With May arriving, it's that time of the year again – the Eurovision season is almost upon us! That, of course, can only mean one thing, namely that we have a whole new batch of Eurovision entries to go through and form opinions on.
Sadly, Moldova announced its withdrawal earlier this year, citing 'economic, administrative and artistic challenges' as the reason. We're sorry to see you go, Moldova – may you be back soon. In more uplifting news, on the other hand, 2025 marks Montenegro's return to the contest after an absence of a couple of years. The country has given us some amazing Eurovision gems throughout the years, such as 'Igranka', 'Moj Svijet', and 'Adio', so this is definitely a pleasant return. Welcome back!
Last year, Nemo cracked the code, spinning and rapping and belting their way into Europe's hearts and to Eurovision victory. Perhaps in a fitting conclusion to last year's contest that was rapidly devolving into a raging dumpster fire of controversy that the fan base could not wait to get over with, Nemo accidentally broke the trophy immediately after receiving it.
But hopefully this year's Eurovision week is going to be a smoother and more drama-free experience for us all. In order to try and predict who will follow in Nemo's footsteps and snatch the coveted glass microphone trophy, let us take a closer look at what this year has to offer! As usual, I am going into this relatively blindly, having only heard a handful of the songs before. Most of the reviews are thus going to be based on first reactions as I find that to be the fairest way. Official live versions will be used as preview clips whenever available, otherwise I'll just watch the music videos instead. I've also steered clear from any betting odds to not let them sway my opinions. Finally, the automatic qualifiers (i.e. the 'Big Five' together with the host country) will be included and reviewed in the semi-final line-ups.
Enough chit-chat, let's get to it!
1. Væb - 'Róa' (Iceland) 🇮🇸
Kicking off the 2025 edition of the Eurovision Song Contest we have the Icelandic brother duo Væb – and they are here to start a party. 'Róa' is a throwaway party rap number with some sea shanty vibes to go with the nautical imagery of the lyrics (somewhat reminiscent of 2023's Norwegian entry 'Queen of Kings').
'Væb' would not sound out of place in a student bash or an ice hockey locker room but it is an unfortunately unimaginative take on an already trite, disposable genre of music. The vocals are nothing to write home about (although vocal delivery is hardly a focal point in such a song anyway), but at least the duo and their backing dancers give a committed, energetic performance.
★★
2. Justyna Steczkowska - 'Gaja' (Poland) 🇵🇱
We then move on to Poland and this year's first returnee Justyna Steczkowska, who had previously represented her country back in 1995. And how's this for a comeback!
The dark and mysterious 'Gaja' sounds like 90s Goa/psytrance (think e.g. Juno Reactor) slowed down to a mid-tempo BPM and to me, it is easily the most interesting Polish entry in a long time. Steczkowska delivers her witchy vocals with a commanding, spellbinding presence.
'Gaja' is definitely one of those Eurovision entries that are elevated with a successful staging so I'm looking forward to seeing how it translates on the Basel stage. Speaking of elevation, I'm not sure if the singer needed to be hoisted during the bridge with such little payoff, though. Either way, keep an eye on this one.
★★★★
3. Klemen - 'How Much Time Do We Have Left' (Slovenia) 🇸🇮
Now, I probably need to preface this with the fact that I don't really care for schmaltzy ballads, so I clocked out as soon as the song started with some gentle piano notes and something about a baby crawling on the floor. Then came the line 'You read a diagnosis / It said that you'd be dying soon', hitting like a ton of bricks.
'How Much Time Do We Have Left' is a touching story about the singer coming to terms with his wife having cancer, as well as a tribute to her strength in the face of such hardship. There is a poignant juxtaposition of the tragicness of the situation against a sunny day and a baby smiling with no care in the world. It is hard not to be moved by the heartfelt lyrics. Thankfully, the wife seems to have since recovered, so ultimately this tale seems to have a happy ending.
Musically, the song boils down to a sentimental ballad with autobiographical lyrics (similar to for example Germany's 'You Let Me Walk Alone' from 2018). There is a fitting vulnerability to singer Klemen's vocals, and this is an objectively competent entry in its genre, even if it doesn't particularly resonate with me on a personal level.
Going slightly off-topic, is it too early to predict a 2025 trend alert of singers being suspended in mid-air during their performances?
★★★
4. Tommy Cash - 'Espresso Macchiato' (Estonia) 🇪🇪
In 2023, Käärijä took the Eurovision world by storm and ever since that, has had his own share of Eurovision hopefuls seeking to replicate his formula. However, what some seem to miss is that 'Cha Cha Cha' was no joke entry but a banger in its own right, and there's only so far you can get by merely emulating a goofy persona with dorky dance moves. It appears that Estonia's Tommy Cash missed the memo (despite even collaborating with one of the 'Cha Cha Cha' songwriters).
'Espresso Macchiato' sees the decidedly Estonian singer throw around Italian stereotypes like confetti in a supposedly humorous attempt at gratuitous Italian:
'Me like to fly privatiWith 24 caratiAlso, mi casa very grandiosoMi money, numerosoI work around the clockoThat's why I'm sweating like a mafioso'
It recalls the equally nonsensical Spanglish of 'SloMo' from 2022, but at the very least Chanel had the basic decency to be Spanish.
The instrumental is decent enough but other than that, the whole thing reeks of a low-effort meme. Although this is obviously meant to be a televote bait entry, I wonder if any amount of squiggly limbs will suffice to distract the audience from how appallingly bad the live vocals are.
I'm sorry to say 'Espresso Macchiato' is just not my cup of tea.
★½
Melody - 'Esa diva' (Spain) 🇪🇸
We then move on to Spain, the first of our six automatic finalists. After last year's phenomenal and criminally underrated 'Zorra', the country has decided to send another diva to represent them.
'Esa diva' is an autobiographical story of empowerment set to a blend of traditional flamenco guitars and modern club sounds and delivered with powerhouse vocals. As such, it is a quintessential Eurovision number with a hint of camp, which should make it a hit with the regular ESC crowd.
The revamp gave the song some welcome extra oomph in comparison with its initially very Melodifestivalenised outing. However, even then, 'Esa diva' remains a tad generic and on the dated side. Either way, Melody sells the song well, and it is likely to be a staple at Eurovision theme nights this year.
★★½
5. Ziferblat - 'Bird of Pray' (Ukraine) 🇺🇦
What is certainly not generic, however, is the Ukrainian entry 'Bird of Pray'. An eclectic mix of indie rock, folk elements, and 60s/70s hippie aesthetics, the song is an unpredictable sonic journey with twists and turns. It kind of echoes the overall feel of 'Three Minutes to Earth', the Georgian jazz-folk fusion number from 2014, while giving it a more youthful, uptempo spin.
Where 'Bird of Pray' might potentially struggle is the fact that it could be somewhat complex for the casual audience, but it is nonetheless a wonderfully original piece of music, which I love. With shimmering guitars and beautiful backing vocals, there is an almost fairytale-like, innocent quality to it. The sudden little stops in the final chorus add a fun touch. This one's a grower for sure.
★★★★½
6. KAJ - 'Bara Bada Bastu' (Sweden) 🇸🇪
In a true revolution for Sweden, the country opted for televote pandering over their more usual jury-friendly approach, with KAJ beating the predicted winner and hopeful Eurovision returnee Måns Zelmerlöw in the process – and with a record-high amount of televotes at that! Judging by the runner-up's post-Mello meltdown, perhaps a correct decision was made.
The accordion-laden 'Bara Bada Bastu' is a goofy sauna-going anthem sprinkled with Finnish stereotypes written from the Swedish perspective. In a way, it has a lot in common with the Estonian contestant (with the key difference being that KAJ are a part of the culture they are poking fun at). Gratuitous stereotypes? Check. Silly dance moves? Check. Overall troll vibes? Check. Hell, they even look like they shop at the same flea market for clothes.
Musically, 'Bara Bada Bastu' is quite the earworm, with the bouncy chorus sort of sounding like a more laddish cousin of 2023's Polish entry 'Solo'. The trio sounds fairly good in the chorus (even if they are heavily aided by the pre-recorded backing track), but the daggy talk-singing verses are a miss for me. Nevertheless, the song is a fun and genuinely catchy mix of tango pop and party rap.
Curiously, this is the second time in a row that Sweden, a noted Eurovision powerhouse country, is represented by a foreign act (with last year's representatives being Norwegian). Even more interestingly, this is the first time Sweden competes with a Swedish-language song since 1998, after which the language rule was abolished, and only the second entry in Swedish since then, with the first one (2012's 'När jag blundar') also performed by a Finnish artist. How's that for Eurovision trivia!
★★★
7. Napa - 'Deslocado' (Portugal) 🇵🇹
Next we have Portugal. Translating to 'Displaced', 'Deslocado' is an ode to the band's native Madeira, with the lyrics describing the relief of escaping the big city life and returning home to a familiar tranquility. The wistful undertones of the song probably not only convey feelings of homesickness but also those of saudade, a central element in the Portuguese culture meaning a nostalgic longing for something or someone dear. You might indeed remember the country's 2022 entry named after the very concept.
'Deslocado' is a mellow indie rock tune that makes for a relaxing background listen. There's something quite comforting about it, and you can easily imagine listening to it on a rainy day in a quiet cafe, or perhaps while enjoying the evening sun on a balcony with a big cup of tea.
I do feel concern about whether such a calm song will stand out enough in a line-up of nearly 20 songs. Regardless, I always love it when countries are willing to step outside of the narrow perception of 'Eurovision music' and choose to send just authentically good music instead.
★★★★
8. Kyle Alessandro - 'Lighter' (Norway) 🇳🇴
Is it just me or does every year seem to have a token Scandi-Mediterranean singer these days? In 2022, there was the Greek-Norwegian Amanda Tenfjord. 2023 had both Alessandra (who is Italian-Norwegian) and Victor Vernicos (who is Greek with a Danish father). And now in 2025, there is Kyle Alessandro, a Norwegian singer with a Spanish father. Might we be witnessing the emergence of a new Eurovision niche? I shall be monitoring the situation closely.
Anyway, let's focus on the song itself. The lyrics are about breaking free from a manipulative relationship: 'Really think I bought your lies / Did anything to keep you mine / You kept me hooked on your line'. Although the narrator's ex-lover got him to dim his light, he then vows to never fall for that again and to be his own lighter. Honestly, 'I'll be my own lighter' is a rather weak lyrical hook – a lighter is pretty much the most feeble source of light and fire one can have.
The whole thing is a bit Eurovision-by-numbers: there is a message of self-empowerment, a contrived lyrical image the song is built around, a big note, a dance break. The outfits are costumey and look like the costume department misheard the song title as 'Fighter'.
What is impressive, however, is the level of confidence at which Alessandro delivers the performance and executes the choreography at just 19 years of age. Got to give credit where credit is due.
★★★
9. Red Sebastian - 'Strobe Lights' (Belgium) 🇧🇪
Adding a bit of genre diversity to this year's selection, Belgium has chosen to rely on 90s-esque techno. The dark and moody 'Strobe Lights' likens stumbling upon an underground dance party to Alice's fantastical adventures in Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, both of which are also referenced in the lyrics.
Set to a thumping, hypnotic techno beat, the narrator feels like he's entering a strange world ('Step into the mirror to bright new dimensions / Where no words are needed to feel the connection'), yet he feels right at home there: 'I feel so alive / Caught up in this maze / It's where I wanna stay'.
Sadly, the entry is not without its issues. The composition feels aimless, essentially consisting of two identical verse-chorus-post-chorus build-ups with a big vocal moment at the end. And while singer Red Sebastian does have vocal range, he seems to be a little lacking in strength and consistency. The lower register suffers from a shaky delivery, while in some of the higher notes, his voice sounds thin.
Another aimless thing is the staging. For a majority of the performance, the singer is alone onstage, tensely swaying to the music and going through the motions without the charisma to really pull it off. Not even the eventual backing dancers and the rapid-fire camera cuts are enough to make this five-person rave fill the stage.
Many of these concerns may come down to nerves, but I'm afraid much needs to improve for 'Strobe Lights' to have any chance at shining very brightly.
★★½
Lucio Corsi - 'Volevo Essere Un Duro' (Italy) 🇮🇹
We then have Italy, the second of the automatic qualifiers. 'Volevo Essere Un Duro' ('I Wanted To Be A Tough Guy') is an easy-listening serving of adult contemporary soft rock with 70s glam vibes in the vein of the likes of David Bowie and Elton John. It is a cute little autobiographical story where the singer reflects back on his childhood aspirations of becoming a tough, invulnerable bad guy, only to realise that in the end, he is nothing else than himself, no one else than Lucio.
The entry is perfectly adequate, just a bit boring. The instrumental is polished and singer Lucio Corsi performs his song nicely, but it is not a particularly memorable one. Do not get me wrong – 'Volevo Essere Un Duro' is definitely a quality number, but for my liking, it sounds more like background track to a pensive movie scene than a standout moment in its own right. Having said that, knowing Italy, they're still going to place in the top 10 with ease come Grand Final night.
Their stylist needs to be fired immediately, though. The makeup is just... sad, and creepy, like an aging heroin chic Michael Jackson impersonator, and is that really a comparison you want to invite at the age of... only 31?? Holy moly, the look is rough.
★★★
10. Mamagama - 'Run With U' (Azerbaijan) 🇦🇿
Azerbaijan is here to pick up the pace and get the crowd moving again. A catchy electro funk number with a rich, layered production and interesting falsetto vocals, 'Run With U' evokes a mix of Justin Timberlake and The Weeknd. There are hints of breakbeat, and the traditional string instrument in the post-choruses adds some cool ethnic flair without feeling tacked on.
There doesn't seem to be an official live performance available yet, so I really hope the singer nails it on the Eurovision stage. For a song so heavily on falsetto singing, the vocal performance is most definitely crucial to its chances of success.
In my books, this is another strong year for Azerbaijan after 2024's shamefully overlooked 'Özünlə Apar'.
★★★★
11. Gabry Ponte - 'Tutta L'Italia' (San Marino) 🇸🇲
At its best, the Eurovision Song Contest can help itse viewers learn about the languages and cultures of the participating countries. However, even after nearly 20 years of San Marino's participation in the contest, I still have virtually no idea about what the microstate and its music scene is like. Considering they've only had a handful of actually Sammarinese representatives throughout the years, I'm not sure if even they themselves do.
Of course, the Sammarinese national preselection Una Voce per San Marino is nothing short of a meme in that regard, but even after an American rapper, a couple of Italian rock acts, and Spanish pop-rock with a flamenco breakdown, sending an entry called 'Tutta l'Italia' ('All of Italy') feels wild. Crazier still, it was literally first released as the official theme song of the Sanremo Music Festival 2025, the Italian song contest that doubles as their national preselection. You can't make this stuff up.
Sounding as it were commissioned as a pre-game anthem for the Italian football team, 'Tutta l'Italia' might be frivolous, but you cannot deny how insanely catchy is. The chorus has an infectious melodic hook, and it's hard to resist bopping along to the dancey beat. The song is three minutes of light fun, and that is all it claims to be. This is destined to slap hard with the Eurovision audience.
Fun fact: Gabry Ponte is a former member of the 90s Eurodance group Eiffel 65 of Blue (Da Ba Dee) fame.
★★★½
12. Shkodra Elektronike - 'Zjerm' (Albania) 🇦🇱
I think one of the more iconic Eurovision genres of today is that sort of fusion of traditional instruments and ominous synths and/or tribal beats to create an eccentric and sinister pagan soundscape – think 'Shum', 'Fulenn', 'Soarele şi Luna', or 'Ulveham'. Though less of a forest rave, Albania's 'Zjerm' definitely conjures up a clandestine ritual of some sort taking place in a moonlit clearing, fitting right in in the genre.
Starting with a folky instrumentation and a hypnotic mid-tempo beat, the song then introduces dramatic, cinematic sings that add an air of mystery. The spoken-word second verse feels like an arcane incantation and honestly, you can colour me entranced. There's something quite haunting about 'Zjerm' that makes me feel like we might be looking at Albania's best result since 2012's 'Suus'.
★★★★
13. Claude - 'C'est La Vie' (Netherlands) 🇳🇱
It might be odd seeing the Netherlands send a song in French, but since the singer is originally from the Democratic Republic of the Congo (whose official language French is, as Wikipedia has kindly informed me), and considering that his debut album is called Parler français, I'm going to go out on a limb and assume that is his first language.
Set to a piano-led backing track and boldly attempting to address the very nature of life itself, the song is regrettably exactly as platitude-ridden as you would expect from a song with this title:
'C'est comme ci, c'est comme çaC'est en haut, et en basIt goes up, it goes downAnd around, and around'
A real lyrical masterclass in opposites. While the song appears to be a tribute to Claude's mother, which is sweet of course, you'd be pressed to find anything particularly insightful about it. The constant flip-flopping between French and English (sometimes mid-line) also feels like unnecessary pandering and gets old quickly.
It is a shame that the track is so uninspired and repetitive. Singer Claude seems like a lovely and charming person, but there's only so far that can carry you in a song contest. Such is life.
★★
14. Marko Bošnjak - 'Poison Cake' (Croatia) 🇭🇷
Croatia's 'Poison Cake' is the musical equivalent to if those ubiquitous social media baking tutorials were aimed at serial killers. Sounding like a murderous successor to 2012's 'Cake To Bake', the song sees the narrator get his comeuppance on his soon-to-be ex-lover by killing him with a gateau laced with an extra special ingredient.
For such a deliciously macabre topic, I am disappointed in how the song kind of... doesn't take it all the way? I think the verses needed to be darker and the choruses more explosive. The whole thing needs to be amped all the way up. Or alternatively, pared down to a more subtle, secretive kind of suspense – sonically, think 'Taken By A Stranger' or something.
Then there are the awkward nursery rhyme-esque bits that feel iffy (and not in the right way), even if I understand that there is supposed to be a contrast between the homicidal lyrics and the exaggeratedly saccharine pre-choruses. The sudden temporary genre shift in the bridge is a fun touch, though.
The number seems to try to recreate last year's black horse 'Doomsday Blue' – a similar blend of aggressive harshness and surprising softer sections – but does so with none of Bambie Thug's artistic vision or stage presence. It is also oddly devoid of almost any melodic hooks whatsoever. And those big notes in the end, my goodness were they painful. Like venom to my ears.
Instead of a future Eurovision hit, 'Poison Cake' sadly sounds more like an unfinished demo tape.
★½
Zoë Më - 'Voyage' (Switzerland) 🇨🇭
Throughout my years of watching Eurovision, and especially after beginning to write about it, I've come to realise that the piano ballad is actually a pretty challenging genre. Much of pop music is formulaic in nature, of course, but rarely as heavily so as the piano ballad.
On paper, they are almost always the same: they start small, usually with just the piano, and then grow in sound as they introduce more instruments into the mix, typically culminating in a string-laden climax and/or vocal showcase moment, before ultimately returning to the minimal piano notes of the beginning. And then there are some sentimental lyrics about love, or longing, or something to that effect, intended to tug at the listener's heartstrings.
Not to mention that there is always at least a handful of these types of entries every year, so the competition can be hard in terms of differentiation. Thankfully for Switzerland, this year they needn't worry about that as they have an automatic spot in the Grand Final due to Nemo's win last year.
Which is not to say that they would've been in a pickle anyway as 'Voyage' is a competent entry in its genre. There is a cute chorus and singer Zoë Më's airy vocals add a beautiful lightness to the song. I also found the (inevitable) orchestral build-up unexpectedly intense and grand, even if it was gone almost as quickly as it arrived. The lyrics do get a tad repetitive towards the end, however.
In short, 'Voyage' is a good showing from this year's host country and takes us on a lovely little journey.
★★★
15. Theo Evan - 'Shh' (Cyprus) 🇨🇾
Closing the first semi-final we have Cyprus. Lyrically, it's a confusing affair, with the verses inviting a guessing game about the narrator's identity ('I’ve got golden locks and eyes so captivating / I am famous for my beauty, who am I?'), while the choruses beg the listener to keep it hidden ('Hush hush, if you know my name then keep it a secret'). Is the song a reference to Greek mythological figures like Narcissus or Adonis? A plea for anonymity? A social commentary on the commodity of privacy in a fame-obsessed world? The galaxy may never know.
Musically speaking, 'Shh' is a 90s-trance-inspired number, with the chorus seemingly drawing quite a bit of inspiration from the iconic Faithless track 'Insomnia', in particular. For an aspiring dancefloor filler, the song inexplicably takes nearly a whole minute to actually get going and keeps dropping the momentum with its frequent stops and starts. The spoken-word verses sound awkward, and although the chorus has a nice sense or urgency, it lacks a solid melodic hook. I wish the song made more consistent use of its throbbing beat and perhaps leaned more into the jungle direction hinted at on the second verse.
Furthermore, and I don't know if it's just the mixing, but the singer's voice sounds rather thin for such a high-energy number. This makes me concerned about whether he's got the pipes to really sell the song, especially if strained by additional choreo – and you just know there's going to be some. In a way, I see many parallels between this and the Belgian entry: both are 90s-dance-inspired numbers potentially suffering from average vocals and songwriting failing to capitalise on the entries' potential.
★★½
Alright, those were all the entries from the first semi-final! But with 15 competing entries and only 10 available slots in the final, who's going to advance? Let's see if we can foretell the future!
Predictions
Certain qualifiers
- Although more left-field than usually, Ukraine should be able to continue its 100% semi-final qualification record with ease.
- With a televote bait song this catchy, Sweden is another sure-fire qualifier (but apart from 2010, when have they not been).
Probable qualifiers
- Albania and Poland are both dark and witchy standout moments with identities distinctive enough and performers charismatic enough for them not to cannibalise each other.
- San Marino has probably the most infectious dance anthem of this semi, which will likely not go unrewarded in a 100% televote-based voting system.
- Norway is an archetypal Eurovision bop with an excellent live performer.
Borderline
- Azerbaijan has a great, polished song that should ideally carry it to the final. The country has had a patchy track records since the, ahem, not-at-all suspicious success of its early years, and has been left in the semis for two years in a row now, but perhaps with 'Run With U', one of the better Azeri entries, they are able to turn that trend around.
- Portugal has a pleasant indie rock tune whose authenticity will hopefully garner enough a vote to qualify.
- Belgium and Cyprus are in the same boat with each other, with similar musical inspirations and shared challenges. I'm expecting at least one of them to be left behind. It could go either way and all comes down to how successful the staging and the live performance are going to be.
- Estonia feels amateurish and it will be out-trolled by Sweden and out-Italied by San Marino.
- Slovenia could theoretically achieve a Dons-like surprise qualification, but I don't know if I really see it, unless at least two of the aforementioned three flop. Along with Portugal, the country does have one of only two more mellow competing entries in this semi-final, which might work in their favour.
So long, farewell
- Croatia's 'Poison Cake' is much too half-baked.
- Iceland is in direct competition with – and ultimately overshadowed by – San Marino and to a lesser extent, Sweden.
- The Netherlands is just too run-of-the-mill to make an impact and as a result, I cannot see them qualifying. It is what it is.
So there we go, that's semi-final 1 all wrapped up. Happy Eurovision month, and remember to tune in for my review of the entries of the second semi-final as well!
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