“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:
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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.
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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.
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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.
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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.)
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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.
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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.
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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.
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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?”
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.)
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