NETHERLANDS 2025

The Dutch song was revealed on February 27th with the song and video release on online platforms and a mass premiere across all radio stations in the Netherlands. In December 2024, AVROTROS revealed that they had internally selected their singer and the chosen song would soon be released at a later date. Going to Basel is Claude with the song "C'est La Vie" (That''s Life)

Claude (pronounced 'cloud') Kiambe was born in the Democratic Republic of the Congo. In 2002, when he was nine, he, his mother and siblings fled to the Netherlands and stayed at an asylum centre in Alkmaar before moving to Enkhuizen where he finished his education. In 2019 he entered The Voice Kids, getting to the battle rounds. He then took part in the " ARE YOU NEXT?" talent show, which won him a record deal. With producer Arno Krabman and songwriter Joren van der Voort, they wrote the Dutch-French song "Ladada (Mon dernier mot)" which reached number 1 in the Dutch Top 40. He has won the 3FM Award for Best Newcomer and Qmusic Top 40 award for Best Artist. He has 7 singles to his name and his debut album was released at the end of 2024. His music is styled in the pop and chanson genre but his multilingual lyrics and African influence makes his sound very individual.

The video intersperses views of a small boy with Claude and his dancers. The dancing is very quick, the style is heavily gestural and has a modern commercial and African flavour. The dancers' outfits are almost mis-matched, while Claude is dressed casually, but smartly, in trousers and buttoned shirts. Near Then the boy, who mirrors Claude's movements, appears to be in the same room as the singer but as the camera pans we see he has been watching Claude on TV. Musically the song starts with a very sparse piano and a slow, slightly sad and serious 4 line verse. This leads to the pre-chorus containing short sharp rhymes, plus accompanying dance routine, and then into the thumping beat and la-la-la infused chorus. This goes through again however the chorus is a little longer. This is followed by a bridge which peters out back to the solitary piano part.

The song balances the heartfelt chanson verses and the poppier, upbeat chorus, and the transition from one to the other is well done. The song has an authenticity but cleverly uses well known French phrases e.g. c'est a vie, melodie, comme çi comme ça, la vie en rose and petit. The storytelling in the video is reminiscent of Stromae's "Papaoutai" with the protagonists dancing together but also apart. As the song is about Claude's early life and his mother, the visual theming feels genuine, however due to ESC age limits this staging might not happen, unless some CGI or video trickery can be used to make it seem like the boy is there. Claude is a charismatic performer down the camera and in the hall, so I ma  intrigued to know how this will look on stage. The song's audio style feels contemporary to the current Francophonic music scene with the changes in tempo and African influences. As we know though, this style has not done well at Eurovision - particularly in the televote - which is a concern. After the unfortunate ending to last year's campaign, the Dutch will be looking for a decent result but I do not think this will be a winner this time.

ARTIST - Claude

SONG - C'est La Vie

WRITING/PRODUCTION CREDITS - Claude Kiambe, Arno Krabman, Léon Palmen, Joren van der Voort

AUSTRALIA 2025

The Australian act and song was revealed on February 25th with the artist and song reveal incorporated into the music video premiere via the official youtube channel.  Going to Basel is Go-Jo with the song "Milkshake Man"

Marty Zambotto is behind the persona of Go-Jo. He spent his early years with his family living off-grid, with no running water and growing their own food. This seems to have instilled the 'self-sufficient nature of his music and music production. As a child he listened to his parents music collection - mostly of singer-songwriters and received a guitar from his mum( who was also in a band) at 13. They eventually moved to Perth where he bought a digital audio workstation and started producing work for other artists before working on his own ideas. His work has a singer-songwriter approach but the production is more indie, alternative and electronic. He has a number of songs on his Spotify account but no official charting releases.

The majority of video takes place inside a ice cream/takeaway van but once inside we see that milkshakes are firmly on the menu as are party lights and 70s disco inspired costumes. Go-Jo is joined by two female co-workers who dress - and act - like crazed dolls. Go-Jo is seen driving the van, writhing around on the floor and gurning down the camera. The song starts with a verse and short refrain into the chorus then into the repetitive post chorus. This procedure runs through again followed by a call and response bridge ending with a longer post chorus. The background beat it very one note but there are layers of beats and rhythms which come in and out of the track. The main change is in the post chorus when the music has longer chords which last and fill the space. The delivery of the song ise rather talky. There is an audible fry to his voice as well as extra distortion in the production.

The song is extremely frivolous, as is its simplistic yet over the top video. I am expecting more of the same in the stage in Basel with interesting costume choices, suggestive dance moves, pulsating lights and plenty of provocative images on the backdrop. The songwriting and performance style is outwardly outrageous which could lead to lots of movement and interaction with other people on stage and the audience, giving a very full, effervescent picture. I also expect the audience to join in with the call and response bridge. Many viewers will pick up on the innuendo and bawdy lyrics. On the flip side, this is so bright, so loud, so suggestive it becomes too much. Although the stage show will be quite the experience, I am not sure how, vocally, this is will be replicated, especially when so much of the atmosphere is created by the intimacy of his voice in the mic. The lyrics are' full of the kind of double entendres that are so in your face, they are single entendres. In a post 'Me Too' world, a song alluding to getting satisfaction from a man in an intimate way, might come across too strong and aggressive and lacking in taste.

ARTIST - Go-Jo 

SONG - Milkshake Man

WRITING/PRODUCTION CREDITS - Jason Bovino, Amy Sheppard, George Sheppard, Marty Zambotto

ICELAND 2025

The Icelandic song and act were chosen on February 22nd through the show "Söngvakeppnin". Before the final there were two semis of five songs with the top three from each show qualifying to the final. The winner was selected through adding an equal weighting of televoting and international jury scores. Going to Basel is the duo VÆB with the song "Ròa" (Row)

Væb (pronounced 'vibe') are brothers Matthías Davíð and Hálfdán Helgi Matthíasson. Their first release was the album "Væb tékk" which was released in the autumn of 2022 from which came their first two singles. However it wasn't until 2023 when two collaborative singles - one with Ingi Bauer another with Herra Hnetusmjör - gave Væb their first entries onto the Icelandic Tónlistinn. They tried to represent Iceland last year with "Bíómynd" coming 4th in the final. However, this 'loss' had a silver lining, as Bíómynd was the most successfully commercial song out of all of the finalists and the only one to make it into the Icelandic top 10. Their music is mostly described as electro pop with European dance music and hip-hop hints.

The two brothers are joined on stage by three dancers who are in shiny floaty silver tracksuits while the siblings are in thicker, matt silver outfits with the band name on the chest. These also work well against the predominantly blue/white lighting in the background. The dancing is extremely energetic but also cleverly balances between a bit silly and technically difficult. The song has a good thumping beat which is nicely juxtaposed with a Celtic quality in the instrumental which (kind of) fits with the nautical theme. After a short intro we start with a rendition of the chorus on the backing tape which is danced along to. The beat continues into verse one where the Icelandic lyrics come thick and fast. The music becomes more low key during the pre-chorus before ramping up for the chorus. There is then a brief interlude as the gang of five get into a makeshift boat and do some humorous poses and dancing. Verse two follows as does a pared down chorus which is followed by another chorus - but with a key change. The song ends with the boys doing a choregraphed mic drop before the lights dim and they all walk away.

This song and production is very fun but also direct. The guys are not perfect singers, and you can tell that by how much vocal support is on the backing tape but this song is - pun intended - all about the vibe. The rapping is very syllabic and fits the driving beat. The fiddle instrumental makes for an odd instrumental and is slightly alluded to in the presentation too. The show is slick and simple and part of me hopes that this simplicity won't be messed about with too much. They have to be careful that they don't try and mess about with a formula that works but also trying to scale something from a small stage to something much, much bigger. As I have already mentioned, there were a lot of vocals on the backing track which is, of course, allowed. But if voters are feeling like it is a bit too much or that they are in some way miming, this might stop people voting - especially in the jury. That said, in a 100% teletvote semi-final, this should have enough attractors to see it through. This song is catchy and has a good sense of self but I feel this will be one of those songs that flies in the semi and crashes in the final.

ARTIST - VÆB 

SONG - Ròa

WRITING/PRODUCTION CREDITS - Ingi Þór Garðarsson, Gunnar Björn Gunnarsson, H H Matthíasson, M D Matthíasson.

ITALY 2025

The Italian act and song was confirmed on February 22nd. The annual Sanremo Festival (75º Festival della canzone Italiana) was held from February 11th to 15th. Twenty-nine singers performed 4 times over the 5 nights - 3 times with their official song and once as part of covers night. During each evening they sang their original song, there was be a vote. On the final evening the rankings of the radio jury, press jury and televote created a top 5. All the vote segments were then re-opened to find an overall winner. A few days later the festival winner, Olly, declined the invitation and the runner up then accepted the chance to represent Italy at Eurovision. Going to Basel is Lucio Corsi with the song "Volevo essere un duro" (I wanted to be a tough guy)

Lucio Corsi grew up in Tuscany and became inspired as a young boy to pursue music after watching The Blues Brothers on television. After graduating school he performed in local venues before moving to Milan in 2012. Over the years he has been a support act for Stadio, Brunori Sas, Baustelle and The Who, and has walked the runway as part of a Gucci campaign. He has also participated in the Musicultura, Musica da Bere and Premio Tenco song festivals. Hs early style was influenced by prog and glam rock, gaining critical acclaim for his surrealist & fairy tale lyrical imagery, but has since progressed to a more singer-songwriter style. He has 10 singles and EPs to his name as well as 4 albums, with a 5th being released at the end of March.

Taking my cues from the live Sanremo performances, it needs to be reminded that the musicians on stage are playing live and are backed by a live orchestra and backing singers (much of which will not be the case in Basel!) In all the performances, Lucio has his customary white make up, black eyeliner and wears his hair down, creating a striking look. The backdrop is rather plain but the yellowy-orange lighting creates an positive and optimistic glow that is hinted at in the song. Lucio starts alone just him and his piano we then also see and hear his artistic partner Tommaso doing harmonies and on guitar. Halfway through this long verse the rest of the instrumentation starts up but it still very gentle and goes straight into the chorus and verse two. This is quite a bit shorter than the first but the next chorus is a little longer. By this point Lucio has moved from the piano and is now playing guitar. During the second chorus many of the lines are spaced out with a line sung, then a line played on guitar. Now into the final minute, there is a short bridge before a very short chorus before short, almost spoken word, outro.

This song is very gentle and, although the song has a familiar tone and lilt, it does not sound or look like many of the bombastic or balladeering Italian entries we've had of late. The lyrics (dotted with names, places and recognisable Italian words) are delivered with a subtle quality, almost spoken, and the harmonies are very well done. During Sanremo he wore a number of outfits including a yellow shoulder padded number, a similar but red top and during his Topo Gigio duet  he wore a white tailored suit, accentuating his make up and dark hair. I am not quite sure any of these would translate to the Eurovision stage but with some signposting to the lyrics on the back screen it could come together. The song needs very little work - it is literally seconds off the 3 minute mark - but the presentation - without Lucio changing his own style - needs some thinking through. What was presented on the Sanremo stage was primarily for the Italian public, not the rest of Europe. Unfortunately, I feel this song is not in contention for the win but does hold a place for another different song style in the show. This is a shame as it is a technically good song sung by an intriguing singer. This will get some love from the jury and televote but for many this will be memory holed by the busyness around it.

ARTIST - Lucio Corte

SONG -Volevo essere un duro

WRITING/PRODUCTION CREDITS - Lucio Corsi, Antonio Cupertino, Tommaso Ottomano

AZERBAIJAN 2025

The Azerbaijani song was revealed on February 19th with the music video premiere on the official Eurovision youtube channel. A few days previously, ITV (the Azerbaijani broadcaster) announced details of the act that had been internally selected. Going to Basel is Mamagama with the song "Run With U".

Mamagama an Azerbaijani band founded in 2021 and the trio currently consists of Sefael Mishiyev,  Bahruz Efendiyev and Allahverdi Gumbetli. Their music style is inspired by traditional music but has a more pop/rock influence. Their Eurovision entry will be their 6th single release. The band won first prize in the international section of the 2022 edition of the Kënga Magjike festival in Albania and were in contention as the Azeri Eurovision act in 2023.

The song starts with a short verse followed by a lengthy refrain. After this comes the pre-chorus followed by the chorus and a short instrumental. This is then cycled through once more although this time the refrain and pre-chorus are much shorter and finishes, rather abruptly at the instrumental at the end of the chorus. The video has a retro scientific theme with a Blade Runner/Tron backdrop and a narrative on the lines of Frankenstein with the singer being created and brought to life by the other members. As well as an interesting visual, there is also a little bit of humour in the video in particular with the dialling phones and floppy discs as well as some slapstick with the robotic dancing and the singer falling off the tables. At the end, the band plays together very briefly and are dressed in black and white baggy casual clothing with jackets over the top. 

On first listen, I was surprised by the modern nostalgic feel this has in its construction. The arrangement is cool and minimal plus the use of the saz (a traditional Azeri instrument) in the music-only parts almost gives the song a country edge but does feel a little bit shoe-horned in to be honest. The singer's voice is intriguing and has a nice modern yet retro edge. He has a much higher register than I expected which made the very beginning of the first listen interesting. The music has a feel of late '70s early '80s disco or could be a companion piece for Daft Punk's "Get Lucky" or something from the "Off The Wall" album. In Eurovision terms, it also reminds me of Ben Dolic's 2020 song "Violent Thing". The video presentation obviously raises questions about how this will look on stage. Firstly I am unsure if this video version will be the exact same cut used in Eurovision as the ending is abrupt and leaves you feeling confused. Also, the video setup is very interesting I can't see them transferring this to the stage. That said, neither do I want their stage outfits to look like the end part either. Finally I hope the singer, if not all three of them, can take on a bit of movement control or choreography as this is the type of track you want to see people dancing to. This is a great radio song and I hope the staging fits and lifts the song even higher.

ARTIST - Mamagama

SONG - Run With U

WRITING/PRODUCTION CREDITS - Hasan Hayadar, Sefael Mishiyev, Roman Zee

ARMENIA 2025

The Armenian song and act was selected on February 16th through the show "Depi Evratesil". The winner was selected by combining the score of an international jury, a national jury and SMS voting. Going to Eurovision is Parg with the song "Survivor".

Pargev Vardanyan, is from Hayravank on the shores of Lake Sevan and sung in a local choir from an early age. His family then moved to Volgograd in Russia and graduated with a degree Theatre Arts & Acting from the state institute. At this point he was part of a band called The Edge Chronicles which toured many of the nearby ex-Soviet states for 3 years and they broke up in 2019. Parg returned to Armenia in 2022 and in a short space of time he collaborated with 2024 ESC representative Brunette and was a support act for French singer Zaz at the  HAYA Festival in Yerevan. His style of music is generally in the pop sphere and has released songs in English and Armenian.

Parg is wearing a sleeve of armour on his left arm; underneath he is wearing a black vest top and black trousers. The staging starts with flashing lights and smoke. This post-apocalyptic scene becomes clearer as the camera pans out and we see Parg next to a centrepiece which which has has a fault line through the middle. Later on in these parts fit back together and Parg stands astride the fracture. The choreography is minimal and naturalistic, centring on fist punches, foot stomping and headbanging. The song's structure is all over the place with multiple parts in different rhythms. We start with 2 short verses then a pre chorus. Next comes a longer, slower refrain which one thinks is the chorus but isn't - that part comes next! There are then 3 more part before another chorus. The pace slows considerably here with a sluggish slow-tempo bridge before another rendition of the refrain before finishing with a last chorus proper.

This song fits snuggly between the 'hard rock' and pop genres seen at Eurovision, and many will like or recognise the Imagine Dragons arena rock context of the song seems to sit in. Parg is on stage alone which is quite the risk. In a song where the singer proclaims and declares they are a 'survivor' he has no-one (apart from the audience) to bounce off. Maybe it is just surprisingly sparse on stage but this may also the thing to make it stand out against other similar solo male songs. Parg, though, commands the stage; he can catch the camera at any time and has confidence in his movements. On the flip side the structure of the song is all over the place. It feels like the 8 people it took to create this song weren't on the same page - or the same room - when creating it. There are too many ideas and there is no flow. In addition Parg's vocal is not great. He gets away with it - too some extent -  because the rock tinge gives him a bit of license to be more gruff. An OK performance at Eurovision will be too obvious to ignore when compared to some very technically good singers in this contest, espeially by the juries if this gets to the final.

ARTIST - Parg

SONG - Survivor

WRITING/PRODUCTION CREDITS - B Alasu,  J Curran,  T G:son,  M Mooradian,  A Paul,  P Vardanyan,  E Voskanian,  A Wilke

LITHUANIA 2025

The Lithuanian act and song were selected on February 15th through "Eurovizija.LT 2025" Before the final there were 5 heats. Two songs qualified automatically from each and 2 songs were awarded wildcards  In the final, a top 3 was chosen by a 50-50 mix of televote and jury then teletoving only chose the winner. Going to Basel is the band Katarsis with the song "Tavo akys" (Your Eyes)

Katarsis are a band whose music is in the alternative, shoegaze and post-punk genre with an emphasis on melody and emotional lyrics which are all in Lithuanian. Their songs are generally quite moody and dark, and not necessarily what one might except from a Eurovision entry. The four-piece consists of Andrius Gruodis, Emilija Kandratavičiūtė, Eivin Laukhammer and Lukas Radzevičius and have been together as a band since 2020. They have a number of song releases to their name but no album to date.

The song has a rather odd structure and I feel like the 'bigger picture' is what needs to be brought to mind. After the first verse there is a sparse, building pre-chorus before the repetitive chorus. There is then a short break as the music really builds tension and the gradually creeping beat intensifies. Then there is an oddly-paced bridge before the one word 'tavo' (your) is repeated for almost all of the final 50 seconds. The band members are scattered around the back on the dimly lit stage all dressed int eh same muted blue outfits a kin to what a dentist or clinician might wear.. The singer comes forward, maintaining eye contact with the camera. His pacing around is emphasised by the close up (not-so) Steadicam work with is intersperses with odd angles and flashes of the backing band. As the background clears we see a silhouette of fields and a house. This background turns blue and the landscape fragments and breaks apart almost like a blue tinted volcano or earthquake. During the repetitive outro, the back drop is full of rocks which starts turning the blue background into white.

The performance doesn't work without the song and the song doesn't work without the performance. The song is OK but nothing special; it isn't particularly catchy or sing-along-able. There are no gimmicks or dance routines; key changes or vocal gymnastics. But this isn't that kind of stereotypical modern Eurovision performance. This is much more nuanced and much more about the entry being greater than the sum of its parts. For such a minimalistic show, the band really pulls you in; the incessant gaze of the lead singer could be seen as intriguing or menacing. This less about the song, more about creating a memorable moment on stage. This all said, if this doesn't enrapture you within the first few seconds, or by the time the chorus come round, you are going to get up and see this as a break to have a cup of tea. I feel like this will have a following with those who like this 90s indie chart, shoegazy almost goth sound but many might just see this as noise and a bit too odd for a show like this. You either get it or you don't. Personally I am glad this is here and opens a channel for other similar acts to realise Eurovision could be an opening for the too.

ARTIST - Katarsis 

SONG - Tavo Akys

WRITING/PRODUCTION CREDITS - Jurgis Masilionis, Lukas Radzevičius

NORWAY 2025

The Norwegian entry was chosen on February 15th  via "Melodi Grand Prix 2025". A winner was chosen by a 60/40 mix of televoting and international jury. Going to Basel is Kyle Alessandro with the song "Lighter".

Kyle Alessandro Helgesen Villalobos is from Steinkje and has a Norwegian mother and Spanish father. When he was 10, Kyle was part of the show "Norske Talenter" where he sang Beyoncé 's "Halo". This publicity gave him the chance to tour around Norway and gain experience in front of big crowds and learn from other artists. He has performed at the Fredrikstad Cup (a famous handball tournament) and on the famous TV programme "Allsang på Grensen". His early musical influences and inspirations were his Nordic and Hispanic background, and many of his early tracks were in Spanish or Norwegian.

The song starts quickly into the first verse which is followed by a pre-chorus and chorus. This is repeated again and at this point, around two minutes in, there is a brief dance break. The following bridge is slower with barely any backing music but this is used as a springboard as it then ramps up to a crescendo with a final chorus. The backdrop shows a rumbling volcanic scene which slowly becomes more moody and volatile. During the final minute fire shoots up around the stage and the stage is edged with fire. Kyle is joined by 4 male dancers, They are all dressed in black (almost like body guards) with padded waistcoats, bandanas and gauntlets. Kyle is dressed similarly with a modern take on armoury with breast plates, shoulder pads, chain mail and big boots. The almost non-stop choreography is precise and sharp. The five of them have to be in unison as their outfits create a silhouette against the auburn background and any mistakes would be easily highlighted.

On first listen, I found it quite hard to work out what was going on. Trying to figure out how the song fits with the staging and the outfits was a bit of a puzzle - one I still haven't worked out. The song lyrics put me in mind of last year's Luxembourg entry but comparing this to that is not exactly the greatest of comparisons. I hoped the song might contain brassy sounds or feel a little more tribal or medieval - based on what I expected from the visual -  but it doesn't materialise. Kyle's vocal is a little unclear; lyrics can be very fast and I could barely hear or catch up with what he was saying. Personally I felt that the last minute really showed off Kyle's technique and the lack of bombast in the backing track gave you a chance to hear his tone properly. I also think the staging is great and the togetherness between the dancers is very sharp and should be commended. It is just a shame that this staging has been used for this song. The lack of cohesion between what you hear and see makes concentrating on what he is saying - and the feeling he conveys - quite difficult. I don't particularly think this is a bad song and neither do I think that Kyle is a bad singer. Ultimately, there is a mismatch on stage which has created a disconnect, and this show - as is - doesn't inspire enough confidence to make me think this will do well.

ARTIST - Kyle Alessandro

SONG - Lighter

WRITING/PRODUCTION CREDITS - Kyle Alessandro, Adam Woods

ESTONIA 2025

The Estonian Final was selected on February 15th via "Eesti Laul" Before the final there was a  radio-based semi-final There were two rounds of voting - a  50-50 mix televoting and international jury selected a top 3 and then a winner would be chosen solely by televoting. Going to Basel is Tommy Cash with the song "Espresso Macchiato".

Tommy Cash (born Tomas Tammemets) is from Tallinn. Although primarily a musical artist he has a background in dancing (influenced by popping, krumping and breakdancing) and art (video, photography, sculpture, painting, graffiti and fashion) and is infamous for his various stunts. His music (aural and visual) is seen as cheeky, often surreal, flipping between the many extreme of electronica and his lyrics are usually seen as rude, crude and sexually driven. He started his musical journey in 2013 by posting music to Soundcloud. From there his fan base grew with his songs being used in campaigns and appearances at festivals in the Baltic region. He has only released two albums but has released multiple solo tracks and has also collaborated on music with Little Big, bbno$, Riff Raff and Eurovision runner-up Käärijä, who was in his entourage at Eesti Laul.

The toping and aura of the song is rather interesting, for a Eurovision song in particular. The lyrics are littered with Italian words and phrases as well as English words spoken with an Italian lilt. After an extended chorus to begin with, the song continues with a verse - pre chorus - chorus which runs through twice and finishes with a la-la-la outro with the title of the song repeated. Tommy is dressed formally in a suit and tie but also looks rather dishevelled, maybe it is the long hair! At the start he is singing to a small white paper cup and then proceeds to dance rather strangely. He is joined on stage by four security guards who spend some of the time 'guarding' and the rest of the time dancing and helping to stage the song, almost as if they were props or furniture. The backdrop pivots between words from the song or coffee/Italian related paraphernalia. The song ends with Tommy lifted up by his body guards into a geometric ending pose.

The song is quite poppy and the music chops between the talky verses and the funky, almost Jitterbug-esque, chorus. Its style seems to hark back to slightly older styles of song but the theme and instrumentation is more up to date. I would say this song puts me in mind of "We No Speak Americano" although the subject matter is even more frivolous than this. The staging is very simple but also memorable. The choreography is full of tropes from other Eurovision stagings - but without being too pointed or referential about exactly what or who they are memeing. It is performed to a tee which makes sure that the entry is teasing- without being condescending or being nasty - which is a very fine line to tread. Moreover the song is really catchy, even if it is almost utter nonsense! This will sail through the semi-final as he is too well known in northern Europe and humours those who like the fun entries. This is pushing the boundaries and I'd love to know what the Italian, San Marinese and Italian-speaking Swiss public/delegations think of this! In addition, Tommy will be a 'character' during interviews and press events and a lot of people will be on edge when he is around!

ARTIST - Tommy Cash

SONG - Espresso macchiato

WRITING/PRODUCTION CREDITS - Tomas Tammemets, Johannes Naukkarinen

POLAND 2025

The Polish act and song was selected on February 14th via the show "Wielki Finał Polskich Kwalifikacji". Initially 10 acts and songs were announced as being in the final but an extra entry was later added as a wildcard. Going to Basel, and returning to Eurovision, is Justyna Steczkowska with the song "Gaja".

Justyna is from a musical family and played violin in a family band before singing in rock and jazz bands. In 1994, she  came to fame by winning the first edition of the program "Szansa na sukces". In 1995, she won the Baltic Countries Song Festival and also represented Poland in the 40th Eurovision Song Contest with the iconic "Sama" in Dublin. Her following in Poland is substantial; her channel has over 41 million views on youtube, has over 15 million streams on Spotify and the winner of many cultural and singing awards. In addition to singing she acts on film and stage, presents and has been a coach on The Voice Poland.

The backdrop is dynamic and features aspects of the four elements. It is mainly shades of black and white meaning any brightly coloured parts really pop on the screen. During the chorus, 'GAJA' is clearly projected. Justina is in a tight-fitting black outfit with a feathery top which gives her a bird-like quality. She is with four dancers in similarly themed outfits. The choreography is dynamic and Justyna involves herself fully into the visual. Also on stage is a lone violinist who is dressed rather casually and chants the bridge near the end of the song. The song starts with an intro which is effectively the first part of the chorus. The structure goes verse - pre chorus - chorus and this repeats twice, There is then a bridge and an outro. About halfway Justyna, too, joins in by playing a violin herself and later on she is hoisted up high over the stage by her arms to be moved to the front of the stage.

This is a remarkably catchy song; the verses have a lovely traction to them while the beat underneath keeps running - akin to a calm rider atop a galloping horse (to keep the pastoral vibe). The performance is very full on and Justyna has the tenacity and athleticism to keep on top of such a expansive routine. I like the visual identity - which I hope is kept - and I particularly enjoy the different camera angles the show employs although it is very close to going over the top. The show is well put together and Justyna's professionalism is evident. She is engaging and proficient without coming across superior or show-offy. However part of me wonders if this being so non-stop is such a good thing to take to Eurovision. Justyna's vocal seemed very strong on the night, possibly aided by backing vocals in the chorus, and my fear is that if her vocals are not as strong as this at Eurovision, the whole show will collapse. Such a full on show may have been required to win the NF and perhaps some tweaks could be made before Eurovision. This is a ready-to-go entry in a pair of safe hands and I hope this is enough to get Poland back into the final.

ARTIST - Justyna Steczkowska

SONG - Gaja

WRITING/PRODUCTION CREDITS - D Buczkowski-Wojtaszek, P Kumór, Hotel Torino, J Steczkowska, E Waluchowski 

MALTA 2025

The Maltese act and song was selected on February 1st via the show "Malta Eurovision Song Contest 2025". In the week leading up to the final there were two semi finals reducing the field from 24 to 16. A winner was selected by adding a equal amount of jury and televote scores. Going to Basel is Miriana Conte with the song "Kant" (Singing)

Mirana Conte may only be in her mid-twenties but she is already a seasoned singing star. She first attempted to sing at Eurovision in 2017 with the song "Don't Look Down" but unfortunately she came in last place. Undeterred, she came back in 2018 with "Rocket" and finished 12th. This same year she entered the first edition of "X Factor Malta". She and three other solo singers were placed together to form 4th Line and they got through to the live shows. Her third attempt in MESC happened in 2022 where her song "Look What You've Done Now" placed 6th in the final. She tried again in 2023 and finished 9th with "Venom"

This is giving Drag Race does Sound of Music and keeps you on your toes for the 3 minutes. Miriana starts in a white pinstripe dress with netted green fringe along her shoulder line. Underneath is later revealed a leopard print bodysuit with a leotard and bodice, in a similar print, on top. On stage are 5 dancers who start in green and white Alpine inspired outfits but later appear in furry bathing outfits. The backdrop shows pink and purple mountain scenes, echoing the Alpine concept. The song is verse - long pre chorus - chorus which runs through twice before a bridge, a short pre-chorus and final chorus. Miriana plays the Maria persona and the dancers are the Von Trapp children - there is even a point when Miriana plays a ukulele and the dancers kneel around her in awe. Later, the personas break free, showing less repressed versions of themselves. During the last 20 seconds, all six on stage bounce up and down on yoga balls, fanning their faces, as Miriana looks down the camera and says her final line.

This entry certainly puts pay to the old adage 'less is more' and is in fact the whole shebang with a kit and kaboodle on top. This show is edgy, cool and fun and could easily be placed as is on the stage in Basel. Time and money could be spent on finishing touches to the costume and tightening of the choreo, but this just works. Miriana conveys such confidence throughout the song and she shines throughout. Her voice is also very strong and I think the fact she knows she can belt this out gives her the fearlessness to go full out on the performance. We have had entries in the past which have riffed on onomatopoeia, listed names & places or leaned into double entendre but this must be the first entry ever that has used a homophone in one language that sounds like a rude word in another. It feels like the Maltese have innocently been sitting on this bombshell of a translation and now that it has been 'discovered', and have the brazenness to show it off, boy have they used this to their advantage! 

ARTIST - Mariana Conte

SONG - Kant

WRITING/PRODUCTION CREDITS - Miriana Conte, Sarah Evelyn Fullerton, Matthew Mercieca, Benjamin Schmid

LATVIA 2025

The Latvian act and song was selected on February 8th via the show "Supernova". A semi final was held the week before the final when the 19 contenders were reduced to 10. The winner was chosen through an equal weighting of televoting and jury. Going to Basel is Tautumeitas with the song "Bur Man Laimi" (Bring Me Happiness)

Tautumeitas are a Latvian folk and world music group whose current members are Asnate Rancāne, Aurēlija Rancāne, Laura Marta Līcīte, Annemarija Moiseja, Gabriēla Zvaigznīte and Kate Slišāne. Most of their output is in the folk and world music spheres and focuses on songs in the Latvian language and on Latvian heritage. The group's first release 'Lai māsiņa rotājās!' was a collaboration with Auļi and it received the 2017 Latvian Music Recording Award as the Best Folk music album. They also have 3 more albums under their name. Their most recent release "Skrejceļš" won the 2023 Golden Microphone for "World Music Album of the year"

The song is mostly made up of small repetitive verses and choruses, each with its own audio and visual identity. The song is wholly in Latvian although the delivery of the song's parts is almost more important. At the start the six members are in blue lighting, hidden behind a curtain of fringing. While singing the chorus the lighting pulsates, the dancing is tribal and a rainfall overlay is seen on the camera. As the verse starts we see them come out from the fringing. The lighting becomes more natural and we see all six dressed in beige outfits with translucent headdresses. They walk majestically and interact with each other. The verses look and sound more flowing and natural, while the choruses are chanted and suggest urgency and power. The beat drops and beat pick ups feel natural and keep the song driving. During the last part of the song, the group comes together as one and do some very clever 'follow the leader' choreography over some strobe lighting.  

This staging takes a leaf of out the Swedish 'music video' style of setting a Eurovision song, however this is much more earthy and ethnic than most of Sweden's ESC output. The staging is actually very simple but the camera angles, studio lighting and on-screen graphics do most of the heavy lifting. The song does, however follow suit from Ukraine's (and some others) penchant for ethnic bops. The chorus is extremely earwormy as the rhythm is incessant. Although the song has Latvian lyrics, the chanting conjures up Pagan spirits and medieval priestesses and this is helped with the dancing elements of the show. It must also be noted that some of the harmonies in the song are beautifully blended and you can tell that the band are tight and know their skill. I would say that possibly its polish, lack of a killer blow or crescendo moment might be the one thing that memory holes the song. That said, this song covers well trodden ground so Eurovision watchers will be expecting this.

ARTIST - Tautumeitas

SONG - Bur Man Laimi

WRITING/PRODUCTION CREDITS - Asnate Rancāne, Aurēlija Rancāne, Laura Līcīte, Gabriēla Zvaigznīte

UKRAINE 2025

The Ukrainian act and song was selected on February 8th via their national final "Vidbir". The winner was chosen through a 50-50 split of jury and app voting. Going to Basel is Ziferblat with the song "Bird Of Pray".

Ziferblat is made up of singer Daniil Leshchynskyi, guitarist Valentyn Leshchynskyi, and drummer Fedir Hodakov. Their sound is mainly alternative pop but also straddles themes of folk & prog and they are heavily influenced by literature and art. They released an EP in 2015 before entering X-Factor Ukraine. In total they have released 9 singles, 1 EP and and 1 album. In 2023 they entered "Zemlya" to the Ukrainian national final but did not make it into the final. In 2024 "Place I call home" was entered into Vidbir and came 2nd and this year they went a step better and won the competition.

The performance starts with a very high pitched vocalisation by one of the female backing vocalists which comes in and out throughout the song. The verses are mainly in Ukrainian while the chorus is in English. The verses have a prog rock feel to them and have an unusual rhythm and energy which is made more interesting by them being in their native tongue. The pre-chorus and chorus is slower and higher in his register. After a very short verse 2 and a chorus there is an elongated bridge before the last rendition of the chorus. The three-piece band and their three backing singers are dressed in shades of blue and purple and the stage is covered with greenery and flowers; almost like they were performing in a field. The backdrop flits between blue skies, warm red & yellows and psychedelic strobing. Daniil tries out some armography throughout the song and spends time walking up and down the mini runway. It feels like he is performing to the crowd rather than the camera.

This entry feels a little different from Ukraine's more recent Eurovision back catalogue. The beats, electronica and rap syncopations have gone and replaced with a more freeform and retro style. It is nice to see any country doing something a bit out-of-the-box. It feels rather folky and in turn has an air of optimism about it. The song touches on the separation of loved ones especially at a time of war, which is why the title is spelled Pray rather than Prey. Overall I like the staging concept: I can see the group being at the front of the thrust stage, better spaced out on a bigger stage, using camera angles to accentuate the backdrop. and maybe more co-ordination made between the outfits. I would also like Daniil to have stronger and more dynamic choreography as he looks uncomfortable, if not lacking confidence, with his movements. In terms of the song, the verse, for me, is the stand out part of the track. It perks up your ears from the get go and sets out that folk rock feel. The chorus is less successful partially because of the slower speed and partially due some pronunciation mishaps - at least the latter of these cane be worked on before May.

ARTIST - Ziferblat

SONG - Bird of Pray

WRITING/PRODUCTION CREDITS - Fedir Khodakov, Danylo Leshchynskyi, Valentyn Leshchynskyi

FINLAND 2025

The Finnish act and song was selected on February 8th via their national final "Uuden Musiikin Kilpailu 2025". The winner was chosen by 25% international jury and 75% televote. Going to Basel is Erika Vikman with the song "Ich Komme" (I'm Coming)

Erika Vikman and her sister followed their mother's footsteps by performing Tango music as youngsters. Erika came to national fame on the 2013 season of Idols where she eventually placed 7th after being voted back as a wildcard  She returned to her Tango roots and won the prestigious Tangomarkkinat competition in 2016. After signing a deal with Sony she experimented with electronic sounds. Vikman then entered the UMK for the first time in 2020 and placed second  Her debut self-titled studio album came out in August 2021 peaking at number-one in Finland. She has also duetted with Käärijä on the song "Ruoska" as well as performing at concerts with Käärijä and Joost Klein. Most of her releases are predominantly in the Finnish language.

"Ich Komme" has a German language refrain but the rest of this song is in Finnish. The progression of the song is chorus - pre chorus - chorus and this runs through twice. After the second chorus the beat becomes the predominant sound and it slowly becomes faster and harder The chanting in the background returns which Erika sings on top of showing her upper register. The staging starts very dark focusing on Erika only and as the song progresses more colours enter the mix. Erika is alone on stage for the entire 3 minutes but at no point does the stage feel empty or boring. She is wearing a shiny back outfit with gold embellishments on the front and sports a chunky gold chain necklace. Around the stage she has to hand a number of microphone stands which are incorporated into her choreography. At the very end she is lifted above the stage my a giant microphone pole as the song reaches its crescendo. Her name then appears in big red letters on the backdrop behind her.

This entry has a clear audio-visual identity and, notwithstanding the language, carries on perfectly from recent Finnish entries. The song has an easily repeated chanted chorus which you could hear being sang along to by the crowd in the hall. The execution of the entry was very tight, underlining the attention to detail by Erika, her team and the show producers. At times, particularly the verse and pre-chorus, the backing vocals were turned right up although her voice was pretty good for the rest of it. This is a crowd pleaser and will do better in the televote than the jury although there is the capacity to improve the vocal.  Erika is alone on stage but she performs with confidence and personality and she doesn't need anybody else. It is also striking - possibly on purpose - that although the lyrics are sexually driven, the stage show is more playful and less driven by the Finnish text. This keeps the show provocative in a 'less is more' kind of way. It will be interesting to see if the end prop will be allowed/catered for in Basel. 

ARTIST - Erika Vikman

SONG - Ich Komme

WRITING/PRODUCTION CREDITS - Christel Roosberg, Jori Roosberg

IRELAND 2025

The Irish act and song was selected on February 7th. The national final took place during a "Eurosong" special of The Late, Late Show.  The winner was chosen by adding equally weighted scores of public voting, an international jury and an Irish jury. Going to Basel is Emmy with the song "Laika Party".

Emmy Kristiansen is Norwegian and comes from the village of Sande which is south of Oslo. As a child, she sang in a choir called Soul Children. In 2015 she took part in the NRK show Melodi Grand Prix Junior and got all the way to the final. Six years later she entered into Melodi Grand Prix 2021 with the song "Witch Woods" which qualified for the final. She was also a co-writer of the MGP 2024 song "Woman Show" and Citi Zēni's national final song "Ramttai in 2025. Outside of singing, she is very active on TikTok and studies visual communication at the University of Southeast Norway.

Emmy is joined on stage by two female dancers and her brother on keyboard. Emmy confidently joins in with the dancing although the choreography is not exhaustive and the dancers do not take over the show. The costumes are predominantly silver but with blues and pinks in the background. The backdrop also flips between projecting the lyrics, space visuals, an animation of Laika and dancing astronauts. The structure of the song is verse - pre chorus - chorus with a vocalised bridge after each chorus. This runs through twice with an extended outro. The tune is very simple and this twinned with Emmy's very distinctive vocal tone, makes the song incredibly memorable. The lyrics are a little twee, and some of the rhymes are shoe-horned in, but I think this is about the feel of the song rather that its lyrical quality. The use of a historical non-human heroine possibly irons out any problematic issues people may have about known figures (although the only issue I can see is that Laika was Soviet/Russian).

As ever with the Late Late Show, the staging and technical capacity of the studio was basic and these parameters hampered or curtailed the 6 performances. "Laika Party" has appeal, especially with younger viewers. I see this song being used a lot on social media and becoming meme worthy. Also, Emmy really wants to be at Eurovision and will have support in the fan community as well as family support on stage. Now that the semis are 100% televote, this is almost definitely going through - not because it is an amazing song - because it is the kind of stereotypical catchy/funny/earwormy song people vote for. Although the presentation was safe and predictable, it was a tight and proficient 3 minutes. So, with more space, potentially more dancers and scope for more visual trickery this could scale up. On the negative side, many may see this as being a thin and gimmicky song and categorised as a 'joke entry'. This might end up being a big winner in terms of publicity and viral value but I don't think this will be troubling the top of the scoreboard in May.

ARTIST - Emmy

SONG - Laika Party

WRITING/PRODUCTION CREDITS - T Marius Aarra , E Guttulsrud Kristiansen, E K Guttulsrud Kristiansen, H Østlund, L Tormey

SPAIN 2025

The Spanish Final song and act was selected on February 1st through "Benidorm Fest 2025". The week before the final there were 2 semi finals. The winner was chosen by an equal mix of app voting & televoting and jury score. Going to Basel is Melody with the song "Esa Diva" (That Diva) 

Melodía Ruiz Gutiérrez is from a musical Andalusian family, her father being a member of Los Quillos, Aged 10 she was discovered by producer El Fary and released her debut album which received a Latin Grammy nomination. The big song from this collaboration was "El baile del gorila" (The Gorilla Dance) reaching number 1 on the Spanish chart. She has been in the music industry ever since racking up Billboard Latin Music nominations, numerous movie soundtracks and collaborations. She attempted Eurovision glory in 2009, however in the final she was in a tie for first place and as Soraya had the higher televote she went through to represent Spain. Her sound has flamenco and Latino pop undertones but also has released reggaetón and hip hop inspired songs. 

Melody begins high above the stage on a swing, dressed in black, with a very long train and topped off with a wide brimmed black hat. Once lowered the hat is removed, the train is detached and the dress is whipped off revealing a skin-tone cat suit embellished with rhinestones. She is joined by 5 male dancers during the very heavily choreographed performance. At the back of the stage there is Gothic inspired centrepiece which Melody performs from at times while the floor is covered in smoke and the colour palette is pinks and purples. The song has a verse-pre chorus- chorus structure which repeats through twice. There is then a bridge and dance break instrumental before a final blast of the chorus to the big finish.  The song is a bit of a roller coaster and there are plenty of tempo and musical changes to keep the viewer guessing what will happen next.

I barely watched any of the festival as none of the songs outwardly impressed me before the show. The winning song obviously sounds Spanish with its flamenco touches but at its backbone this is effectively a pop-schlager song and, having seen the songwriters, this should be no surprise. The song has a positive female message but unfortunately this doesn't really show in the presentation. The many tricks, stunts and staging ideas makes this come across a little bit desperate. Melody is a passionate performer and handles this 3 minute rollercoaster with aplomb but this recipe has too many ingredients. This is the kind of bombastic performance that creates energy in the hall but down the camera feels messy. The crouching looks ungainly and the helicopter hair got a cheer but I don't know why. I feel like the narrative of the song needs to be made clearer throughout for the international audience. This very much feels like a local song for local people. This entry seemed to satisfy and enthral the target demographic in the crowd but that cohort makes up a small percentage of the voting public - and jury make up - who I feel may not be quite so impressed as the Spanish public were.

ARTIST - Melody

SONG - Esa Diva

WRITING/PRODUCTION CREDITS -  Peter Boström, Joy Deb, Thomas G:son, Alberto Lorite, Melodía Ruíz, Juan Sueiro

BELGIUM 2025

The Belgian act and song was selected on February 1st via the show "Eurosong 2025" with the winner being chosen by an equal televoting and jury mix. Going to Basel is Red Sebastian with the song "Strobe Lights".

Red Sebastian (real name Seppe Herreman) is 25 and was born in Ostend. In 2013 he made it to the final of the 2nd series of Belgium's Got Talent. After high school Herreman studied singing at the Koninklijk Conservatorium Gent, one of his teachers being Gustaph, the 2023 Belgian Eurovision representative. From 2019, the singer assumed the stage name Red Sebastian - inspired by a Little Mermaid character. His first album "You" was released in 2021 from which came his first single release "Embrace Me". In 2024 he participated in Sing Again, a show where singers from past talent shows can try their luck again and reached the final.

Red is stood high up on a platform. As well as his buzz cut red hairdo, he is dressed in a black and red jacket and black trousers. The way the camera angles catch him from the ground utilises the LED screens from above and behind in an interesting way.  The backdrop is very fuzzy and has that analogue crackly video tape feel which also dips between black and red. Around him the lighting is predominantly red and on stage level there are flashes of white light. Red's choreography is minimal but effective; it feels natural but also emphasises the beat of the song. It starts with a short chorus low in Red's register before a verse, pre-chorus and chorus ending at the very top of his range. This repeats again but the verse is only two lines. After this last chorus there is a brief instrumental - before the outro - and four dancers in muted clubbing outfits surround him. Although possibly unusual looking in studio, the 'strobe' effect on camera makes it seem like Red has been transplanted to a busy club.

The song is unashamedly Belgian - a country that has quietly been influencing, producing and creating dance music for decades - and this seems to highlight a relevant part of Flemish culture. The staging stood out a mile during the national final. The angles of Red on the platform accentuated the simple but effective LED screens. My one negative would be that he was singing with his eyes down to the audience below which made it look like he was watching his step or scared of heights. I feel like singing up and out and will make him feel more in command and radiate his confidence. If this staging can be replicated in Basel this point would be even more important - confidence will be transmitted to the televoters and jury members. The song has a good balance between the hard dance bassline, trance-inspired elements, and vocal technique. Red has a strong instrument and I feel that whether you like the song, or Red's vocal, it is very memorable and has a very good shot at doing well in - and out - of the contest.

ARTIST - Red Sebastian

SONG - Strobe Lights

WRITING/PRODUCTION CREDITS -  Billie Bentein, Seppe Herreman, Ameerah A. Roelants, Willem Vanderstichele

SLOVENIA 2025

The Slovenian act and song was selected on February 1st via the show "EMA 2025". After all the songs were performed, a selection of topical juries selected a top two. There was then a final round where a winner was selected by televoting. Going to Basel is Klemen with the song "How much time do we have left"

Klemen Slakonja is an all-round entertainer with a background in acting, comedy, tv & radio hosting, animation voicing and music. After honing his craft as a local radio station host he found fame through his satirical translations and comic re-imaginings of songs by impersonating the voices of national celebrities and international figures. He then started to star and host many national TV and radio programmes including a number of comedy sketch shows. He hosted EMA on 4 separate occasions, the show he himself would go on to win in 2025, and was the ESC spokesperson during the grand final in 2011.

Klemen starts alone on the stage; dressed very plainly and normally. The stage is dark with flecks of golden light which becomes greater and greater as the song progresses. The structure of the song is a standard verse-chorus-verse-chorus-bridge-chorus. After the first chorus, Klemen is very briefly joined by two male dancers who help him do an extremely nifty trick of singing upside down! As well as being an interesting stage schtick, it proves what a strong singer he is. Klemen moves around the stage naturally and has a very understated performance style with naturalistic gesture-based choreography. The song is a quiet anthemic ballad with a melodic and memorable chorus. Considering the emotional story of his wife's illness behind the lyrics it could be very easy to put the emotion front and centre, but by showing less, you almost feel more.

Considering Klemen's background, this is not the kind of song expected from him in this competition. The performance here is very interesting. Apart from the moment where he sings upside down - the physical metaphor of having one's life turned upside down and being out of control - most of the performance is understated and pared down. It will be interesting to see if this stunt can be pulled off on the stage in Basel... Klemen's voice and delivery is clear and the song allows him to show off the many facets of his voice without feeling like it has been engineered to do so. It puts me in mind of other ballads such as Silent Storm, You Let Me Walk Alone and Arcade. It is not everybody's cup of tea and where one person sees sincerity, another will see schmaltz. This is going to stand out amongst all the noise and hubbub so maybe it is time something quieter had some glory...?

ARTIST - Klemen

SONG - How much time do we have left

WRITING/PRODUCTION CREDITS - Klemen Slakonja, Maja Slatinšek, Ryan Small

GREECE 2025

The Greek act and song was selected on January 30th via the show "Ethnikós Telikós 2025". The winner was chosen via the combination of votes from a Greek jury and international jury (25% each) and public televoting (50%). Going to Basel is Klavdia with the song "Asteromáta" (Starry eyed) 

Klavdia came into the public eye aged 18 after taking part in “The Voice Greece”. Not only did she join Elena Paparizou’s team but she also reached the final. After this exposure, Klavdia signed a record deal with the Greek label Panik Records, She currently has 6 singles under her belt as well as a self-titled EP. Her work is a mix of English and Greek language songs (some being dual translations) and her style is generally in the indie pop sphere.

The aura of this song and performance in unashamedly Hellenic although it has a rather ethereal feel. The backdrop starts with dark/blue tones then becomes red and stormy. Klavdia is wearing an off-white outfit which is long sleeved and with long, wide trousers of the same colour. The trousers also have a very long diaphanous drape at the back which is wrapped around the stage and used by the dancers  She is on stage with 5 dancers all in beigey light skin tone outfits. After an a capella start we quickly go into 2 verses and a chorus. At the end of the first chorus, a syncopated beat comes in which gives the song a bit more of an edge. This is then followed by another short verse and and elongated chorus to finish. Klavdia does not move much, due to the outfit but does a good job of emoting down the camera. The dancers frame the stage well, but don't really do very much.

I am a little confused, if not underwhelmed, by this entry but not all is lost. Klavdia is a good strong singer; her vocal runs are impressive and her voice has a lovely tone and texture. The backing track has a very calming sound to it and feels like something you might hear while having a massage or spa. Right now, the current staging is not good enough and if Greece sent this to Basel it would feel way too small and directionless. The song is not bad; the beat drop really drives the song on in the second half but once again the staging does not reflect this at all. I don't understand why the dancers are doing so little - they might as well not be there at all! The song is not dynamic and does not require a full on dance routine but does deserve some staging .This entry won over much more creatively staged entries so tells you how much the voters were willing to see the potential. On the plus side I hope that a bigger stage - and possibly bigger budget - might spark something really creative, interesting and engaging.

ARTIST - Klavdia

SONG - Asteromáta

WRITING/PRODUCTION CREDITS - Arcade, Klavdia Papadopoulou