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.
Currently, bookmakers favor Sweden, with their quirky sauna-themed entry, “Bara Bada Bastu,” at the top of the charts.
However, a novelty act has never claimed victory. Historically, voters gravitate towards songs celebrating resilience and powerful pop anthems.
Ideally, the winning combination is a compelling pop anthem about overcoming adversity—and several entries in tonight’s lineup fit that description.
We interviewed five top contenders to uncover the distinctive elements of their Eurovision bids.
KAJ marks the first Finnish act representing Sweden in Eurovision, hailing from Vörå, where Swedish remains the primary language.
This comedy troupe, formed during their school years, boasts over 15 years of collaborative performance experience. They unexpectedly triumphed at Sweden’s Melodifestivalen, the public selection for the nation’s Eurovision entry, earlier this year.
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 saunas. It’s a universal experience.”
The first Swedish-language entry since 2012, the song highlights 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 situation,” laughs Jakob Norrgård. “I’m unsure what came first, happiness or saunas, but saunas undeniably 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. The lyrics pose the question: “How long can you last?”
“Oh, we can extend it all evening,” confirms Jakob. “A sauna party lasting hours.”
“I prefer multiple intervals,” adds Axel Åhman. “Two to three hours, entering and exiting, enjoying refreshments, perhaps a sausage outside, then returning—for a relaxed, extended session.”
And how does Finland perceive their neighbors and Eurovision rivals representing them?
“Finns appreciate a good deal, so this is fantastic,” laughs Jakob.
“Sweden covers all the expenses, yet it’s a Finnish victory 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 personal experience with unrequited love,” explains singer Johannes Pietsch, performing as JJ. “It felt like traversing a one-way street.”
The 24-year-old juggles Eurovision with his role at the Vienna State Opera, appearing in productions like “The Magic Flute” and “Von der Liebe Tod.”
“A sold-out opera show accommodates 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 an EDM twist.
Onstage, he performs within a dilapidated sailboat, clinging to the mast as the ocean threatens to engulf him. It’s a captivating performance demanding significant preparation.
“That’s the opera singer in me; I practice daily,” he says. “Vocal warm-ups maintain vocal readiness, and pre-performance, I always do ten push-ups and one-minute planks.”
Reaching the Eurovision final has been a lifelong dream since witnessing Conchita Wurst’s victory for Austria in 2014. Could he replicate that success in Switzerland?
“That would be amazing for Austria. I’d love to achieve that. I consider Conchita my mother figure; I’d be thrilled 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 conveying that even through sadness and profound pain, you can eventually feel at peace,” she shares.
“Maman” serves as a sequel to a 2015 song of the same name, penned during Louane’s despair. “I’ve lost my taste for fun / I can’t find meaning,” she sang then.
The 2025 version incorporates callbacks to the original. For instance, the original opened with “Lovers move from bed to bed,” while the update features “No more lovers, no more beds.”
Motherhood helped Louane overcome her grief.
The song recounts how holding her daughter’s hand evoked memories of her mother doing the same—this time, without the accompanying pain.
The closing bars of “Maman” briefly 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.
“She’s just adorable.”
The Netherlands initially invited last year’s entrant, Joost Klein—barred from the final after an alleged altercation with a camera operator—to return in 2025.
Despite having already composed a song, 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 honor.
“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 challenging.'”
“When I heard about Eurovision, I thought, ‘If I go, 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, being known throughout Europe for his 2022 hit “Ladada.” However, Eurovision required a new skill: choreography.
“I only knew one dance move, but while writing the song, I realized, ‘It’s time to push my boundaries and dance.'”
He estimates mastering the choreography took three days. “We started at 11 a.m. and finished at 9 p.m. I wanted to know it so well that I could do it in my sleep.”
Ask Erika Vikman to describe her song, and she doesn’t mince words.
“It’s about orgasm.”
Packed with driving techno beats and what sounds like a Welsh male voice choir, it’s destined to become Eurovision folklore, regardless of its final placement.
Vikman, once celebrated as Finland’s tango queen, transitioned to pop, “because I can’t be very wild with that genre.”
Citing Madonna, Cher, and Lady Gaga as inspirations, she’s among the few solo performers without dancers.
“Why? Because I’m selfish!” she laughs. “I crave attention.”
“No, it’s because onstage, 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 her performance atop a giant, fire-breathing gold microphone, hoisted into the air.
However, eagle-eyed viewers might notice her costume is less revealing than her attire at Finland’s Uuden Musiikin Kilpailu selection show.
“They said it wouldn’t be approved unless we toned down something,” she explains, “and my outfit was suggested.”
“So I agreed. If that’s the price, we’ll cover my bottom.”
But she’s not entirely pleased.
“The song’s about embracing sexuality, and then someone controls me, saying, ‘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, UK act Remember Monday saw their odds rise… slightly.
Initially predicted for 17th, they now aim for 11th.
But the trio—the first girl group representing the UK since 1999—is 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 listen,” says Lauren, “if we do poorly, we’ll keep returning until we win.”
In their favor, Remember Monday’s performance is upbeat and fun, drawing on their musical theatre backgrounds. There’s a dress-ripping homage to former UK winners Bucks Fizz, and their live harmonies are superb.
“They possess immense experience,” notes Ace Bowerman, a creative director for Dua Lipa and Blackpink, who designed their staging.
“Their performance is consistently engaging, drawing the audience in. The goal is to create an energy that makes people want to be part of this band.”
Perhaps fans underestimated Remember Monday due to West End show tunes being untested at Eurovision—but the UK’s track record isn’t encouraging.
We’ll have to wait and see what unfolds.
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