By Sara Bright
The annual televisual extravaganza that is the Eurovision Song Contest, a vibrant explosion of pan-European pop, power ballads, and occasionally perplexing performance art, once again commands the continent’s attention. From its hallowed stage in Basel, Switzerland, a subtle yet undeniable sentience emanates – a collective energy born of national pride, artistic ambition, and the sheer, unadulterated joy of its own inherent campiness. This is more than just a song competition; it is a cultural phenomenon, a mirror reflecting Europe’s diverse musical landscape, its shifting social currents, and, inevitably, its intricate geopolitical undertones. Creativitys.UK will tell you about the Grand Final of Eurovision 2025, offering a chronological journey through the night’s performances, controversies, and the uniquely Eurovision blend of the sublime and the delightfully absurd.
The Opening Fanfare (22:03 – 22:16 BST)
The broadcast commenced with a characteristically quirky opening number, a playful skit depicting the “loss” of the coveted Crystal Microphone trophy, its “agonising delivery” across Switzerland serving as a scenic tour of the host nation. Last year’s winner, Switzerland’s own Nemo, then graced the stage to perform their victorious anthem, “The Code,” curiously attired in a white dress and an ushanka-style hat. The trio of hosts for the evening – 1991 Eurovision participant Sandra Studer, actress and singer Michelle Hunziker, and stand-up comedienne Hazel Brugger – provided a stark sartorial contrast to many of the contestants, resplendent in vibrant pink and glittering ensembles. A reminder of Switzerland’s foundational role in the contest’s history, with the first edition held in Lugano in 1956, set the stage before the parade of this year’s 26 finalists from Norway, Luxembourg, Estonia, Israel, Lithuania, Spain, Ukraine, the United Kingdom, Austria, Iceland, Latvia, Netherlands, Finland, Italy, Poland, Germany, Greece, Armenia, Switzerland, Malta, Portugal, Denmark, Sweden, France, San Marino, and Albania began. Voting lines were declared open shortly thereafter. This initial segment immediately established the Eurovision live broadcast atmosphere.
Early Contenders and Controversy (22:20 – 22:43 BST)
Norway’s Kyle Alessandro kicked off the competitive performances with “Lighter,” a somewhat unremarkable track. Luxembourg’s Laura Thorn followed with “La Poupée Monte Le Son” (“The Doll Turns Up The Voice”), a charming French pop number complete with a “doll-like” costume transformation into a silver mini-dress. Estonia’s Tommy Cash, a pre-contest favourite among some demographics, then performed “Espresso Macchiato.” The song, an ode to coffee and a parody of Italian pop, had already stirred minor controversy for its stereotypical depictions, a common talking point in Eurovision cultural impact discussions. Israel’s Yuval Raphael delivered “New Day Will Rise,” a romantic ballad performed in English, French, and Hebrew, navigating the political sensitivities surrounding Israel Eurovision participation. Lithuania’s Katarsis presented the melancholic rock song “Tavo Akys” (“Your Eyes”), though the vocalist’s pitch and overall presentation seemed somewhat at odds with the typical Eurovision aesthetic. Spain’s Melody then injected a burst of high energy with “ESA DIVA,” a 1980s-style track accompanied by a swift costume change from a Melania Trump-esque hat to a silver fringed bodysuit, marking her as one of the night’s favourites according to pre-show buzz.
Mid-Show Melodies and Statements (22:47 – 23:28 BST)
Ukraine’s Ziferblat performed “Bird of Pray” in English and Ukrainian; while the song itself was deemed somewhat forgettable, their “I forgot to wear my party dress” style costumes certainly made an impression. The hosts then offered a nostalgic interlude, with Michelle Hunziker leading a “Volare” singalong, followed by Sandra Studer showcasing her vocal prowess with a song in Italian, reminding viewers of the contest’s heritage. Poland’s Justyna Steczkowska, returning to Eurovision after her 1995 appearance, performed “GAJA” in Polish and English, demonstrating impressive vocal talent, though the song itself struggled to stand out. Italy’s Lucio Corsi then presented “Volevo Essere Un Duro,” a song about wanting to be tough despite a less traditionally masculine appearance. While the sentiment was relatable, the song was considered somewhat dull. Finland’s Erika Vikman delivered the rock number “ICH KOMME” (“I’m Coming”), a performance more notable for its BDSM-dominatrix costume and stage presence than its musical innovation, contributing to the night’s more memorable Eurovision performances. The Netherlands’ Claude offered “C’est La Vie,” a passionate French chanson performed in a mix of French and English. Latvia’s Tautumeitas then presented “Bur Man Laimi” (“Bewitch Me Happiness”), successfully showcasing Latvian choral traditions in a performance described as having a “magical” quality. Iceland’s VÆB performed “RÓA” (“To Row”), a hip-hop track with folk elements, notably sung in their national language, a choice often appreciated by Eurovision language diversity advocates. Austria’s JJ (Johannes Pitsch) delivered “Wasted Love,” a tender romantic ballad sung with a delicate tenor. The United Kingdom’s trio, Remember Monday, then performed “What the Hell Just Happened?”, an Europop track with subtle nods to The Sex Pistols and Queen, considered a strong entry for the UK.
The Home Stretch and Favourites (23:31 – 00:24 BST)
Germany was represented by the Austrian duo Abor & Tynna with “Baller” (“Shooter”). The siblings, from a Hungarian musical family, incorporated classical elements, with Attila playing the cello on stage, though the song itself was deemed fairly conventional. Greece’s Klavdia performed the sorrowful, folk-style ballad “Asteromáta” (“Starry Eyes”) in Greek, beautifully executed but perhaps not memorable enough to make a lasting impact. Armenia’s PARG then delivered the rock song “SURVIVOR,” a performance made more striking by the artist appearing topless. The host nation, Switzerland, was represented by 24-year-old Zoë Më with “Voyage,” a song performed in French that was described as pleasant but unremarkable. Malta’s Miriana Conte performed the controversial “SERVING.” Originally titled “Kant” (Maltese for “singing”), the name was changed due to its phonetic similarity to an English expletive. The performance, however, was praised as a fun and welcome change of pace. Portugal’s NAPA offered the pleasant indie track “Deslocado.” Denmark’s Sissal then performed “Hallucination,” another Europop number featuring a costume reveal from a voluminous ruffled coat to a bright blue bodysuit and thigh-high boots – a common Eurovision stage costumes trend. The much-anticipated Swedish entry, KAJ, then performed their humorous sauna-themed song “Bara Bada Bastu” (“Just Sitting in the Sauna”). The Finnish-born trio’s dedication to this near-sacred Finnish pastime, complete with ushankas and an accordion, positioned them as strong contenders. France’s Louane sang “Maman,” a poignant song about growing up, addressed to her mother, performed in darkness and entirely in black. San Marino’s 52-year-old DJ Gabry Ponte presented “Tutta L’Italia,” an energetic but somewhat generic composition. The final competitive performance of the night came from Albania’s Shkodra Elektronike, a duo comprising Kole Laca and Beatriçe Gjergji, with their song “Zjerm” (“Fire”). While the stage blazed with lights, the song itself was considered less fiery than its title suggested.
The Anticipation of the Vote (00:28 BST onwards)
With all 26 acts having performed, the crucial voting period commenced. The blend of heartfelt ballads, high-energy pop, rock anthems, folk-infused melodies, and a healthy dose of quintessential Eurovision eccentricity had once again provided a captivating, if occasionally bewildering, evening of entertainment. The Eurovision 2025 results were eagerly awaited, as commentators and fans alike began to dissect the performances, predict the winners, and reflect on a night that, as always, offered a unique snapshot of Europe’s diverse and dynamic cultural landscape. The intricate dance of jury votes and public televoting would soon determine which nation would claim the coveted Crystal Microphone and the honour of hosting the contest in 2026.
