FUNNY little FEARS: Damiano David’s Solo Debut Album Review

Damiano David, best known as the charismatic frontman of the rock band Måneskin, steps into a new spotlight with FUNNY little FEARS, his debut solo album. After skyrocketing to global fame with Måneskin – including a legendary Eurovision 2021 win and chart-topping rock anthems – Damiano’s decision to go solo marks a bold artistic turn. As a soloist, he isn’t simply recreating Måneskin’s gritty glam-rock; instead, FUNNY little FEARS sees him trading stadium rock riffs for a more introspective, pop-driven journey. In interviews, Damiano has described this album as his most personal work, a project that allowed him to “break down layers” and confront his own fears and vulnerabilities. The result is an album that balances rock-star swagger with pop heart, revealing a side of Damiano that fans haven’t heard before. This record represents the narration of him “coming back to life” – moving from a dark, unhappy place to a brighter, more content state by the end. With collaborations from notable artists like producer Labrinth, actress/singer Suki Waterhouse, and alt-pop vocalist d4vd, FUNNY little FEARS is an ambitious venture that blends genres and styles. It maintains a theatrical, “Italian pop drama” flair throughout, yet remains surprisingly accessible. The album’s 14 tracks swing from euphoric sing-alongs to soulful ballads, all while painting an honest picture of Damiano’s emotional world. Below, we dive into a track-by-track analysis of the album, exploring the lyrics, production, and musical style of each song.

Track-by-Track Analysis

1. Voices – The album opens with “Voices,” a bright and catchy pop-rock track that immediately signals Damiano’s new direction. It begins with a burst of upbeat energy – imagine a pulsing house piano and a slick electronic beat driving the melody. Damiano’s distinctive voice soars through an irresistible sing-along chorus, making it clear this isn’t Måneskin 2.0 but something entirely of his own. Lyrically, “Voices” deals with being haunted by memories of a past love. He sings about voices following him “wherever I go”, representing the lingering thoughts of an ex that he just can’t shake. Despite the song’s playful tone and polished, danceable production, there’s an aching familiarity in the pain he describes. It’s an opener that combines glossy new pop elements with emotional depth. Overall, “Voices” is a confident introduction – upbeat, anthemic, and a little techno-tinged – perfectly letting listeners know that Damiano’s solo journey will be full of surprises.

   
   

2. Next Summer – The second track, “Next Summer,” shifts the mood into more vulnerable territory. This song is an emotional ballad that puts Damiano’s heart on full display. Written about psychological trauma and the fear of losing someone, “Next Summer” carries a sense of longing and desperation beneath its pretty melody. The production leans acoustic and stripped-back – gentle guitars and piano – giving it a raw intimacy. There’s a “stadium ballad” quality here (Damiano himself has jokingly said “lighters up” for this one), meaning it swells with feeling while remaining very accessible and easy on the ears. In the lyrics, Damiano addresses a troubled relationship, almost pleading that things will be better by “next summer.” The pain in his voice is palpable, as he compares love to a drug he can’t quit. It’s a poignant song about hope and heartache, and its sincerity shows a brave departure from the bravado of his rock-band days. “Next Summer” proves Damiano can deliver a tender pop ballad that still hits hard emotionally.

   
   

3. Zombie Lady – Here the album takes a turn into dark romantic territory. “Zombie Lady” is a moody, gothic-tinged love song that blends eerie imagery with heartfelt devotion. Musically, it rides a synth-pop wave – atmospheric keyboards, a mid-tempo beat – almost like a dreamy, synthy Coldplay track with a spooky twist. Damiano uses zombie metaphors (inspired by Tim Burton-esque visuals) to declare eternal love: “My beautiful zombie lady, the only one I adore.” The track features a special guest in its final moments: Damiano’s real-life girlfriend, Dove Cameron, contributes vocals, making the duet feel personal and romantic. The chemistry in their voices adds authenticity to the theme of a love so strong it could outlast even death. Despite the morbid metaphor, “Zombie Lady” comes across as unabashedly romantic and soulful. It’s a swirling, dark pop ballad that shows Damiano’s theatrical side – passionate, a bit eccentric, and utterly dedicated in love. This song’s emotional intensity and the sweet cameo from Dove make it a standout on the album.

   
   

4. The Bruise – Track four, “The Bruise,” is a gentle tearjerker that continues the album’s theme of vulnerable love, this time with a notable collaboration. Suki Waterhouse (known for her hazy indie-pop style) joins Damiano on this song, lending soft harmonies that complement his voice beautifully. “The Bruise” is a hushed, intimate ballad – one of the most delicate moments on FUNNY little FEARS. Stripped of heavy production, it almost feels like an acoustic lullaby or a whispered confession. The song’s lyrics describe a one-sided or hesitant love: Damiano portrays someone bearing the emotional “bruises” of loving someone who isn’t ready to fully love back. The duet format plays out like a dialogue or inner monologue, with Suki’s ethereal vocals embodying the distant lover. The production is minimal – gentle piano chords, maybe a faint string or guitar – allowing the vocals and words to carry the weight. “The Bruise” is emotive and melancholic, capturing that ache of unreciprocated feelings. It’s a subtle track, but its vulnerability and the blend of Damiano’s and Suki’s voices leave a lasting impression.

5. Sick of Myself – On “Sick of Myself,” Damiano dives into intense self-reflection. This song is a piano-driven pop-rock ballad that puts his vocals front and center. The arrangement starts quietly, with a simple piano melody and soft guitar strums supporting his voice, then gradually builds in power. By the chorus, the emotional intensity swells – still gentle in instrumentation, but you can feel the hurt in his performance. The lyrics are openly self-critical as he sings, “I’m sick of myself, you’re the medicine.” He uses vivid imagery like his “blood turning to broken glass” to convey just how shattered he feels inside. It’s one of the album’s low points in terms of the character’s emotional journey, laying bare feelings of inadequacy and exhaustion with life. And yet, within this darkness, there’s a glimmer of hope: he finds comfort in a loved one, treating their love as the cure for his self-loathing. The blend of despair and love makes “Sick of Myself” a powerful moment. Musically it stays in a soft rock lane – think big emotive chorus but without excessive production – allowing Damiano’s raw feelings to shine through. This track shows how far he’s willing to go in exposing his insecurities, reinforcing how personal and heart-on-sleeve this record is.

6. Angel – Midway through the album, “Angel” offers a shift in energy and mood. This song introduces a touch of jazz flair into Damiano’s pop-rock palette. “Angel” has a smooth, almost sultry groove – you might hear a jazzy piano, brushed drums, or even a bluesy guitar riff underpinning the verses. Lyrically, the track is a love song that at first sounds like Damiano is describing a perfect angelic figure: he mentions her “pretty eyes,” “porcelain skin,” and a “devilish grin.” There’s a dreamy, almost cinematic quality to how he describes this woman who stepped out of a dream and electrified him. But in an interesting twist, he makes it clear she’s not a typical angel – she has flaws and a “devilish” side, which only makes her more captivating. “Angel” feels like a celebratory turning point; after the heavier emotional lows earlier, here Damiano sounds smitten and uplifted. The production is “jazz-heavy” pop – modern enough to fit the album’s vibe, but with classic undertones that give it a timeless romance feel. Overall, “Angel” stands out as a beautiful love song that radiates warmth and shows Damiano embracing happiness. You can almost sense the clouds lifting in his life at this stage of the record.

7. Tango – As its title suggests, “Tango” brings a playful rhythmic twist to the album. This track uses the metaphor of dance – specifically the passionate tango – to explore themes of love, illusion, and lingering attachment. Musically, it’s anchored by a tango-inspired beat and melody: picture a shuffling, sensual rhythm, maybe a touch of accordion or violin in the background nodding to the classic tango sound, all meshed with a pop-rock foundation. Damiano’s vocals dance through the verses as he sings about a “dark-haired tiny dancer in the dark,” invoking a mysterious image of a lover who captivates him. The tone here is upbeat and deceptively happy, but underneath, the lyrics hint at unresolved feelings and the back-and-forth pull of a complicated relationship (much like the push-and-pull of a tango dance). There’s a bit of angst wrapped in the song’s happy melody – he might be chasing a love that’s part fantasy. “Tango” is catchy and rich in imagery, adding genre diversity to the album. It reinforces the album’s theatrical streak and shows Damiano isn’t afraid to dance to a different beat – literally! It’s a fun listen and adds momentum in the record’s middle, even as it contemplates the illusions we create in love.

   
   

8. Born With a Broken Heart – This track is already familiar to many fans, as it was one of Damiano’s breakout solo singles in 2024. “Born With a Broken Heart” is a soaring pop-rock anthem that combines emotional lyrics with an arena-sized chorus. The song’s core theme is hinted right in the title: Damiano sings from the perspective of someone who feels fundamentally damaged in love. He repeatedly declares, “Baby, you can’t fix me – I was born with a broken heart,” conveying a deep fear that he’s incapable of being truly healed or loved fully. Despite the despairing message, the song itself comes across as anthemic and empowering. It has a driving beat and big instrumentation – likely some pounding drums, ringing guitars, and possibly synth layers – that make it feel like a huge pop/rock hit (which, indeed, it became a global streaming hit for him). This contrast between the sorrowful self-awareness in the lyrics and the triumphant sound creates a powerful dynamic. “Born With a Broken Heart” resonates as a post-heartbreak anthem, capturing that stage where you acknowledge your pain openly. In the context of the album’s story, this song is a kind of emotional climax of the “down” moments – he’s brutally honest about his brokenness. Yet, belting it out with such passion also suggests a form of catharsis. Production-wise, it’s polished and radio-friendly, very much the kind of tune that can fill stadiums. No wonder it connected globally. This track firmly establishes that Damiano’s solo work can pack as much punch as his band material, just in a more pop-oriented way.

   
   

9. Tangerine – “Tangerine” is one of the album’s delightful curveballs. Not only does it feature rising alt-R&B artist d4vd (adding a collaborative spark), but it also genre-bends in unexpected ways. The song begins with a surprise: a twangy slide guitar riff with a hint of country/rockabilly vibe, as if a Buddy Holly oldie was about to play. This playful intro quickly evolves, as “Tangerine” morphs into a grand, almost theatrical pop piece. By the chorus, you might feel like you’ve been swept into a modern musical – there’s a dramatic, “Wicked”-style epic quality to it, with big vocal harmonies and a swelling arrangement. The interplay between Damiano and d4vd is a highlight. Damiano’s powerful pop-rock vocals blend with d4vd’s smoother, soulful tone, creating a rich duet. Lyrically, “Tangerine” appears to use the fruit metaphor to describe something (or someone) vibrant and bittersweet in love. There’s talk of lasting love and how one person can profoundly change your life’s flavor. The alt-R&B influence that d4vd brings is evident in the groove and beat, especially in verses – it gives the song a cool, contemporary texture before it launches into its big pop chorus. “Tangerine” really lets both artists shine: Damiano pushes his vocal range in emotive belts, and d4vd adds depth with his heartfelt lines. It’s a track that combines genres seamlessly – pop, rock, R&B, even a dash of country – yet it feels cohesive and infectious. This kind of experiment shows Damiano’s versatility and willingness to step outside the box. By the end of “Tangerine,” listeners are left humming along, struck by how boldly the song transformed from its humble intro to a full-blown alt-pop spectacle.

10. Mars – On “Mars,” Damiano reflects on escape versus commitment in love, delivering one of the more atmospheric songs on the record. The title evokes the idea of leaving this world (Mars, the planet) – and indeed, the song plays with that theme. There’s a subtle cosmic vibe in the production: echoey guitars drenched in reverb, airy synth pads, and a steady, mellow rhythm that together create a spacious, dreamy soundscape. It’s as if the song floats in the atmosphere, giving a sense of weightlessness. Lyrically, “Mars” finds Damiano contemplating a grandiose escape (everyone “going to Mars”) versus staying grounded with the person he loves. In a standout line, he confesses, “I don’t need to live forever, as long as I can die in your arms.” It’s a beautifully romantic sentiment that prioritizes a moment of true love over any fantastical notion of eternal life or adventure. That line also captures the album’s ongoing tug-of-war between fear and hope: here, he chooses love and presence over running away. Musically, while “Mars” is mostly a pop ballad, it is one of the few tracks that nods to Damiano’s rock roots – you can hear it in that gentle guitar work (almost a soft rock power ballad undercurrent). The chorus is emotional and sweeping, but the song never boils over; it stays somewhat restrained, reflective in tone. “Mars” feels like a quiet late-night revelation – personal and philosophical at once. By the time it fades out, you might find yourself contemplating your own grand desires and what really matters at the end of the day. It’s a subtle gem on the album that adds contemplative depth to the tracklist.

11. The First Time – This song brings a burst of passionate nostalgia to the final stretch of the album. “The First Time” is all about the incomparable rush of first love – those electrifying moments that never quite leave you. Fittingly, the track has an almost youthful, high-energy pop-rock feel. It opens up with lively instrumentation (upbeat drums, dynamic guitars or synths) that set an optimistic mood. Damiano’s vocal delivery here is eager and impassioned, as if he’s reliving that initial spark in real time. Lyrically, he reminisces about the very first time he met someone who changed his life. He uses vivid, over-the-top imagery to convey how monumental that encounter felt: at one point he sings about crashing his car because he was flying high, and even talking to God who “couldn’t get me higher.” These lines show how that first love experience was almost surreal and transcendent for him – literally a religious experience and adrenaline rush rolled into one. The chorus is one of those big, uplifting choruses that you can imagine the crowd belting out at a live show, full of “whoa-oh” hooks or a memorable melody. However, there’s an underlying message that peeks through amid the euphoria: sometimes we idealize first love to the point where reality can’t compare. In the bridge or later verses, Damiano hints that this ideal was just that – an ideal, a beautiful memory that might never be replicated or was perhaps too perfect to be real. Still, “The First Time” doesn’t dwell on regret; it mostly celebrates the feeling. With its blend of energetic arrangement and reflective lyrics, the track strikes a balance between anthemic and introspective. It’s both a celebration of youthful love and a subtle acknowledgment that such moments are unique. As a listener, you’re left both pumped up by the song’s vitality and maybe a touch wistful thinking about your own “first times.”

12. Perfect Life – “Perfect Life” takes on the facade of perfection in a relationship and tears it down with honest insight. The song’s vibe is catchy and pop-forward, but there’s a hint of cynicism lurking in the lyrics. Musically, it might remind you of early 2000s pop-rock or modern alt-pop – polished production, a toe-tapping mid-tempo beat, and perhaps some cool guitar licks or synth lines embellishing the background. It’s the kind of song that could easily get stuck in your head with its smooth hook. In the lyrics, Damiano explores what it’s like to love someone whose life looks “perfect” from the outside. This could mean the person is popular, or always happy on social media, or generally seems to have it all together. But as the song reveals, that ideal image hides a lot of problems beneath. He sings about a relationship built on denial and sacrifice – two people pretending everything is fine and glossy, while their needs and issues are ignored. There’s a bit of a sharp edge when he calls out the illusion of the “perfect life.” It’s easy-listening at a glance, but if you pay attention, the song is actually a critique of superficial happiness. Damiano’s performance here balances sweetness and bite – he might sing a melodic chorus that sounds uplifting, while the words themselves cast doubt on the fairy tale. “Perfect Life” fits well thematically, as by this point in the album he’s confronting hard truths. It’s as if he’s saying: no life (or love) is perfect, and pretending it is will only lead to heartbreak. In terms of album flow, this track keeps the energy up toward the end, ensuring the record doesn’t sag, while delivering a smart message about authenticity in love. Expect this one to resonate with anyone who’s ever felt jealous of someone else’s seemingly flawless life – only to discover cracks in that picture.

13. Silverlines – The penultimate track, “Silverlines,” is a show-stopper in its own right. Not only does it carry significant emotional weight, but it also boasts high-profile production, being produced by the acclaimed musician Labrinth. The title “Silverlines” plays on the idea of “silver linings” – finding light in the dark – and the music mirrors that concept beautifully. The song starts off stripped-back and delicate: you might hear a simple piano or a gentle electronic pulse, with Damiano’s voice subdued and soulful, almost on the verge of breaking. As it progresses, “Silverlines” builds into a powerful, cinematic climax. By the time it hits the chorus or final bridge, it transforms into a thunderous pop-rock ballad, complete with soaring vocals and dramatic instrumentation. There’s even a rousing “whoa-oh-oh” sing-along refrain that gives it an anthemic, almost pop-metal feel (imagine a huge chorus that could echo through an arena). This dynamic growth from a quiet beginning to a roaring finale is emotionally cathartic. Lyrically, Damiano lays himself bare here, confronting pain and desperately seeking that inner peace after the storm. He’s looking for those “silver lines” – the hopeful glimmers after turmoil. Given everything he’s worked through in the album (fear, loneliness, heartbreak), “Silverlines” feels like the moment he fights back the darkness. Labrinth’s influence can be sensed in the lush production layers and the dramatic flair (after all, Labrinth is known for epic soundtrack work). Yet, despite the grand sound, the song remains personal at its core. Damiano “cuts himself open” in the lyrics, addressing emotional scars and trying to stitch them with hope. The contrast of vulnerability and strength makes this track incredibly compelling. By the end of “Silverlines,” as the big final chorus rings out, you get the sense that a breakthrough is happening – like the sun finally piercing through heavy clouds.

14. Solitude (No One Understands Me) – The album concludes on a quiet, introspective note with “Solitude (No One Understands Me).” After the stormy heights of “Silverlines,” this final track serves as a gentle epilogue, the calm after the emotional climax. It’s a stripped-down, delicate song that likely features soft piano, minimalistic strings, or acoustic guitar – something to create a hushed atmosphere. Damiano’s vocals here are tender and honest, almost as if he’s singing a diary entry to himself. The song’s theme is laid out plainly: the feeling of deep misunderstanding and isolation. He confesses a fear of being truly known or of never being understood – hence the title. One lyric he’s mentioned stands out: “I’ve got a funny fear of flying,” which on the surface might mean literal fear, but symbolically it ties back to the album’s concept of fears (big and small) that hold us back. Throughout this track, Damiano reflects on his loneliness, vulnerability, and the journey he’s been through. But importantly, he doesn’t end on despair. Instead, “Solitude” finds a kind of strange comfort in being misunderstood. You get the sense that he has made peace with who he is, even if others don’t fully get him. The tone is melancholy yet soothing – it’s the sound of acceptance. As the last notes of the song (and album) fade, Damiano leaves us with his most unguarded self. It feels like we’ve been allowed a peek into his soul, and now he gently closes the book. FUNNY little FEARS thus ends not with a bang, but with a thoughtful whisper, emphasizing that after all the turmoil and growth, inner peace can be found in embracing one’s authentic, imperfect self – even if one must stand alone to do so.

Conclusion

In the end, FUNNY little FEARS has turned out to be a pleasant surprise and a refreshing listen from start to finish. I wasn’t sure what to expect from Damiano David on his own – would he stick to the rock swagger or venture into new territory? The answer is delightfully the latter. This album is incredibly easy on the ears, filled with well-crafted songs that showcase Damiano’s versatility as a singer and songwriter. Despite the heavy themes of fear, heartbreak, and soul-searching, FUNNY little FEARS remains catchy and engaging; it’s the kind of album you can vibe to on a relaxed afternoon or delve into with headphones to catch all the lyrical nuances. Damiano’s informal, charismatic spirit shines through the music, making the listening experience feel personal and genuine. On a personal note, this record has quickly become one of my favorite albums of 2025. Its mix of pop hooks, emotional depth, and genre-blending production feels both modern and heartfelt. Damiano David has proven that he can stand tall as a solo artist, delivering an album that not only lives up to the hype but also carves out a distinct identity apart from his band. FUNNY little FEARS is an easy-listening triumph with a lot of heart – and it’s likely to be on repeat for me for a long time to come.

Eurovision 2025 Grand Final: Austria winning was the redemption arc we needed

Basel, Switzerland – The Eurovision Song Contest 2025 Grand Final delivered an extravagant spectacle of music, drama, and surprises. Twenty-six countries took to the stage at Basel’s St. Jakobshalle, each bringing their unique song and staging to millions of viewers. From high-energy openers to emotional ballads, the night had a little of everything. By the end of the show, one country emerged victorious, but not before an evening of dazzling performances, witty hosting, and a few controversies along the way. This factual recap covers all the highlights of the Grand Final – every performance, the show’s presentation, the shock moments, and the debates – in a strictly factual manner (a separate opinion piece will follow for personal takes).

“Welcome Home” to Basel: Hosts, Venue & Vibe

Switzerland welcomed Europe (and beyond) “home” to Basel under the contest slogan “Welcome Home”, hosting Eurovision for the first time since 1988. The venue, St. Jakobshalle, was transformed into a stunning arena inspired by Swiss landscapes and unity. The stage design featured modern LED screens and mountain-like structures invoking the Alps, creating an immersive layout that brought fans close to the action. Visual themes of hearts and togetherness pulsed throughout the show, in line with Eurovision’s ongoing “United by Music” theme. Even the audio cues embraced Swiss culture – viewers were treated to snippets of yodeling, alpine horns, and Basel drums mixed into the modern beat of the theme music.

Three hosts led the night with a mix of warmth and humor. Hazel Brugger, a Swiss comedian, and Sandra Studer, a Swiss TV personality, handled the semi-finals and returned for the final joined by international star Michelle Hunziker. The trio’s chemistry kept the show lively between songs. They performed playful skits and even a musical interval act titled “Made in Switzerland,” cheekily praising Swiss contributions like chocolate, fondue, and even LSD in a tongue-in-cheek song. Hazel’s offbeat humor stood out – at one point she joked that Swiss people “don’t have feelings, we have money,” prompting an amused side-eye from Michelle and hearty laughs in the arena. Moments like this set a lighthearted tone for the evening.

The show opened in grand fashion. Last year’s winner, Nemo of Switzerland, took the stage first for a rousing opening act, performing his winning song from 2024 to start the party. Nemo’s appearance (complete with a dramatic wig and slinky gown) was a celebratory nod to Switzerland’s victory the year beforepajiba.com. With confetti and a roaring crowd, the Grand Final was officially underway.

The 26 Grand Final Performances

Each of the 26 finalist countries brought their best to the Basel stage, showcasing a remarkable diversity of musical styles and staging. Here’s a rundown of every performance in the order they appeared:

• Norway – Kicking off the show, Norway’s Kyle Alessandro set an upbeat mood with “Lighter.” His performance was pure pop energy, featuring slick choreography and bright neon stage visuals. Dressed in a trendy streetwear outfit, Kyle worked the stage with confident dance moves and backup dancers. As the first act of the night, he had the crowd clapping along, getting everyone “lighter” on their feet from the start.

• Luxembourg – In their second year back in Eurovision, Luxembourg followed with Laura Thorn singing “La poupée monte le son.” This playful French-language pop song (the title roughly means “The doll turns up the volume”) had a quirky retro flair. Laura’s staging included colorful toy-like props and dancers, as if a vintage music box had come to life. Wearing a chic 60s-inspired outfit, she delivered a charming performance full of whimsy. The audience cheered the return of Luxembourg, enjoying the song’s throwback vibe even if it wasn’t a top contender.

• Estonia – Estonia’s act immediately became one of the night’s wild highlights. Tommy Cash performed his genre-blending track “Espresso Macchiato,” an ode to his love of coffee delivered in the most over-the-top fashion. With operatic vocals and absurdist flair, Tommy strode on stage sporting a handlebar mustache and a mullet, looking like a theatrical barista gone rogue. The staging was as eccentric as the song: think neon café imagery, oversized coffee cups, and tongue-in-cheek drama. Tommy belted out comically grand notes about espresso in Italian and English, drawing huge laughs and applause. The mustache-twirling performance had the arena in stitches, and Estonia’s unique mix of silly and spectacular clearly struck a chord – the crowd rewarded this wacky operatic coffee rant with one of the loudest ovations of the first acts.

• Israel – Toning down the mood, Yuval Raphael took the stage fourth for Israel with “New Day Will Rise.” This entry was a powerful ballad delivered in three languages (English, French, and Hebrew), carrying a message of hope and perseverance. Yuval stood in a spotlight wearing a white suit, and the staging featured golden lighting and imagery of a rising sun to match the song’s inspirational theme. Vocally, he gave an impassioned performance that earned cheers, especially from Israeli flags waving in the crowd. However, Israel’s presence came with tension. Partway through the performance, an activist attempted to rush the stage in protest. Security intervened swiftly, and the broadcast was largely unaffected – many viewers at home only saw a brief wide shot while the incident was handled. Inside the arena, there was a brief stir, but Yuval performed like a pro, hardly missing a beat. The audience responded with supportive applause, and Israel’s song ultimately brought the house to its feet. (Outside the venue, pro-Palestinian demonstrations were audible earlier, but inside, the focus remained on the music.)

• Lithuania – Next was Lithuania’s entry “Tavo akys” performed by Katarsis. This song, titled “Your Eyes” in Lithuanian, was a soulful pop-ballad with a modern R&B twist. Katarsis took a minimalist approach on stage – he stood amid cool blue lighting and smoke effects, letting his smooth vocals shine. Dressed in an all-white suit, he emoted to the camera as if singing directly to a loved one. The performance was elegant and moody. While it didn’t have the flashiest staging of the night, the simplicity allowed the emotional lyrics to connect. The crowd gave polite applause for Lithuania’s intimate moment, a nice breather after the high drama earlier.

• Spain – Turning up the heat again, Spain’s Melody delivered a vibrant pop spectacle with “Esa diva.” This song – whose title means “That Diva” – lived up to its name. Melody’s performance was bursting with Latin pop flair and confident attitude. She emerged in a dramatic red flamenco-inspired gown with an enormous ruffled train. In a memorable visual, the opening moments featured her male dancers literally hiding under the long train of her dress, then dramatically emerging as the music kicked in. The staging embraced Spanish iconography: the dancers donned matador hats, and the choreography included flamenco poses and fierce “power poses” worthy of a diva. Melody worked every inch of the stage, transitioning from the big gown into a glittering dance outfit mid-song. Pyrotechnics flared during the final chorus, and by the end, the arena was dancing along to Spain’s irresistible club-banger. It was one of the most elaborately staged numbers of the night – truly “¡una diva!” performance. Despite the electric show, when results came in later, Spain’s score was surprisingly low, a fact that visibly disappointed the Spanish delegation. But as a performance, “Esa diva” was a fan favorite in the arena, earning one of the loudest cheers.

• Ukraine – Ziferblat, representing Ukraine, changed the atmosphere with their haunting song “Bird of Pray.” This entry mixed Ukrainian and English lyrics in a dark, art-pop piece that many interpreted as symbolizing perseverance through hardship. The staging was striking: Ziferblat’s lead singer appeared under a dim, single spotlight with a backdrop of fluttering birds and stained-glass window visuals, giving off a spiritual, somber mood. Dressed in black with gold embroidery, he delivered vocals that started delicate and built to a powerful cry – almost like a prayer set to music. The audience was rapt during Ukraine’s performance; you could feel a hush as the emotional intensity grew. By the final chorus, blue and yellow lights (Ukraine’s colors) bathed the stage, and the crowd erupted in supportive applause. Ukraine’s song clearly resonated with viewers, later scoring very high with the public vote. It was a reminder of Eurovision’s emotional core amid a mostly upbeat night.

• United Kingdom – The UK’s trio Remember Monday brought a dose of pop-rock to the stage with “What The Hell Just Happened?” This song’s title perfectly captured a bit of what everyone felt during this crazy show. The three women of Remember Monday, known for their harmonies, performed in coordinated edgy black outfits with silver accents. Their staging started with the group gathered around a standing microphone, delivering tight vocal harmonies in the intro. As the song kicked into an anthem-like chorus, they moved apart and rocked out with a live band feel, LED screens flashing lyrics and comic-book style graphics (at one point the phrase “What the Hell?” popped up behind them in giant letters). The song itself was an upbeat pop-rock number about chaos and resilience – quite fitting for the times. The crowd enjoyed the band’s energy and strong vocals, giving a decent cheer. However, when votes were tallied, the UK sadly got a familiar result: very low points, including zero points from the public televote. It was a tough pill for the home audience in Britain, but on stage the trio gave a spirited performance, ending with a shrug and a smile as if to say the song’s title once more: “what just happened?”

• Austria – One of the night’s most anticipated acts, Austria’s JJ performed “Wasted Love” in the ninth slot – and he would later be revealed as the winner of Eurovision 2025. JJ’s performance was elegantly simple and utterly captivating. A 24-year-old countertenor with a background in classical singing, JJ stood alone in a circle of light wearing a stylish black outfit with subtle sparkling details. His song “Wasted Love” is a pop-opera ballad, and live he showed off a remarkable vocal range, hitting high crystal-clear notes that gave many in the crowd goosebumps. The staging gradually built up: starting dim and intimate with just JJ and a microphone, then blossoming with swirling galaxy visuals on the LED backdrop as the song reached its emotional peak. Golden pyrotechnics rained down in the final chorus, framing JJ in a shower of light. It was a goosebump moment in the arena – by the last note, the audience erupted in cheers and applause for the Austrian star. In his postcard and earlier interviews, JJ had explained that “Wasted Love” is about finding hope after heartbreak, saying “there’s always a light at the end of the tunnel… hope dies last”. That hopeful message clearly connected. When the voting results were later announced, Austria clinched victory in a nail-biting finish. JJ would lift the iconic glass microphone trophy, beaming with joy as confetti fell – a triumphant moment for Austria, which celebrated its third Eurovision win.

• Iceland – The Icelandic band Væb followed with a dreamy entry called “Róa” (meaning “Calm”). In contrast to the fireworks before them, Væb’s staging was cool and atmospheric. The lead singer stood at a glowing round platform that looked like a mystical moon, while bandmates played instruments in the shadows. The song was a mellow indie-pop piece sung in Icelandic, with ethereal harmonies and a soothing melody that indeed felt like a calm interlude. The lighting shifted in oceanic blues and greens, and at one point a gentle mist rolled across the stage floor, evoking the feeling of a midnight coastal scene. It was hypnotic, if a bit understated compared to other acts. The crowd swayed along, appreciating the chill vibes. However, in such a competitive field, Iceland’s subtlety was somewhat lost – and ultimately this entry ended up last in the final ranking. Juries in particular didn’t connect (Iceland received zero jury points). Still, “Róa” provided a beautiful, serene moment of calm in an otherwise high-octane show.

• Latvia – Bringing back some folk energy, Tautumeitas from Latvia were up next with “Bur man laimi” (Latvian for “Give me luck” or “Conjure me luck”). The all-female folk-pop group delivered an enchanting performance that fused traditional Latvian music with a modern beat. They wore striking folk-inspired outfits – long colorful gowns with intricate patterns and flower crowns – immediately catching the eye. Tautumeitas began the song a cappella in perfect harmony, their ethereal voices echoing around the hall. As the beat dropped, drums and electronics kicked in, and they broke into a synchronized ribbon dance across the stage. The staging included imagery of Baltic folk symbols and swirling magical graphics, underscoring the song’s theme of wishing for good fortune. The audience responded warmly to the folk rhythms; many were clapping along by the end. Latvia’s mix of ancient and contemporary felt authentic and joyful, earning solid applause and a respectable mid-table finish later in the results.

• Netherlands – Representing the Netherlands, singer Claude brought a breezy summer vibe with his song “C’est La Vie.” Interestingly, this song mixed languages too – the title is French (“That’s life”), though the song featured both French and English lyrics. Claude appeared on stage in a stylish pastel suit, looking every bit the cool crooner. His performance was enhanced by a jazzy brass section and dancers who gave the staging a bit of a Motown-meets-Eurovision feel. The LED backdrop showed swirling pastel colors and graphic patterns, reinforcing the easygoing mood. Claude’s smooth voice and the song’s catchy whistling hook had the audience snapping along. It wasn’t a performance with huge gimmicks or props, but the simplicity and groove made it stand out. The Netherlands delivered a feel-good moment that had people in the arena smiling. Come voting time, it translated into a decent finish near the top ten – a success for this laid-back, classy entry.

• Finland – And then came Finland, to ensure no one in the audience was left dozing! Erika Vikman stormed the stage with her flamboyant entry “Ich komme.” Despite the German title (which translates cheekily to “I’m coming”), the song is performed in Finnish – and it is pure camp disco energy. Erika, a known pop diva in Finland, did not hold back: her performance featured neon-pink lighting, pulsating 80s-style synth beats, and a whole lot of sass. She emerged in a glittering hot-pink bodysuit with dramatic feathered sleeves, immediately commanding attention. Throughout the song, Erika executed a sultry dance routine with a microphone stand as her prop, channeling vintage Madonna vibes. The real jaw-drop moment came in the final minute: a giant golden microphone statue rolled out on stage, and Erika climbed aboard it like a rodeo rider, singing the last chorus while riding the oversized mic as it shot out fountains of sparks. It was an outrageous, no-holds-barred pop spectacle – exactly the kind of over-the-top fun Eurovision fans live for. The audience went absolutely wild for Finland’s performance, dancing and laughing at the sheer audacity. Erika’s bold show paid off, earning significant points (especially from the public) and a spot just outside the top ten. If subtlety was “found dead” that night as one commentator joked, Finland was surely the killer – and the crowd loved every minute of it.

• Italy – The second half of the show kept the quality high, starting with Italy’s entry at position 14. Singer-songwriter Lucio Corsi represented Italy with “Volevo essere un duro” (Italian for “I wanted to be a tough guy”). Italy’s performance was an artful piece of glam-rock theater. Lucio took the stage in a dazzling purple velvet suit with platform boots, styled somewhat like a 1970s glam star. His song, a quirky mid-tempo rock number, combined witty Italian lyrics and an anthemic chorus. The staging featured retro elements: neon signs, smoke machines, and at one point Lucio brought out an electric guitar for a flashy solo. There was a charming theatricality to it – he acted out the song’s tongue-in-cheek storyline of trying (and failing) to be a “tough guy,” eliciting grins from the audience. Musically and visually, Italy struck a balance between classic rock cool and Eurovision flair. This clearly impressed the juries in particular, who awarded Italy high points. Lucio’s unique style earned Italy a strong 5th place overall in the end. As he finished his performance with a dramatic rockstar pose, the crowd in Basel gave Italy a big round of applause for one of the night’s classier acts.

• Poland – Next, Polish superstar Justyna Steczkowska took the contest stage nearly 30 years after her first Eurovision appearance in the 1990s. Her song “Gaja” was one of the more mystical entries of the night. Titled after the Earth goddess “Gaia,” the song carried an environmental and spiritual theme. Justyna’s performance started in near darkness: she stood in a flowing emerald-green gown, illuminated by a soft spotlight. As the music progressed, the stage bloomed with life – LED visuals of forests, waterfalls, and the planet Earth appeared, and dancers in flowing costumes representing the elements circled around Justyna. Her trademark soprano vocals soared on some very challenging notes, demonstrating why she’s considered a vocal legend in Poland. The audience responded strongly to a particularly big high note near the end. Poland’s staging was artistic and evocative, blending modern technology with folk symbolism (there was even a moment where Justyna played a few notes on a violin, nodding to her musical roots). The public seemed to appreciate “Gaja” – Poland earned a high televote score later – though juries were less enthusiastic. Still, as a performance it was memorable and majestic, drawing cheers especially from fans who recognized Justyna’s legacy.

• Germany – Germany shook things up with a contemporary pop track in German, a change from their recent English-language entries. The act Abor & Tynna, a male-female duo, performed “Baller.” In German slang, “Baller” can mean someone who’s partying hard or going all-out – and that’s exactly the vibe Germany brought. The staging was edgy and modern: Abor & Tynna started back-to-back on a rotating circular platform, dressed in urban fashion (he in a sleek black jacket, she in a neon green pantsuit and bold sunglasses). The song itself was an uptempo electro-pop banger with a pounding beat, and they delivered it with cool attitude. As the track built, the stage flashed with strobe lights and quick-cut camera angles to amp up the energy. Midway, dancers on hoverboards (yes, actual hoverboard props) zipped across the stage, reinforcing the high-tech party atmosphere. The audience bopped along to the beat – it was impossible not to nod your head. Germany’s performance was polished, perhaps not as instantly striking as some others, but it got the crowd energized. In the final scoring, Germany ended up mid-pack. Nonetheless, “Baller” succeeded in bringing a shot of sleek dance-pop to the night, showing that German-language pop can hold its own on the Eurovision stage.

• Greece – Klavdia from Greece delivered one of the evening’s most emotional moments with her song “Asteromáta.” Sung entirely in Greek, the title roughly translates to “starlight” or could be interpreted as “eyes like stars.” This was a powerful, stirring ballad in the classic Eurovision tradition. Klavdia stood center-stage in a flowing white gown, with a starry night sky projected behind her. The performance began quietly with her silhouette against a constellation backdrop. As the song progressed, the lighting grew brighter and the stars on screen swirled as if coming to life. Klavdia’s vocals were rich and heartfelt – you could hear a pin drop in the arena during her sustained high notes. She conveyed deep emotion, and many audience members waved their phone lights to create a sea of “stars” in the crowd. By the final chorus, a gentle crescendo of drums and a gospel-style choir (pre-recorded) joined in, adding layers to the sound. It was a goosebumps-inducing climax. The crowd responded with a massive applause, clearly moved. Greece’s classic yet captivating approach paid off handsomely: later in the vote reveal, Greece secured a 6th place finish overall. Klavdia’s performance reminded everyone how a simple presentation with a stellar voice can still leave a huge impact.

• Armenia – Representing Armenia, singer Parg had the 18th slot with “Survivor.” This was a contemporary pop ballad with an empowering theme of overcoming hardships. Parg’s staging was minimalist at first – he appeared alone, dressed in black leather with a single spotlight – conveying a sense of isolation that fit the song’s opening. As the song built, LED screens behind him showed abstract visuals of shattering glass reforming into a phoenix rising from flames, symbolizing rebirth. Parg delivered strong vocals, especially in the chorus where he belted “I’m a survivor” with palpable emotion. In the final segment, two dancers joined him, interpreting the struggle and uplift of the lyrics through modern dance. It was a solid performance, though coming after several showier acts, Armenia’s simpler staging might have felt a bit understated. The audience gave warm applause, but not the loudest of the night. When results came out, Armenia finished on the lower end of the scoreboard (20th place). Still, Parg’s message of resilience was heard loud and clear, adding an inspirational note to the lineup.

• Switzerland – As the host country, Switzerland had a guaranteed spot in the final, and expectations were high for their entry “Voyage.” Young singer Zoë Më rose to the occasion with a beautiful performance. “Voyage” is a French-language ballad, and Switzerland staged it with elegant simplicity. Zoë wore an exquisite flowing gown that glimmered under the lights. She began the song seated on a raised circular platform reminiscent of a compass, perhaps symbolizing a journey. Throughout the song, the stage floor displayed projections of a map slowly expanding, as if we were indeed on a voyage around the world. Zoë’s vocals were crystal clear and emotionally charged; she hit a particularly impressive high note toward the end that earned spontaneous applause mid-song. As the host nation’s artist, she also got extra cheers simply for representing Switzerland at home. Interestingly, “Voyage” garnered enormous jury support (the national juries gave Switzerland very high points), but it strangely received zero points from the public televote – one of the night’s big surprises in the voting. Despite that televote snub, Switzerland’s performance was classy and well-received in the arena, demonstrating why the juries loved it. Zoë Më graciously bowed to a cheering home crowd at the end, clearly moved by the audience’s support.

• Malta – Malta’s Miriana Conte delivered a dynamic pop performance with her song “Serving.” This entry had generated buzz even before the contest due to a lyric controversy – originally titled “Kant” (the Maltese word for “song”), it had to be retitled and rewritten after the European Broadcasting Union deemed the original wording too close to an English swear word. With the issue resolved, Miriana took the stage ready to impress. “Serving” proved to be a sassy pop track with a touch of hip-hop flair. Miriana’s staging featured a futuristic diner theme (a playful nod to “serving” as in serving food and serving attitude). She started the song perched on a retro diner counter, then leapt down to join her dancers in tight choreography. The color scheme was neon pink and chrome, giving a Y2K pop aesthetic. Miriana’s vocals were on point as she belted the catchy chorus and even delivered a quick rap bridge. For a small country, Malta always brings big staging, and this was no exception: there were quick camera cuts, LED visuals of spinning plates and menus, and a final pyrotechnic pop as Miriana struck a “served!” pose. The audience enjoyed the fun and sass of it all, though Malta’s entry had tough competition around it. In the final results, Malta placed mid-to-low table, but for three minutes in Basel, Miriana definitely “served” pop star realness on stage.

• Portugal – In the 21st slot, Portugal’s act Napa gave us a completely different flavor with “Deslocado.” True to Portugal’s recent tradition of doing their own thing, “Deslocado” (meaning “Out of place” or “Displaced”) was an arty, soulful number that stood out for its authenticity. Napa performed in Portuguese, pouring raw emotion into his vocals. The staging was minimalistic yet deeply atmospheric: Napa stood under a single streetlight prop on a dim stage, as if singing on a lonely Lisbon street corner at night. A lone guitarist accompanied him on stage, playing gentle acoustic riffs that melded with the subtle electronic beats in the background track. The camera work focused tight on Napa’s face at times, highlighting the intensity in his eyes as he sang about feeling out of place in the world. There were no dancers, no special effects – just changing hues of blue and purple lights swirling slowly to match the song’s mellow rhythm. The simplicity drew the audience in; it felt intimate despite the arena setting. While “Deslocado” did not ignite huge cheers (it earned polite claps, fitting for a softer song following many flashy acts), it was appreciated as a poignant musical moment. Portugal ultimately didn’t score highly, but they stayed true to their artistic style, providing a lovely contrast in the lineup.

• Denmark – Other countries opted for big productions, but Denmark’s Sissal (a Faroese-Danish singer) combined minimalism with an edge in her entry “Hallucination.” This was an electro-pop song with a dark, trippy presentation to match its title. Sissal’s staging was visually striking: she stood in the center while around her a circle of vertical LED panels created a tunnel-like illusion, flashing black-and-white patterns and glitchy graphics. The camera shot through this “tunnel” for a mesmerizing effect. Sissal herself wore a sleek black outfit with reflective strips that caught the strobe lights dramatically. Her vocals had a mysterious, breathy quality in the verses, building to a powerful chorus. As the name suggests, the performance felt a bit like a dream or hallucination – at one point the LED floor showed a mirror image of Sissal performing, as if she were dancing with her own reflection. It was artistic and a little avant-garde. The crowd responded with intrigued applause; while “Hallucination” wasn’t a typical sing-along track, its visuals certainly grabbed attention. Denmark’s entry ended up towards the bottom in the final ranking (23rd place), but Sissal delivered her song with conviction and created a memorable mood on stage that night.

• Sweden – One of the evening’s most talked-about acts was Sweden’s, which was both a fan favorite and a novelty in Eurovision history. The group KAJ (a Finnish-Swedish trio) performed “Bara bada bastu,” a ridiculously catchy tune about… saunas. Indeed, Sweden went full sauna this year, and it paid off. KAJ’s song, sung in Swedish (notably the first Swedish-language entry for Sweden in over a decade), translates to “Just Go Sauna Bathing.” The performance embraced a cozy Nordic sauna theme with a wink and a smile. The stage was set like a whimsical Alpine sauna party: wooden log cabin props, a faux campfire, and even puffs of steam rising. KAJ’s three members bounded on stage in matching outfits that combined traditional folk attire with sauna towels around their necks – ready for a steam. Behind them, dancers dressed as cheerful “lumberjacks” (or “lumberjanes,” as observers quipped, since women were among them) did a folksy dance with choreographed axe-handle moves. As the chorus hit, the LED backdrop showed cartoonish red-and-orange flames flickering, as if the sauna was getting extra hot. Yet, ironically, the vibe remained feel-good and comedic. The song itself had a folksy schlager beat with a modern drop, and by the first chorus basically the entire arena was dancing or clapping along. KAJ even led a call-and-response sauna chant with the audience toward the end. It was impossible not to grin during this performance – it was pure, silly Eurovision joy. The crowd in Basel went bonkers for Sweden’s sauna anthem, and when the voting results came, Sweden ended up 4th place, affirming that a great, goofy idea executed well can capture hearts. KAJ certainly made everyone watching feel like joining the nearest sauna party to celebrate.

• France – Following that upbeat fun, France’s Louane brought the tone back to heartfelt and cinematic with her ballad “Maman.” Louane, a popular young singer-actress, delivered an emotional tribute to mothers (the title means “Mom”). Her staging was simple yet effective: Louane stood in a long flowing pale pink gown, and behind her, large translucent screens showed silhouette images of women at different stages of motherhood (holding a baby, a child taking first steps, etc.), reinforcing the song’s message. She sang with palpable emotion in her voice, and you could spot some audience members tearing up – the lyrics about a mother’s love and sacrifice resonated strongly with many. Midway through the performance, a subtle special effect caused a gentle burst of golden light to radiate outward from Louane, as if symbolizing warmth and love. (In a humorous glitch, some viewers and even commentator Graham Norton jokingly noted it almost looked like something else for a split second, but the moment passed quickly.) By the final chorus, Louane had the arena lit up with phone lights swaying. Her vocals were crystal clear, hitting a big high note on the last “maman” that earned cheers. France’s classic, no-frills approach paid off with the juries – they awarded France one of the highest jury totals of the night. Overall, France secured 7th place, and Louane’s touching performance stood as one of the grand final’s most sincere moments.

• San Marino – Rounding out the performances, tiny San Marino certainly made sure they wouldn’t be forgotten. DJ Gabry Ponte, well-known from the Italian dance scene (of Eiffel 65 fame), represented San Marino with “Tutta l’Italia.” This song was an up-tempo dance track that playfully celebrated Italian culture – quite cheeky for San Marino, the microstate within Italy. The staging fully embraced the theme: a giant outline of the map of Italy in LED form served as the centerpiece, and the background visuals flashed images of famous Italian landmarks (the Colosseum, Leaning Tower of Pisa, etc.) as well as pizza, pasta, and other icons in a tongue-in-cheek montage. Gabry Ponte started the performance behind a DJ turntable deck shaped like a Vespa scooter, hyping up the crowd. Soon a troupe of dancers in carnival masks and Italian flag-colored costumes joined, turning the stage into a club. The song’s chorus had a repetitive chant “Tutta l’Italia, oh oh!”, which audience members happily shouted along to by the second go. It was clear San Marino wasn’t taking itself too seriously – this was a fun party number through and through, more about entertaining the live crowd than chasing points. And entertain it did: the arena turned into a mini dance party for three minutes, with many fans jumping along to the infectious beat. Vocals weren’t much of a focus (Gabry Ponte mostly DJ-ed and a vocalist sang the hook), but the spectacle was what counted. In the end, San Marino finished 26th (last place) when the scores came in, not unexpected for a novelty dance entry. But they certainly ended the show on a high note, with fireworks and a final burst of confetti turning the stage red, white, and green. The Basel audience cheered loud for them – a mix of appreciation and maybe relief as all 26 performances were now complete!

As the music performances concluded, the hosts returned to catch their breath and guide viewers into the voting segment. The arena was buzzing – fans knew they had witnessed one of the most eclectic Eurovision finals in recent memory. From heartfelt ballads to sauna songs, from dramatic opera to dancefloor anthems, the 2025 lineup truly had it all.

Surprises, Controversies & Reactions

The voting sequence of Eurovision 2025 proved to be just as thrilling as the performances. In the end, Austria’s JJ was crowned the winner, but it was a nail-biter. Throughout the early part of the results, Israel appeared to be leading – Israel dominated the public televote with a massive 12 points from many countries (ultimately scoring the highest public vote of the night). However, the juries had given Israel relatively few points. Austria, on the other hand, benefited from huge jury support (258 jury points, the highest) coupled with a strong televote. The climax came down to the final country’s votes announcement: Austria edged ahead at the last moment, securing victory with 436 points to Israel’s 357. The reveal sent the Austrian delegation into an explosion of joy on camera, while Israel settled for a very respectable second place. Estonia was another big surprise – the quirky “Espresso Macchiato” not only amused the crowd but also earned 3rd place overall, thanks in part to a giant wave of televote love for Tommy Cash’s offbeat entry.

Several other results caught viewers off guard. Switzerland, as host, ended up 10th despite earning zero public points – an unusual disparity that became a talking point. It appears the professional juries had Switzerland ranked near the top (their 214 jury points even briefly put them in contention), but the song failed to connect with televoters outside Switzerland. A similar fate befell the United Kingdom: the UK’s Remember Monday unfortunately received no televote points at all, one of only two countries (the other being Switzerland) to get “nul points” from the public in the final. This echoed the UK’s struggles in recent years and sparked debate among British fans about what went wrong. On the flip side, Albania’s energetic folk-electro entry (which closed the show) caught fire with the public – Albania finished a strong 8th, largely buoyed by televote enthusiasm, despite low jury scores. And Spain’s flashy “Esa diva,” while a hit in the arena, surprisingly languished near the bottom of the scoreboard (24th place). Many had expected Spain to do better given the performance’s quality; its poor result was one of the night’s biggest upsets for fans, and Spanish media would later express shock at the outcome.

The presentation of the show also had its share of notable moments beyond the results. Earlier in the evening, political tensions surrounding Israel’s participation were evident. Outside the venue, demonstrators had gathered waving flags and banners – a reflection of ongoing geopolitical issues. Inside the hall, security was on high alert. The brief stage invasion attempt during Israel’s song was the most visible manifestation of the controversy. Fortunately, the incident was swiftly handled and did not derail the show. The European Broadcasting Union had allowed Palestinian flags in the audience (unlike in 2024 when certain flags were reportedly banned), and a few could be seen in the crowd during Israel’s points, but no further disruptions occurred. After the contest, discussions continued about whether Israel’s inclusion overshadowed the spirit of unity; in fact, in the lead-up to the final, over 70 former Eurovision contestants had signed an open letter calling for Israel’s exclusion on human rights grounds. The EBU did not heed that call this year, but the debate was certainly a backdrop to Eurovision 2025.

Another pre-contest controversy that had a happy resolution concerned Malta’s song lyrics, as mentioned. The Maltese entry’s quick rewrite from “Kant” to “Serving” avoided what could have been an awkward situation on a live family show. Miriana Conte took it in stride, and by the time she performed in the semi-final and final, most casual viewers were unaware of the issue – a crisis averted.

There were also plenty of light-hearted moments and in-jokes that had Eurovision fans buzzing. Because this was the 69th edition of the contest, the hosts couldn’t resist a few cheeky innuendos throughout the night (all in good fun, of course). The show’s generally silly tone – from sauna gags to comedic postcards – felt almost therapeutic amid a year of serious news, as one commentator noted. Presenter Hazel Brugger’s quirky humor divided some opinions back home in Switzerland (social media there lit up with both praise and perplexity at her style), but many international viewers found her refreshing and real. A minor social media “fashion faux pas” moment occurred when Hazel wore a deliberately bizarre outfit during one interval (a mashup of Swiss cheese patterns and cowbells) – some viewers were “horrified” in a tongue-in-cheek way, but it was clearly part of the show’s embrace of camp and self-parody.

When it came time for the traditional points presentations from each country’s spokesperson, the segment went remarkably smoothly – a relief after last year’s technical snafus. This time, all jury spokespeople delivered their 12 points without incident (save for a few playful antics, like Italy’s spokesperson, the famous cartoon puppet Topo Gigio, who elicited laughs by “speaking” in his squeaky voice before giving Italy’s douze points). The audience enjoyed these little moments of levity as the tension built. A notable highlight was the enormous cheer that erupted when Sweden’s spokesperson Chanel (a popular figure from Eurovision 2022) announced Spain’s 12 points – a nice show of Iberian camaraderie in an otherwise competitive scoring race.

Ultimately, Austria’s win was greeted with jubilation inside the arena. JJ performed a reprisal of “Wasted Love” as the closing anthem, fighting back happy tears as the crowd in Basel waved Austrian flags and sang along to the soaring chorus. It was Austria’s third Eurovision victory (after 1966 and 2014), and an especially satisfying one given that JJ had been considered a dark horse by some. His victory also meant that the honor of hosting Eurovision 2026 will go to Austria, likely in Vienna – and the celebrations were already starting among Austrian fans.

Eurovision 2025 will be remembered for its bold variety: a year where a heartfelt operatic ballad triumphed, but only by narrowly beating out a socially charged pop anthem and a comedic coffee song; a year where languages from Albanian to Montenegrin to French were heard more than ever on the Eurovision stage; and a year where the spirit of fun largely won out over the forces of division. As the confetti settled and the lights dimmed in Basel, it was clear that this Grand Final had been a truly special one – unpredictable, entertaining, and unifying.

(This article has presented the facts and events of the Eurovision 2025 Grand Final. A separate piece will provide personal commentary and opinion on the contest’s outcomes and performances.)

Tracks in Orbit: Week 202520

                            

Another Friday, another wave of brand-new music to vibe with! This week’s picks have it all – from sultry slow jams to dancefloor bangers to a long-awaited pop comeback. We’ve got the lowdown on five hot tracks that just dropped: Lola Young shows her confident side, Damiano David (of Måneskin fame) goes solo with a gothic twist, BTS’s Jin tugs at heartstrings, Inna & R3HAB bring the party, and Rihanna returns with a surprise soundtrack anthem. Grab your headphones and let’s dive in!

Lola Young – “One Thing”

London singer Lola Young is turning up the heat with “One Thing,” a steamy new track that oozes confidence and sensuality. The sound is a smooth blend of R&B and pop, driven by a slow, teasing beat and Lola’s smoky vocals. She delivers flirtatious lyrics about knowing exactly what she wants – think slow kisses and mid-day “lunch dates” with very suggestive meanings. The vibe is sexy and liberating, and the chorus hooks you in with its sultry swagger. It’s the kind of song that makes you smirk and say “yup, she went there,” in the best way.

Background: Lola has been hyping “One Thing” all over social media leading up to its release. She even performed the song live at Coachella in April to give fans an early taste, and on TikTok she shared cheeky clips hinting at the track’s bold theme. In one promo stunt, Lola posted phone numbers fans could call to hear sneak previews of different song snippets – talk about creative marketing! “One Thing” arrives as Lola’s first new music since her 2024 album This Wasn’t Meant For You Anyway, and it marks a bold new era for her. She’s unapologetically embracing feminine desire and empowerment in this song, showing a playful yet powerful side. Word on the street is that a new album is in the works for later this year, so this single might be a teaser of more to come. One thing’s for sure (pun intended): Lola Young is an artist brimming with attitude and honesty, and this track sets a confident tone that’ll spice up your summer playlist.

Damiano David – “Zombie Lady”

Måneskin frontman Damiano David steps out on his own with the intriguingly titled “Zombie Lady.” This song is a dark romantic pop-rock ballad with an atmospheric ’80s twist. It opens with moody synths and builds into driving beats and gritty guitar riffs, all layered under Damiano’s signature emotive vocals. The vibe is both haunting and heartfelt – like a love song told through a gothic fairy tale. Lyrically, “Zombie Lady” paints a picture of obsessive devotion with a spooky-cute edge (think “eat your heart out” kind of romance). The chorus is super catchy, with Damiano crooning about “my beautiful zombie lady, the only one I adore,” which somehow comes off as sweet and dark at the same time. It’s a catchy earworm that combines eerie imagery with an intensely passionate love theme, showing off a more experimental sound compared to Måneskin’s usual glam-rock swagger.

Background: “Zombie Lady” comes from Damiano’s brand-new debut solo album FUNNY little FEARS, which just dropped this week. This track is a standout – and not just because of its title. In a cool crossover of music and real life, Damiano enlisted his girlfriend, actress-singer Dove Cameron, to sing backing vocals on the song. (Fun fact: Dove literally becomes his “zombie lady” in this collaboration!). The added female vocals give the song an ethereal layer, especially in the final chorus, and fans are loving the romantic gesture. The official visualizer video for “Zombie Lady” is out now, and it racked up tens of thousands of views within hours – clearly listeners are curious about Damiano’s solo era. With this album, the Italian rocker shows he’s not afraid to explore new styles. FUNNY little FEARS dives into personal themes of fear, love, and resilience, and “Zombie Lady” exemplifies that blend of vulnerability and theatrical flair. It’s darker and more synth-driven than a typical Måneskin song, but still absolutely electric. If you liked Damiano’s dramatic performances with his band, you’ll appreciate the emotional intensity he brings to his solo work – with “Zombie Lady” offering a spooky-serious love song you didn’t know you needed.

Jin (BTS) – “Don’t Say You Love Me”

Jin, the eldest member of K-pop superstars BTS, is back and ready to break your heart (in a good way) with “Don’t Say You Love Me.” The song is a wistful mid-tempo pop ballad that puts Jin’s lovely voice front and center. It starts gentle and builds emotionally – the melody is soft and soothing, carried by acoustic-tinged pop production with a subtle rock undercurrent. Jin’s vocals really shine here; he glides from warm lower tones to a fluttering falsetto in the chorus, conveying all the conflicted feelings of the lyrics. And those lyrics? They express the complicated emotions of a relationship falling apart. The title says it all: Jin pleads for honesty, essentially “don’t say you love me” if you don’t mean it, because empty words will only hurt more. It’s a relatable theme wrapped in a super radio-friendly sound. The chorus has that bittersweet hook that will have you swaying (and possibly tearing up) as Jin sings about trying to let go. Overall, it’s a sentimental, easy-on-the-ears track – nothing too experimental, but it tugs the heartstrings with sincerity.

Background: “Don’t Say You Love Me” is the lead single from Jin’s new solo mini-album Echo, which marks his big comeback after completing his military service. K-pop fans have been eagerly waiting for Jin’s return, and he delivered in a big way. The music video for this song is practically a short film – it’s cinematic, starring Korean actress Shin Sae Kyeong opposite Jin in a dramatic breakup storyline. (They actually shot the MV in Singapore, featuring gorgeous city backdrops like Marina Bay Sands and the Cloud Forest dome, giving the video an epic, romantic atmosphere!). The song dropped at 1PM KST on release day, and within hours it shot to the top of iTunes charts in dozens of countries, proving the ARMY is still as strong as ever. For Jin, this is a second solo chapter – he previously gave us a taste of his solo style with “The Astronaut” in 2022, but now he’s really spreading his wings. In promotions, he’s hinted that he wanted a song that’s emotional yet accessible, and that’s exactly what “Don’t Say You Love Me” is. It may not break pop music ground, but it’s a comfortingly beautiful ballad that showcases Jin’s charm. Between the heartfelt vocals and the poignant message, it’s the kind of song you’ll put on when you’re feeling a little emo and just want to feel. Welcome back, Jin!

Inna & R3HAB – “I’ll Be Waiting”

Looking for a song to get you dancing? Inna & R3HAB have you covered with “I’ll Be Waiting,” a club-ready summer anthem that perfectly fuses pop and EDM vibes. This track is pure energy from the first beat: it’s got a bouncy house rhythm, a hooky melody, and a drop made for festival stages. Romanian pop queen Inna delivers silky, seductive vocals that build up the anticipation, and superstar DJ R3HAB layers in a hypnotic electronic groove. The song balances emotional lyrics with an upbeat feel – essentially it’s about devotion and patience in love (“I’ll be waiting for you…”), but the production makes it feel joyful and liberating rather than sad. As the chorus hits, the synths soar and you can practically imagine confetti cannons going off. At just over two minutes, it’s short, sweet, and insanely catchy. Don’t be surprised if you catch yourself singing along by the second listen – “I’ll be waiting, I’ll be waiting…” will echo in your head (and on dancefloors worldwide) for days.

Background: This isn’t the first time Inna and R3HAB have joined forces – they previously teamed up on the 2023 hit “Rock My Body,” which reworked a ’90s dance classic. But “I’ll Be Waiting” is a fresh, original collab, and it feels like the perfect summer festival track. The release is timed nicely as summer season kicks in; R3HAB has been previewing the song in his DJ sets (hearing that drop live at a festival must be wild), and Inna even performed it during her recent tour dates in Europe, sending fans into a frenzy. The track was officially unleashed across streaming platforms today, and the buzz in the EDM community is strong – it’s featured on multiple New Music Friday playlists, signalling potential to be a global dance hit. In terms of style, Inna & R3HAB both play to their strengths here: Inna brings the sultry, uplifting vocals (she’s known for her dance-pop bops), and R3HAB infuses that big-room club energy with polished production. It’s a combo that just works. The song manages to feel emotional yet euphoric – the lyrics suggest a heartfelt promise, while the beat makes you want to throw your hands up and dance with a huge smile. If you need a new workout jam or party starter, this one’s a must-add. Crank it loud and feel the summer vibes!

Rihanna – “Friend of Mine”

Rihanna is back, and the world is rejoicing! Her new song “Friend of Mine” is a delightful surprise – it comes from the upcoming Smurfs movie soundtrack, of all places, but it’s an absolute bop that stands on its own. The track has a dreamy, synth-heavy pop sound with a hint of trancey dance influence. It’s mid-tempo but super catchy – the kind of smooth groove that makes you sway and nod your head, and before you know it you’re singing along. RiRi’s voice sounds as gorgeous as ever, gliding over the glossy production with ease. She’s basically turned a simple couplet into an earworm chorus here: “Just met you tonight, but you feel like a friend of mine” repeats in your brain after one listen. Lyrically, it’s pure feel-good vibes about instantly clicking with someone new (that strange feeling when someone brand new feels familiar – a friend you just met). The song is family-friendly (it is for the Smurfs, after all), but Rihanna infuses it with her signature cool-girl charm. There’s a playful “déjà vu” motif and some subtle vocal ad-libs she throws in towards the end that give you goosebumps. It’s simple, it’s sweet, and ridiculously infectious – in classic Rihanna fashion, the melody worms into your head and won’t let go.

Background: “Friend of Mine” marks Rihanna’s first new solo music since 2022, and fans have been hungry. Sure, it’s tied to an animated movie, but Rihanna is actually starring in the Smurfs film as the voice of Smurfette, so she’s truly putting her stamp on the project. She premiered the song with a cute music video/visualizer that even features a quick cameo of herself (in Smurf-like mode, playfully using a flower as an umbrella – blink and you’ll miss her, but it’s a fun Easter egg!). Behind the scenes, this tune was co-written by pop maestro Jon Bellion and a team of hitmakers, which explains the polished songwriting and instant likability. Since dropping, “Friend of Mine” has been generating major buzz – some are already calling it an early “Song of the Summer” contender because of its uplifting vibe. It’s also fueling hopes that Rihanna’s long-awaited R9 album might finally be on the horizon (we can dream, right?). In the meantime, the Navy (Rihanna’s fanbase) is just thrilled to have new music from her – even if it took our girl turning blue as Smurfette to make it happen! “Friend of Mine” proves that Rihanna hasn’t lost her touch at crafting pop gems. It’s the perfect breezy track to light up both the dancefloor and the movie screen, and it reminds us why we fell in love with Rih’s music in the first place. Welcome back, Robyn – we missed you. 💙