Eurovision 2025 Review: Wasted Love

What the hell just happened? We know, don’t we. We even saw it coming. A new day will rise? It looks like the days are rather numbered. And soon the love for Eurovision will turn out to be a Wasted Love. Wake up, EBU. Wake. Up.

Opening statement

“It’s a nice mission statement, isn’t it? United By Music. It’s the shortest and ultimate description of the reason why Eurovision exists, and it’s sad to realize that even after 67 years it has to be stated this explicitly.” That’s an excerpt from my blog opening in the past two years, and sadly it somehow sounds even more bitter in 2025. Especially because it’s become some kind of sad excuse. People are claiming that Eurovision is an event that connects and builds bridges, so we should allow everyone to be there. To me that is reverse logic: building bridges includes drawing lines that should not be crossed. Especially when certain countries are using this peaceful platform in a way that equals blatant propaganda, while they keep committing active war crimes. This is bigger than our bubble, people. So to all the ostriches out there, putting heir heads in the sand and murmuring that it’s all about the music: no, it’s not. If you were shocked about how that voting almost turned out: wake the fuck up. Eurovision was built on a vision of peaceful collaboration, which is inherently political. Anything that threatens that vision should be excluded. Simple as that.

Anyway. Let’s review this edition, before we carry the Contest to its inevitable grave.

The hosts

Absolutely adored the combination of the happy & joyful Sandra and the dry & witty Hazel in the semi’s – down to their fabulous yet quirky fashion choices. They totally did not need the company of a third host on Saturday. Not only because Michelle didn’t really vibe with either of them, she also didn’t vibe with the Contest – she felt like she belonged on the San Remo stage, tbh. Gorgeous statuesque woman, but we need more than aesthetics to make the pieces of the puzzle fit.

The show

The final felt more formatted than ever before, which is saying something, and the script was very unsurprising. It works, but up until a certain point – and that point is about 23.30h at night because sweet Jebus this thing keeps on dragging out longer and longer despite multiple promises over multiple years to try and keep the run time under control. Scrap three interval acts and we can talk again.

The stage felt gargantuous once more, after the nice change of pace in Malmö, despite the rather limited space that Basel offered. Agreed, the frame was an excellent addition to the design but surely it could have been integrated in a different way? The stage really makes some of the performers feel teeny tiny and lost. Great use of the LED screens however. I do feel that production is getting more and more lost in visual trickery, a return to putting function over form might be in order.

The postcards were delightfully oldskool. Not too overly complicated in concept or execution, just a nice clear combo of the artist and a local highlight. Nailed it.

The interval acts brought a nice combo of melancholy, humor and a local flavor but as I stated above: high time to axe at least two or three of them to cut down on the running time. Nobody needs almost an hour to make up their minds on who to vote for, especially since the switch to the ‘start voting as soon as the show opens’ concept.

The voting

I don’t think I’ve ever heard the collective sigh of an entire continent before. So, thanks for the experience I guess?

Also: Estonia?! Wowza.

The songs

Now for the main course: the songs! What tickled my fancy…and what didn’t? As usual, the live versions delivered different results than what the previews held in store! Here are the countries that didn’t manage to sneak their way into the Dimivision top ten:

26. ISRAEL – I hate that I have to keep repeating myself, but I won’t stop until I no longer have to. Kick them out, EBU. Show us you’re not cowards and that money doesn’t rule everything. Choose humanity instead. Take a stand. Or risk seeing Eurovision perish like so many Palestinians.  #ceasefirenow #stopthegenocide

25. SAN MARINO – Makes zero sense and it puts the NO in San Marino. It’s such a football/soccer anthem I could die. But I’d rather kill it with fire instead.

24. ESTONIA – Yeah, I’m really loving the actual scoreboard this year, aren’t I? Listen, I gét that people fell and are falling massively for this. And I do have to admit that the chorus is insanely catchy. And I did appreciate the silliness of the serious-but-not-that-serious bodyguards. The entire thing just really isn’t my cup of tea coffee.

23. NORWAY – “Nothing can burn me now”…except your own vocals, dear. I had a bit of a hard time sitting through this, tbh. The vocals were wobbly at best, and the catchy chorus only partly made up for it. Still impressed by all of the dancing in thàt outfit though.

22. ICELAND – This worked much better as a Semi Final opener, not gonna lie. Absolutely loved the way this was choregraphed, lots of quirky little moments that really suited the devil-may-care vibe of the song. But speaking of: this is really a smidge too Junior Eurovision meets Moose Bar to get in my good books. But it was fun, I’ll admit.

21. FRANCE – This is just so fucking cheesy, I can’t stand it – up until the last ‘maman’ by her daughter. Touching to many, I’m sure. I did love the visual presentation, much as it was a tad silly and OTT. The fact that it took so long to set up and break down however… Whatever happened to ‘trying to limit the duration of the show’? Oh right, France is one of the big 5. Forgot for a second. Anyway, quite happy this didn’t do nearly as well as some polls/people predicted.

20. PORTUGAL – The reverse of France. Kinda digg the studio version of the song, it’s super laidback and ideal for that first coffee on a Sunday morning. And this was always going to be difficult to stage, but that awkward walking around… that was a choice. I kinda loved that it made the final however, just for variety’s sake.

19. POLAND – Aerobics, chanting, long notes, playing the violin, projections of a dragon while she’s pretending to fly… Everything but the kitchen sink…and an actual song. As a piece of entertainment it was…entertaining enough. But as a song in a competition? Too much style, too little substance.

18. MALTA – You guys (m/f/x), I swear it sounds like she’s singing ‘no anal beads’ in the song and to be fair: it would totally make sense in this setting. Much like Poland, this is throwing EVERYTHING at it and that includes the kitchen sink. Like Alaska says: everything must be leopard print. It’s just so frikking slutty. I kinda love it and hate it for that, because wowza. Do you think they watched the UK’s performance last year and said: let’s multiply that by 100? Either way: it’s fierce, but it’s also kinda flat. Because that song…it never really gets going, does it? It’s like blowing up a balloon, only to let the air out again. Serving can’t…be bothered.

17. SWEDEN – Never really saw this as a potential winner in Basel and as soon as the semi happened I knew it wouldn’t happen. It fell a bit flat and I don’t think all of the tongue-in-cheekness actually came across. The boys weren’t to blame, the overly charged choreography on the other hand… I feel like a bit less would have ended up being more. Still insanely catchy, obviously – but a tad too campfire and not enough fireworks. But kudos to Sweden for finally sending something different anyway.

16. SPAIN – Those first 30 seconds are so amazeballs, especially the dramatic visual approach, I was ready to completely fall for this… And then we got the costume change and the wrinkly red curtains…not to mention a crude change in tempo, choreo and shouting. It’s divalicious alright, but giiiiirl: take it down just a notch or two and let the room take it all in. I know – what am I even asking of her? *dramatic Telenovela fourth wall breaking stare*

15. ARMENIA – Difficult to grade as I was somewhat distracted by the torso, which was of course exactly the point of this performance. The song was always a bit too much of a mixture of Imagine Dragons and (sounds familiar) a football theme, so of course they needed *cue Legolas voice* a diversion. And as much as my hormones said YES, the overdose of posing was a lot to take in. We get it, you’re a (wannabe) tough cookie. But maybe tone down the Andrew Tate-ness of it all. (Now DM me for further flirtation, if you please sir.)

14. AUSTRIA – Is it a worthy winner? Beyond doubt. The song’s very touching and the delivery is very on point – well, the really high notes were ever so flirting with wobbliness but JJ truly managed to stay upright. The thing that didn’t work at all for me is the staging. It felt too much like A Night At The Opera (not the Queen album), and the theatrics were a bit too much to take in for me. I like the fact they tried to inject some extra feeling into it, but I wasn’t feeling it because I don’t think it really needed it. What’s Austrian for ‘meh’? Still, congratz Austria – happy you took the trophy anyway, regardless of who or what ended up in second place.

13. UNITED KINGDOM – In a reversal of fortune vis-à-vis Austria, I don’t really get why almost everyone kept shitting all over the staging choices for this one. The fallen chandelier fits the overall theme and vibe of the song to a T, if you ask me. I’ve got a bit of issues with the not so subtle visual Disney princess references, though – the structure of the song ànd the staging choices pushed it enough into West End territory already, it didn’t need a layer of Cinderella, Belle and Aurora turning into party girls. Sidenote: if we could stop winking every twenty seconds, that would be great. But despite these minor criticisms, I was very entertained. No clue, but I like it.

12. LUXEMBOURG – Probably one of the best visual performances of the night, especially in that first minute. It’s a pity that a lot of people will have probably missed the obvious ‘poupée’ references, both in the visual approach and the lyrics, as the memories of yesteryear-Eurovision are only cherished by people older than 40 and hardcore Eurovision fans – or merely by the overlap in that particular Venn diagram. I liked the addition of the rocky guitar in the verses, which really brought the song to life. Too bad Laura’s vocals were quite fragile in some (and perhaps one too many) places, and that the ode to their ESC ’65 winner sounded overall just a tad too childish – which is what it said on the tin, I know.

11. SWITZERLAND – Such a lovely little ballad – and a tad too little, judging by that televote zero. What is it with the lack of love for home entries that are ballads by the way? The flashback of Portugal 2018 was real! Anyway, I loved this charming little song, and I also loved the unconventional way in which it was staged. It could have done with a bit more of an evolution throughout the performance, just to enhance the feeling of involvement. And she could have worn nails, ffs. Or just a bit of polish. I predicted this beforehand to be dangerous, but after the performance I wasn’t quite as convinced. I kinda hated being right, but that zero did make for great TV.

And now for the points of the Dimivision jury:

1 point: Italy – Lucio Corsi – Volevo Essere Un Duro

Do I like the English translation projected on screen without my choosing? I’m still not quite sure, but it helped in enforcing that impactful final line of the song. And unlike so many, I quite enjoyed the giant vintage speakers – but then again, I àm a sucker for vintage. That’s probably why I love this entry: the Bowie vibes are vibing, and I’m happily vibing along. It’s just so lovely in all of its 70s gloriousness. I get that the visuals are a hurdle for a lot people, but I quite enjoyed this.

2 points: Denmark – Sissal – Hallucination

One of the positive surprises of this edition for me. And not only because I want/need those boots, stat! This was old skool Eurovision done right and that televote score is a mystery to me. Granted, the repetition of the title was ever so slightly exaggerated. And the production was ever so slightly wannabe Euphoria. But I thought the visual choices were spot on, and Sissal really brought it for all she’s worth. The Girl Power was tangible, and to all the body shamers out there I say: here I was thinking the ’90s skinny model mentality was like thirty years ago, as much as it pains me to say for reality check’s sake. Anyway: added this to my ‘Temporary Obsession’ playlist and I regularly catch myself humming it. A nice change of pace for Denmark at Eurovision.

3 points: Greece – Klavdia – Asteromáta

First things first: as someone who’s been wearing glasses since they were six years old, I welcome the representation. The occasional Nana Mouskouri reference surely was coincidental – I see you, PR team. As a song, I totally loved this for all its drama. And Klavdia totally nailed it vocally. But drama is also where it lacks in the visual department. If you’re gonna borrow ideas from previous top scoring entries at Eurovision, then you gotta make sure you’re using them effectively and add your own twist to them. But Ukraine 2024’s rock idea was poorly integrated, as it was way too small and didn’t offer any flexibility in camera angles. And Jamala’s colorful tree was used too literally – as in: exactly the same effect. All in all however, I did still think it oozed enough drama to drag me in. The white dress reveal at the end came a tad too late though.

4 points: Netherlands – Claude – C’est La Vie

Winner of the Hottie Of The Year, just so we’re clear. But that’s not the only reason why this manages to scrape together 4 points. It’s just a lovely, albeit rather simplistic, little pop song that oozes charm. Could it do with a bit more profoundness in the lyrical department instead of the somewhat childish “c’est comme si, c’est comme ça, patati, patata, tralali, tralala”? Definitely. Could it have worked better with some more contemporary choreography, possible maybe sans string trio? Sure. But it’s still charming AF. So yeah: 4 points it is. Now if you’ll excuse me, I’ve got some DM’s to slide into.

5 points: Germany – Abor & Tynna – Baller

This one and my douze points have been my two most played songs for over a month now. Then why only five points for this one, you may wonder? To that I say: have you seen and heard the live version? Sure, it wasn’t all *that* bad if you ever witnessed the NF performance. But even though the vocals were way better this time around, they still left a bit to be desired. Yet my main gripe is the total lack of party atmosphere on stage. Tynna’s on stage alone for more than half the song, it totally doesn’t suit the clubby vibe of the song. Only at the start of the second verse we get a whiff of that – in a sequence that is *very* reminiscent of the 1997 Eurovision postcards – but it is waaaay too short and waaaay too random. They should have started there and gradually worked their way up to the giant 80s radio to end with a blast. Dunno, they could have squeezed way more out of this. Das war aber Schade.

6 points: Lithuania – Katarsis – Tavo Akys

Slap me in the face and punch me in the soul. This smells very much like teen spirit the kind of grunge I grew up with in the ’90s and I love it for that alone. But it’s also simply very well executed and it reeks of dystopia and desperation, both in the song and the performance. The gray outfits, the somber projections, the total lack of joy and smiles – it all works to a T. Not everyone’s cup of primordial soup, I’m very aware – but this just kicked ass.

7 points: Ukraine – Ziferblat – Bird Of Pray

Be still, my ’80s pink heart. This had an aura of Jem & The Holograms around it, especially with those visual effects, and I adore it for that. Musically more a mix of Jem & Franz Ferdinand, which made it all the more interesting. This was another one that juggled tempo switches, but they were way more balanced than, let’s say, the UK and it made for an exciting ride. Totally fell in love with the high voice mimicking the bird, and especially the visual effects that emphasized it even more. Seriously, the staging wizards behind the Ukraine entries in the past few years should organize master classes by this point. THIS is how you sell an entry. Totes adorbz.

8 points: Finland – Erika Vikman – ICH KOMME

Having been a bit of a sour puss over the fact that the single best NF entry in 2025 ended up second to this (Made Of by Goldielocks), I finally turned the beat around during ESC week. As a closer to its semi it was…obvious, but all of this brazen, bold and brassy Girl Power really made the difference for me on Saturday night. There are still some choices I don’t really get and that were detriment to its (possible) success. First off: the choir shouting ‘Ich Komme’ should have been there, probably consisting of half naked men à la PARG, so it didn’t feel that strange coming out of nowhere. It would have also allowed for different camera shots during the sequence where Erika is climbing on the giant mic, instead of some random audience shots that felt like an error rather than a choice. But the way Erika conquered that stage all on her own IS the kind of Girl Power that warms my spicey little heart.

10 points: Latvia – Tautumeitas – Bur Man Laimi

Well, if it isn’t my annual “did NOT see that one coming” entry. Sure, technically I hadn’t seen nor heard the majority of the field until the week before the Contest this year, but you catch my drift. While I had already taken notice of this peculiar entry because it stood out so much, that visual concept took it to the stratosphere for me – totally ACED it, sisters. ON fucking POINT. The shadow play, the graciousness, the cheeck, the audacity, the gall and the gumption. Lots of people were joking about the outfits afterwards, snickering something about greasy pubic hair, and to those people I say: time to get your head out of fucking fifth grade, babe. Why must you infantilize this stunning concept? Just enjoy the ride and put a sock in it. This was just sooooo impressive – and that tail-sequence will remain in my mind for a looooong time.

12 points: Albania – Shkodra Elektronike – Zjerm

Wam, bam, thank you ma’am. And sir. Powerful, haunting, slick, confident, clever,… I could go on for a couple of lines here. This was simply otherworldly. Why the hell this was slotted into 26th I will NEVER understand – they should have switched this with Sweden in the running order, if you ask me. Maybe Albania doesn’t really want to win, because organizing the Contest will probably set them back two decades worth of funding. But if ever they had a shot at taking the trophy, this was it. A hypnotizing, mesmerizing slap in the face. Will play this for a long time to come.

Very curious what the fall out of the 2025 edition will be, and how it will impact the 70th edition next year. Anyway: Herzlichen Glückwunsch, Österreich! And good luck dealing with that ordeal. 

All Time Chart

And finally a quick look at the Dimivision all time ranking, where Finland is within an inch of the 200 points  threshold. Meanwhile Albania just doubled its score in one go, Latvia upped their total by 40% and Lithuania scores for the second year in a row.

Rank	Country	Points	Victory
1	France	253	1960-1977-1991-2002
2	Netherlands	235	1970-1971-1992
3	Belgium	208	1968-1983-1986-1990-2003
4	Sweden	202	1974-2012-2018
5	Finland	198	1962-1979-1985-1988-1989-2006-2007
6	Italy	191	1958-1964-1978-1992-2021
7	Norway	186	1966-1982-2000-2013
8	Germany	186	1959-1975-2011
9	Portugal	183	1972-1998-2017
10	Spain	151	1973-2022
11	Ireland	136	1969-1980-1984-1996
12	UK	135	1961-1965
13	Israel	118	1976
14	Switzerland	117	2024
15	Luxembourg	113	1956-1967
16	Turkey	105
17	Denmark	95	1957-1963-2001
18	Greece	90	1981
19	Iceland	88	1987-2019
20	Austria	82	2014
21	Slovenia	78
22	Yugoslavia	76
23	Estonia	67	1999
24	Bosnia-Herzegovina	66
25	Russia	61	1994
26	Ukraine	57	2004
27	Croatia	54
28	Monaco	51
29	Cyprus	51
30	Hungary	48
31	Serbia	47
32	Lithuania	35
33	Latvia	35	2015
34	Armenia	30	2016
35	Australia	30
36	Moldova	29	2005
37	Poland	28	1997
38	Romania	24	2010
39	Albania	24	2025
40	Azerbaijan	22
41	Malta	22
42	Georgia	20
43	Bulgaria	16
44	FYROM	14
45	San Marino	11
46	Czechia	7
47	Slovakia	6
48	Belarus	4
49	Montenegro	0

Read you in the spring of next year! Or summer, depending on how the Contest goes. Tschüss!