Sun. Jun 8th, 2025
Eurovision 2025: Top 5 Frontrunners

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.

Are you hosting a Eurovision party? Click here or use the form below to share your celebrations.

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BBC drama The Bombing of Pan Am 103 is also released, and Peter Andre’s film Jafaican is coming out.

Eurovision 2025: Top 5 Frontrunners

The Eurovision Song Contest culminates in its grand final on Saturday night in Basel, with 26 nations vying for the prestigious glass microphone trophy.

This year’s competition presents a less predictable landscape than recent years, unlike the foregone conclusions of Loreen’s (Sweden, 2023) and Kalush Orchestra’s (Ukraine, 2022) victories.

Bookmakers currently favor Sweden, with their quirky sauna-themed entry, “Bara Bada Bastu,” at the top of the charts.

However, a novelty act has yet to claim victory. Historically, voters gravitate towards songs celebrating resilience and powerful pop anthems.

Ideally, the winning formula combines a compelling pop anthem with a narrative of overcoming adversity—a combination present in several of tonight’s performances.

We spoke with five leading contenders to uncover the unique elements of their Eurovision entries.

KAJ mark a first for Finland, representing Sweden at Eurovision. Hailing from Vörå, a coastal town where Swedish remains the primary language,

this comedic troupe, formed during their school years, has performed together for over 15 years. They emerged as surprise victors in Sweden’s Melodifestivalen, the national Eurovision selection process.

Their song, “Bara Bada Bastu,” is an accordion-driven homage to sauna culture (Finland boasts over three million saunas, a ratio of one for every two people).

“It felt natural to sing about,” says Kevin Holmström. “We genuinely love the sauna; it’s universally relatable.”

The first Swedish-language entry since 2012, the song emphasizes the sauna’s stress-relieving benefits. Could this explain Finland’s consistent ranking as the world’s happiest nation?

“It’s a chicken-and-egg scenario,” laughs Jakob Norrgård. “I’m unsure which came first, happiness or the sauna, but saunas undeniably lower your heart rate.”

The trio has recreated a sauna on the Eurovision stage, complete with birch branches, hot coals, and dancers in minimal attire. The lyrics pose the question, “how long can you last?”.

“Oh, we can extend it all evening,” confirms Jakob. “A sauna party that lasts for hours.”

“I prefer longer sessions with breaks,” says Axel Åhman. “Two to three hours, with intervals to hydrate, perhaps a sausage, then back in—a relaxing and extended experience.”

How does Finland feel about this trio representing their neighbor and Eurovision rival?

“Finns appreciate a good deal, so this is fantastic,” laughs Jakob.

“Sweden covers the costs, but it’s a Finnish win as well.”

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, performing as 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 dramatic ballad showcasing his counter-tenor, infused with EDM elements.

Onstage, he performs in a makeshift sailboat, clinging to the mast as the ocean threatens to engulf him. It’s a captivating performance demanding meticulous preparation.

“That’s the opera singer in me; I practice daily,” he says. “Vocal warm-ups are crucial, and before each performance, I do ten push-ups and a minute of planks.”

Reaching the Eurovision final has been a lifelong dream, ignited by Conchita Wurst’s Austrian victory in 2014. Could he replicate that success in Switzerland?

“That would be incredible for Austria. I’d love to achieve that, to make Conchita—who I consider my mother—proud.”

“I’m surrounded by a sandstorm, a sand tornado, and I’ll be wearing a custom Rabanne dress.”

French singer Louane describes the striking, yet simple, staging for her ballad, “Maman.”

The sand is real (how she avoids inhalation remains a mystery), symbolizing the song’s theme of time’s passage, inspired by her mother’s passing from cancer.

“It conveys that even through profound sadness and pain, healing is possible,” she says.

“Maman” serves as a sequel to her 2015 song of the same name, written during her deepest despair. “I’ve lost my taste for fun / I can’t find meaning,” she sang then.

The 2025 version subtly references the original. For instance, the original began with “Lovers move from bed to bed,” updated to “No more lovers, no more beds.”

Motherhood helped Louane overcome her grief.

The song recalls holding her daughter’s hand, mirroring memories with her mother—but without the accompanying pain.

In “Maman’s” closing moments, we hear 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, bring home the trophy!’

“She’s adorable.”

The Netherlands initially approached last year’s participant, Joost Klein—disqualified after an alleged altercation with a cameraman—to return in 2025.

Despite having a song prepared, he declined, citing the lingering sting of his disqualification.

Instead, 21-year-old Claude Kiambe, who immigrated to the Netherlands from the Democratic Republic of Congo at age nine, received the opportunity.

“Congo wasn’t always safe,” he says. “I couldn’t afford school… and I love school.”

His mother eventually smuggled the family out, and his Eurovision song is dedicated to her.

Titled “C’est La Vie,” it’s a vibrant fusion of Afropop and French chanson, echoing the advice his mother gave him and his siblings in the Alkmaar asylum center.

“She’d say, ‘C’est la vie. Life is beautiful, even when it’s hard.'”

“When I heard about Eurovision, I thought, ‘I want to share that message with the world.'”

“I deeply respect her. She battled through life, and we’re still here.”

Claude enjoys a slight advantage, known across Europe for his 2022 hit “Ladada.” However, Eurovision requires a new skill: choreography.

“I only knew one dance move, but while writing the song, I decided to push my boundaries 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 perform it in my sleep.”

Ask Erika Vikman to describe her song, and she’s forthright.

“It’s about orgasm.”

Packed with driving techno beats and what seems to be a Welsh male choir, it’s destined for Eurovision lore, regardless of its final placing.

Vikman, once Finland’s tango queen, transitioned to pop, “because tango doesn’t allow for much wildness.”

Citing Madonna, Cher, and Lady Gaga as influences, she’s among the few solo performers without dancers.

“Why? Because I’m selfish!” she laughs. “I crave the spotlight.”

“No, it’s because onstage, I feel like a rock star. I don’t need dancers; it’s about owning my power and self.”

She certainly commands the stage—concluding atop a giant, fire-breathing gold microphone, hoisted into the air.

However, keen viewers will note a less revealing costume than her Uuden Musiikin Kilpailu (Finland’s selection show) attire.

“They said it wouldn’t pass unless we toned something down,” she says, “and my outfit was suggested.”

“So I agreed. If that’s the price, we’ll cover my bottom.”

But she’s not pleased.

“The song is about embracing sexuality, then someone controls me, saying, ‘You’ll corrupt children.’ It’s a double standard.”

Censorship aside, Vikman’s odds improved significantly after a powerful semi-final performance.

“I sense it,” she smiles. “I could be the dark horse.”

Following Thursday’s semi-final, the UK’s Remember Monday saw their odds rise—somewhat.

Initially predicted for 17th, they’re now aiming for 11th.

But the trio—the first UK girl group since 1999—are determined to enjoy the experience, regardless of the result.

“It’s all surreal, beyond our wildest dreams,” says singer Lauren Byrne.

“It sounds cliché, but it’s everything we’ve always wanted,” adds bandmate Charlotte Steele. “Who gets to perform their music with their best friends to millions? It’s insane.”

“And,” Lauren continues, “if we do poorly, we’ll keep returning until we win.”

In their favor, Remember Monday’s performance is upbeat and fun, reflecting their musical theatre backgrounds. There’s a dress-ripping homage to Bucks Fizz, and their live harmonies are exceptional.

“They’re incredibly experienced,” says Ace Bowerman, creative director for Dua Lipa and Blackpink, who designed their staging.

“Their performance is constantly engaging, drawing the audience in. The goal is to create an energy that makes people want to be part of the band.”

Perhaps Remember Monday’s chances have been underestimated due to the unproven nature of West End show tunes at Eurovision—but the UK’s Eurovision history isn’t encouraging.

We await the outcome with bated breath.

Hosting a Eurovision party? Click here or use the form below to share your celebrations.

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Eurovision 2025: Top 5 Frontrunners

The Eurovision Song Contest culminates in its grand final this Saturday night in Basel, Switzerland, with 26 nations vying for the prestigious glass microphone trophy.

This year’s competition presents a less predictable outcome compared to recent years, unlike the preordained victories of Loreen (Sweden, 2023) and Kalush Orchestra (Ukraine, 2022).

Currently, bookmakers favor Sweden, with their eccentric sauna-themed song, “Bara Bada Bastu,” at the top of the leaderboard.

However, a novelty act has never secured victory. Historically, voters demonstrate a preference for songs conveying triumph over adversity, alongside powerful pop anthems.

Ideally, the winning entry combines an impactful pop anthem with a narrative of overcoming adversity—a formula represented by several entries in tonight’s lineup.

We interviewed five top contenders to explore the unique elements of their Eurovision submissions.

KAJ mark the first Finnish act representing Sweden at Eurovision, originating from Vörå, a coastal town where Swedish remains the primary language.

This comedic trio, school friends performing together for over 15 years, surprisingly won Sweden’s Melodifestivalen—the national selection process—earlier this year.

Their song, “Bara Bada Bastu,” is an accordion-driven tribute to sauna culture (Finland boasts over three million saunas, a ratio of one for every two people).

“It felt natural to sing about,” explains Kevin Holmström. “We genuinely enjoy saunas; it’s a universal experience.”

The first Swedish-language entry since 2012, the song celebrates 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 situation,” laughs Jakob Norrgård. “I’m unsure what came first, happiness or saunas, but saunas certainly lower your heart rate.”

The trio has recreated a mock sauna on the Eurovision stage, complete with birch branches, hot coals, and dancers in minimal attire. Their lyrics pose the question: “How long can you last?”

“Oh, we can make it last all evening,” confirms Jakob. “A sauna party that extends for hours.”

“I prefer longer sessions with breaks,” adds Axel Åhman. “Two to three hours, entering and exiting, enjoying drinks, perhaps a sausage outside, then returning—for a relaxing and extended experience.”

Regarding Finland’s perspective on their neighboring nation’s representation,

“Finns appreciate a good deal, so this is excellent,” laughs Jakob.

“Sweden covers all the costs, yet it’s a win for Finland too.”

Austria boasts the year’s most captivating opening couplet: “I’m an ocean of love / And you’re scared of water.

“It reflects my personal experience with unrequited love,” explains singer Johannes Pietsch, performing as JJ. “It felt like a one-way street.”

The 24-year-old balances his Eurovision participation with his role at the Vienna State Opera, featuring in productions like “The Magic Flute” and “Death in Venice.”

“A sold-out opera show accommodates 1,600, insignificant compared to Eurovision’s audience,” he notes (last year’s broadcast reached 163 million viewers).

Pietsch’s song, “Wasted Love,” is a powerful ballad showcasing his counter-tenor voice with an EDM fusion.

His on-stage performance involves a precarious sailing boat, clinging to the mast as the ocean threatens to engulf him. This visually arresting performance demands significant preparation.

“That’s the opera singer in me; I practice daily,” he says. “I perform vocal warm-ups to maintain vocal agility, and pre-performance, I do ten push-ups and a one-minute plank.”

Reaching the Eurovision final has been a lifelong dream since witnessing Conchita Wurst’s Austrian victory in 2014. Could he replicate that success in Switzerland?

“That would be incredible for Austria. I’d love to achieve that. I consider Conchita a mentor; I’d be honored 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, a theme inspired by her mother’s passing from cancer.

“It’s a song expressing that even through profound sadness and pain, eventual peace can be found,” she explains.

“Maman” serves as a sequel to her 2015 song of the same name, written amidst her despair. “I’ve lost my taste for fun / I can’t find meaning,” she sang then.

The 2025 version subtly references the original. For instance, the original opened with “Lovers move from bed to bed,” while the updated version features “No more lovers, no more beds.”

Motherhood helped Louane overcome her grief.

The song evokes the memories of her mother’s hand-holding, but this time, devoid of painful remembrance.

In “Maman’s” closing moments, we briefly hear 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.”

“She’s just adorable.”

The Netherlands initially invited last year’s disqualified entrant, Joost Klein (following an alleged altercation with a camera operator), to return in 2025.

Despite having composed a song, he declined, stating his disqualification remains painful.

Instead, 21-year-old Claude Kiambe, who immigrated to the Netherlands from the Democratic Republic of Congo at age nine, received the honor.

“Congo wasn’t always safe,” he recounts. “I couldn’t afford school… and I love school.”

His mother successfully smuggled the family out, and his Eurovision song is dedicated to her.

Titled “C’est La Vie,” it’s a vibrant fusion of Afropop and French chanson, echoing the advice his mother gave him and his siblings in an Alkmaar asylum center.

“She’d say, ‘C’est la vie. Life is beautiful, even when challenging.'”

“When I learned about Eurovision, I thought, ‘If I participate, I want to share that message globally.'”

“I deeply respect her. She battled life’s hardships, and we’re still here.”

Claude enjoys a slight advantage, recognized across Europe for his 2022 hit “Ladada.” However, Eurovision required a new skill: choreography.

“I only knew one dance move before, but while writing the song, I realized, ‘It’s time to leave my comfort zone and dance.'”

He estimates mastering the choreography took three days. “We started at 11 am and finished at 9 pm. I wanted to know it so well I could perform it in my dreams.”

Erika Vikman’s song description is blunt.

“It’s about orgasm.”

Featuring pounding techno beats and what seems to be a Welsh male choir, it’s destined for Eurovision lore, regardless of its final placement.

Vikman, once Finland’s tango queen, transitioned to pop, “because I can’t be very wild with that type of music.”

Citing Madonna, Cher, and Lady Gaga as influences, she’s among the few solo performers without dancers.

“Why? Because I’m selfish!” she laughs. “I crave attention.”

“No, it’s because on stage, I feel like a rock star, and then I don’t need dancers; it’s about owning my power and self.”

She commands the stage—concluding atop a giant, fire-spitting gold microphone, lifted into the air.

However, observant viewers might notice a less revealing costume than her Finnish selection show, Uuden Musiikin Kilpailu.

“They said it wouldn’t be approved unless we toned something down,” she explains, “and my outfit was suggested.”

“So I agreed, ‘Fine, if that’s the price, we’ll cover my bottom.'”

She’s not entirely pleased.

“The song’s about embracing sexuality, then someone dictates, ‘You’ll corrupt children watching.’ It’s a double standard.”

Censorship aside, Vikman’s winning odds significantly improved after a stunning semi-final performance.

“I have a feeling,” she smiles. “I could be the dark horse.”

Following Thursday’s semi-final, the UK act Remember Monday saw an odds increase… slightly.

Initially predicted for 17th, they’re now aiming for 11th.

However, the trio—the first UK girl band since 1999—are determined to enjoy the experience, regardless of the outcome.

“This is surreal, beyond our wildest dreams,” says singer Lauren Byrne.

“It sounds cliché, but it’s everything we’ve ever wanted,” adds bandmate Charlotte Steele. “Who gets to perform their music with their best friends to millions? It’s incredible.”

“And,” Lauren continues, “if we do poorly, we’ll keep returning until we win.”

Their upbeat performance, influenced by their musical theatre backgrounds, works in their favor. There’s a dress-ripping homage to past UK winners Bucks Fizz, and their live harmonies are exceptional.

“They possess immense experience,” comments Ace Bowerman, a creative director for Dua Lipa and Blackpink, who designed their staging.

“Their performance is constantly engaging, drawing the audience in. We aimed to create an energy where people want to be part of this band.”

Perhaps Remember Monday’s odds were underestimated due to West End show tunes being untested at Eurovision—but the UK’s Eurovision history isn’t promising.

We’ll await the results.

Are you hosting a Eurovision party? Click here or use the form below to share your celebrations.

Also noteworthy: the BBC drama “The Bombing of Pan Am 103” premieres, and Peter Andre’s film “Jafaican” is released.

A nail-biting finish saw Austrian singer JJ claim victory in Switzerland at the very last moment.

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Remember Monday’s Eurovision hopes fell short, finishing in 19th place. What went wrong?

Austrian counter-tenor JJ triumphs with “Wasted Love,” but the UK receives zero public votes.