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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