air on a large golden microphone.

The devastating impact of cancer is poignantly addressed in three songs this year.

French singer Louane masterfully captures this in Maman, a heartfelt conversation with her deceased mother.

Over three verses, Louane describes her grief and subsequent self-destructive behavior, ultimately finding solace in motherhood.

Her moving performance, culminating in her daughter’s voice, is deeply affecting.

Norway’s 19-year-old Kyle Alessandro shares a similar narrative, inspired by his mother’s cancer battle and recovery. His upbeat pop song, Lighter, celebrates resilience.

Klemen Slakonja, a Slovenian comedian, wrote his ballad, How Much Time Do We Have Left following his wife’s bone marrow cancer diagnosis. His performance dramatically portrays the family’s disorientation.

His wife’s recovery and presence on stage make this a deeply moving performance.

This year’s lineup defies the typical Eurovision dance anthem, with numerous club bangers.

Belgium’s Red Sebastian (named after the crab from The Little Mermaid) presents an all-night rave anthem, Strobe Lights.

While its 90s rave influences might feel dated to some, the meticulous choreography enhances the performance.

Denmark’s Sissal offers a similar sound with Hallucination, reminiscent of Loreen’s style.

Germany aims for a strong showing with Baller, a catchy trance anthem suitable for Berlin’s Berghain.

Performed by Austrian siblings Abor & Tynna, the song’s potential was initially hampered by Tynna’s laryngitis, affecting pre-Eurovision appearances, but her recovery could boost its ranking.

Iceland’s Væb present Róa, a dance-rap song about rowing from Iceland to the Faroe Islands.

Spain’s Melody offers Run With U, a house track with flamenco influences, while Azerbaijan’s Mamagama delivers a Maroon 5-esque pop song.

Albania’s Shkodra Elektronike fuse ethnic music with electronic sounds in Zjerm (Fire), envisioning a world of peace and harmony.

Greece’s Asteromáta, performed by Klavdia, is a haunting ballad about refugees’ connection to their homeland.

The Netherlands’ Claude, a Congolese refugee, presents C’est La Vie, a joyful tribute to his mother, blending chanson and zouk.

Following last year’s success of Bambie Thug, several artists emulate the goth aesthetic.

Poland’s Justyna Steczkowska incorporates a Slavic spell in Gaja, a powerful performance featuring a violin solo and dramatic staging.

Croatia’s Marko Bošnjak responds to homophobic hate with Poison Cake, a melodramatic song with synth and chants.

Latvia’s Tautumeitas present Bur Man Laimi (“a chant for happiness”), a captivating blend of traditional Latvian wedding songs.

Cyprus’ Theo Evan offers the enigmatic Shh, with its hidden meaning to be unveiled during the performance.

Czechia’s Adonxs presents Kiss Kiss Goodbye, a gothic pop song confronting paternal absence.

Lithuania’s Katarsis offer a downbeat rock song, Tavo Akys (your eyes), expressing societal decay.

Armenia’s Parg presents the Imagine Dragons-esque Survivor, and Serbia’s Princ offers the ballad Mila.

Eurovision’s rock revival continues with Italy’s Lucio Corsi and his glam rock ballad, Volevo Essere Un Duro (I wanted to be tough), a poignant anthem for those who feel like outsiders.

Portugal’s Napa present Deslocado (out of place), a soft rock song reflecting on migration.

Ukraine’s Ziferblat offer Bird Of Pray, a unique blend of 70s new wave, birdsong, and a familiar guitar riff, expressing hope for reunification.

Israel’s Yuval Raphael presents New Day Will Rise, a moving ballad reflecting on loss and resilience following the 2023 Nova music festival attack.

Georgia’s Mariam Shengelia performs Freedom, a powerful ballad emphasizing personal freedoms, despite facing criticism.

Montenegro’s Nina Žižić addresses domestic abuse in Dobrodošli, an orchestral ballad.

Finally, Switzerland’s Zoë Më, automatically qualified for the final, presents Voyage, a gentle plea for kindness.

Eurovision 2025 truly showcases a vast spectrum of human experiences. See you in Basel!

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