A Night to Remember in Basel
The Eurovision Song Contest 2025 kicked off in style with its first semi-final in Basel, Switzerland. Thousands of excited young fans packed into the St. Jakobshalle arena, ready for an eclectic pop extravaganza. Comedian Hazel Brugger and former Swiss Eurovision star Sandra Studer hosted the show, seamlessly switching between witty banter and heartfelt nostalgia. “Welcome back home... to where it all started!” Hazel announced, nodding to Eurovision’s origins in Switzerland, before declaring “Let the Eurovision Song Contest 2025 begin!” The venue erupted in cheers, and the vibe was set – a mix of humor, camaraderie and high-voltage musical energy.
Switzerland pulled out all the stops as host. The stage design was inspired by the country’s natural beauty – think alpine peaks, lakes and flower fields beamed onto massive LED screens. In a stunning opening sequence, dancers in traditional dress joined yodelers and alphorn players to remix past Eurovision hits (yes, we got a Swiss folk version of “Waterloo” and even 2024’s winning song). By the time a troupe performed a quirky homage to last year’s Swiss winner Nemo, the crowd was roaring. The sense of fun and unity – true to this year’s “United by Music” slogan – was palpable. Even the postcard intros for each act were creative: each artist opened a mailbox and “traveled” through Swiss scenery, from chocolate factories to mountaintop ski slopes, giving viewers a charming taste of Switzerland between songs.
Performances: From Rowing Raps to Dragon Fire
Once the music got underway, the semi-final delivered a little bit of everything. Iceland opened the contest, and brother duo VÆB literally started things off rowing. Their rap-pop track “Róa” (which means “Row”) saw them hopping in and out of a white boat prop on stage, paddling in sync with their beat. With neon octopus graphics swirling around and the brothers in cool shades (which they tossed off mid-song), Iceland made waves – and earned laughs – with their fun staging. The audience clapped along to the chorus, proving that a song about rowing can indeed rock a Eurovision crowd. “No matter what happens in life, just keep on rowing through the waves,” one of the VÆB brothers had said about their song’s message, and on the night they rowed straight into the final against the odds.
Next up, Poland delivered pure drama. Polish pop legend Justyna Steczkowska emerged on the floor in a billowing dark gown for her ethno-electro banger “Gaja.” Her performance was nothing short of cinematic – at one point, Justyna grabbed onto hanging ropes and soared above the stage, all while mythical dragon visuals roared on the LED screens beneath her. Flames burst across the stage as she hit her signature operatic high notes. The crowd went wild for Poland’s dragon queen moment. Justyna’s decades of experience shone through; she belted the big notes with ease and looked every bit the diva. After qualifying, the 50-year-old star was jubilant: “I’m overjoyed and grateful – thank you Europe, see you in the final!” she exclaimed, proving Poland’s Eurovision fire is alive and well.
Slovenia brought a heartfelt performance with a literal twist. Comedian-turned-singer Klemen performed the intriguingly titled “How Much Time Do We Have Left?” – a song that started as a gentle ballad and built into a rock anthem. On stage, Klemen stood under a starry sky backdrop, singing about cherishing life’s moments, while home videos of him and his real-life wife played behind him. Midway through the song, in a jaw-dropping stunt, Klemen was hoisted upside-down by a hidden harness – belting notes while hanging in mid-air! For the finale, his wife joined him on stage in an angelic white dress; the two embraced and even shared a kiss as the last chord rang out. It was a beautiful, romantic tableau that earned huge applause. Sadly, this tender moment did not translate into qualification, shocking many fans who had pegged Slovenia as a sure finalist. Even with literally turning his world upside down onstage, Klemen’s time ran out and he became one of the night’s big non-qualifier surprises.
Turning up the adrenaline, Estonia’s performance was one of the wildest of the night. Estonian rapper-provocateur Tommy Cash treated the stage like his personal playground for the song “Espresso Macchiato,” a zany dance-rap track that felt like a caffeine rush. The staging was set as a retro “Winner’s Café” – first shown from the outside on the LED screens, then opening up to reveal a surreal coffee shop interior. Tommy, dressed in his signature offbeat style, pranced around with security-guard dancers while singing about coffee in several languages. Halfway through, in true prankster fashion, a “fan” stormed the stage – only for it to be a planned skit where Tommy danced happily with the stage invader. By the end he was shouting, “Coffee for everybody!” to an eruption of laughter and cheers. It was bizarre, it was high-energy, and it paid off: Estonia sailed through to the final, proving that Eurovision still appreciates absurdist entertainment.
Ballads, Bops and Big Voices
After a brief breather where Spain’s entry (the fiery pop diva Melody with “Esa diva”) was showcased for the audience, the competition resumed with Ukraine. The Ukrainian band Ziferblat delivered “Bird of Pray,” a powerful rock ballad with an ethereal twist. The lead singer (Daniel) opened with an haunting high note, his voice echoing as if in a cathedral. The stage was set with a lone marble pillar; as the song built, he left that pillar and rushed toward his trio of backing vocalists on the main stage. On the soaring chorus, the group spread their arms like wings, a subtle nod to a bird taking flight. Golden pyrotechnics rained down during the bridge, giving the performance a burst of light and hope. The camera occasionally used a soft-focus “bloom” effect, making the performance feel like a dream sequence on screen. By the final chorus, Daniel had sprinted down the catwalk, singing his heart out amid swirling lights. Ukraine’s emotive delivery earned a massive round of applause – and, unsurprisingly, a ticket to the final. (For anyone wondering: Ukraine remains a fan favorite on musical merit, not just sympathy votes. As one viewer noted online, “That song is incredible – a 70s-style rock moment that even casual fans loved.”)
Sweden came in with sky-high expectations and did not disappoint. Swedish act KAJ had been hyped as a favorite, and their performance of “Bara Bada Bastu” (“Just Take a Sauna”) was an absolute show-stealer. KAJ – a trio of cheeky guys – turned the Basel stage into a steamy sauna party. They wore matching bathhouse outfits (think towel-like robes with a fun lumberjack twist) while their three backup dancers, clad in only towels and sauna hats, pretended to splash water and lounge. The song itself is insanely catchy – a bouncy pop anthem celebrating the Scandinavian love of saunas – and KAJ’s choreography leaned into comedy. At one point the dancers formed a human sauna bench, at another they waved wooden buckets in the air. The bridge of the song exploded with pyrotechnics (as if the sauna was literally overheating!), and a neon laser light show took things to another level for the final chorus. By the end, the whole arena was jumping and chanting along. The hosts jokingly fanned themselves from the sidelines, saying it was “getting hot in here.” Sweden easily qualified, cementing their status as one to watch on Saturday. (Fun fact: KAJ’s members are actually Swedish-speaking Finns, giving this act an extra Nordic twist despite flying the Swedish flag.)
Fresh off that high, Portugal surprised everyone with a different vibe – and became one of the night’s happiest surprises. The Portuguese band NAPA delivered “Deslocado,” a cool indie-pop track whose title means “Out of Place.” In contrast to some of the flashier acts, NAPA kept it understated and authentic. Lead singer Guilherme started alone in a spotlight, slowly walking forward as he crooned the opening verse, joined gradually by his guitarist and bassist. The staging bathed the band in alternating hues of blue and soft orange, giving a sunset-like, dreamy atmosphere. The camera work was artistic – long steadycam shots that pulled back to reveal the full band, then intimate close-ups during the emotional lyrics. In the final minute, a wall of pastel-colored lights lit up behind them as the beat kicked in, creating a euphoric climax. It wasn’t a performance with fireworks or gimmicks, but its sincerity struck a chord. The press center reportedly broke into cheers by the end, and fans in the arena were clapping along to the rhythm. Many had doubted Portugal’s chances in such a flashy semi-final, but NAPA proved them wrong by qualifying. One ecstatic fan tweeted that Portugal’s qualification was “the biggest and best surprise of the night!” – a sentiment shared by many who love to see underdogs succeed.
Dancefloor Anthems and Emotional Ballads
The party kept going with Norway bringing a dose of pop-R&B slickness. Kyle Alessandro, a 19-year-old singer with charm to spare, performed his song “Lighter.” The staging cleverly echoed the song’s title: it began in near-darkness with Kyle seated on a staircase (from his Norwegian finals performance) strumming an acoustic guitar. But as the first chorus dropped – boom – the LEDs ignited into a fiery inferno behind him, illustrating the “lighter” flame theme. Two dancers joined him, executing tight moves as virtual flames danced around their feet. Kyle tossed aside the guitar and delivered impressive vocals while grooving in sync. During the bridge, the dancers did some gravity-defying flips and breakdance spins that elicited gasps. By the final chorus, flames were shooting up on screen and Kyle belted a big high note with a confident grin. It was a polished, high-energy number, and although Norway has sent many dance-pop songs in recent years, Kyle’s youthful charisma made it feel fresh. He earned his spot in the final with ease – and presumably also earned a whole new fanbase swooning over his boyish dance moves.
Belgium’s entry turned the arena into an EDM rave – for three minutes at least. Belgian artist Red Sebastian performed “Strobe Lights,” a dark, trippy electro-pop song. Dressed in a black outfit with striking red accents, Red Sebastian began on a secondary stage, under a single white spotlight. The moment the beat kicked in, the stage floor turned into a giant pulsing light panel, and red laser triangles (each featuring a single ominous eye) flashed around him – an edgy visual that had everyone mesmerized. During an instrumental breakdown, the cameras showed a holographic red silhouette of Red Sebastian dancing behind him, like his shadow had come alive. It was artsy and a little eerie in a cool way. By the end, the main stage was bathed in intense red strobe lights (true to the song’s name), with the performer kneeling and reaching out dramatically. The club kids in the crowd were loving it, but in a tough field Belgium ultimately did not qualify. Some fans later speculated that coming right after Norway and before another similar up-tempo act might have split the vote. It was a tough break for a solid performance – and you could sense Red Sebastian’s disappointment – but Eurovision can be unpredictable when it comes to these televotes.
After Belgium’s mini-rave, viewers were treated to a breather with a preview of Italy’s entry (a soulful retro song “Volevo essere un duro” by Lucio Corsi) before diving back into competition with Azerbaijan. Azerbaijani band Mamagama rocked the stage with “Run With U,” blending rock and synth-pop. Their setup featured a glowing circular halo prop hovering above the band, which lowered dramatically during the second verse as if to frame the lead singer in light. Frontman Asef worked the cameras like a pro – leaning in for close-ups and even grabbing a fan’s phone at one point to sing into it. He hit an impressive high note at the end that got a roar from the crowd. Mamagama had the arena head-banging for a bit, but despite the strong vocals, Azerbaijan fell short of the final. It seems this year the competition was just too fierce in Semi-Final 1, and a slick rock number alone wasn’t enough to capture enough votes.
One act that did manage to capture the public’s imagination was San Marino, thanks to an irresistibly fun performance by DJ Gabry Ponte. Gabry Ponte is actually a famous Italian DJ (of Eiffel 65 “Blue (Da Ba Dee)” fame), and his song “Tutta l’Italia” was a loving tongue-in-cheek tribute to all things Italian – a bold move when you’re representing tiny San Marino! The staging was a technicolor Italian postcard come to life. On the LED screens, a giant Michelangelo-style statue head blew a bubblegum bubble to the beat, while neon silhouettes danced around. Each chorus splashed the words “Tutta l’Italia” across the backdrop in graffiti font, and iconic images like the Colosseum, the Trevi Fountain, and even Leonardo da Vinci’s Vitruvian Man popped up in wild collage form. Gabry bounced behind his DJ turntables, hyping the crowd with big smiles, and a duo of dancers in Roman gladiator outfits fist-pumped next to him – because, why not? It was kitschy, it was camp, and it was utterly joyful. The audience in Basel ate it up like gelato on a summer day, dancing along to the thumping beat. San Marino’s over-the-top Italian party absolutely qualified for the final, prompting tongue-in-cheek comments that Italy had essentially gotten two songs through (since the real Italy is pre-qualified). Gabry Ponte was beaming, thrilled that his playful concept paid off.
The Albanian group Shkodra Elektronike brought a fierce blend of traditional and modern sounds with their song “Zjerm.” The word means “heat” or “fervor,” and indeed their performance was fiery. The group’s lead singer, Beatriçe, started out at the far end of the catwalk, delivering a haunting Albanian vocal riff a cappella. She then strutted to the main stage to join her bandmate Kolë, who was stationed behind a futuristic DJ deck. The song was a wild ride – traditional Albanian folk melodies set to pounding electronic beats. Right before the final chorus, there was a spoken word duel between the two members (face to face under a single spotlight) that had the crowd hollering. There was a brief scare when Kolë’s microphone didn’t kick in for a second at the start of his spoken segment – but he recovered almost instantly and powered through. If anything, the minor technical hiccup only amped up the crowd’s support; by the time “Zjerm” reached its climax with pyrotechnic sparks flying, the arena response was huge. Shkodra Elektronike earned “loud applause” according to on-site reporters, and they clinched a spot in the final. Albania’s passionate blend of old and new paid off, continuing the country’s streak of strong showings and proving that even a small glitch can’t stop a great act.
Netherlands followed with a moment of pure soul. 21-year-old singer Claude gave one of the most emotional performances of the night with his ballad “C’est La Vie.” Staging-wise, the Dutch team went for minimalism and storytelling. Claude began at the end of the runway stage, singing the first verse in French under a single vintage streetlamp prop, as if serenading on a Parisian corner. As the music swelled, he walked toward the main stage, where a full band was revealed – piano, strings, and guitar – giving the performance a classy “live lounge” feel. The camera followed him closely in a continuous steadycam shot, which made it feel like we were walking right alongside Claude into the song’s world. In the final chorus, a large mirror was brought on stage. Claude paused to look into it, and in the reflection we saw a pre-recorded image of his younger self (a nod to his music video). This poignant moment – essentially Claude singing a duet with little Claude – brought some audience members to tears. It ended with him smiling and touching the mirror as if to say “we made it.” The arena erupted in applause and a few French flags waved proudly. Claude’s soulful vocals and heartfelt staging clearly struck a chord, as the Netherlands qualified comfortably. Afterward, Claude told the press he hoped to win for his country and redeem last year’s drama (the Netherlands had been expelled in 2024 over a scandal). No matter what happens in the final, his performance here already felt like a victory lap for Dutch Eurovision fans.
Closing out the night was Cyprus, and unfortunately, this is where the fairy tale ended for some. Young singer Theo Evan had the honor of performing last – a slot that usually boosts an act’s chances – but his high-octane routine of “Shh” didn’t quite land as hoped. The song is an up-tempo dance-pop number with a hushed hook (hence the title “Shh”), and Theo’s team constructed a whole scaffold structure on stage for the choreography. Dancers climbed and hung off this moving scaffold while Theo tried to navigate complex moves and singing live. It was an ambitious performance with lots of cool visuals: at one point the dancers swung a horizontal bar like a pendulum, and in another moment everything froze as Theo posed with a finger over his lips in the iconic “shh” gesture under blue strobe lighting. However, viewers could tell Theo was vocally struggling – he sounded a bit breathless from the intense dancing, and some notes were off-key. By the final chorus, he looked visibly exhausted (understandably so after such a workout). He gave a valiant final shush to the camera, but the writing was on the wall. When the results came in, Cyprus was not announced as a qualifier, marking a bit of a shock in Eurovision terms: it’s only the second time ever that the last-performing act in a semi-final failed to qualify under televote-only voting. Some fans were disappointed, feeling Cyprus had deserved a spot, while others admitted the vocals just weren’t there this time. Theo Evan at least got a huge cheer of support from the live audience for his efforts – Eurovision can be brutal, but the crowd always appreciates someone who gives it their all.
Show Highlights and Surprises
Beyond the competing songs, the Basel show itself was full of memorable moments. The interval acts embraced Swiss pride with a wink. Hazel and Sandra, our hosts, performed a hilarious musical number called “Made in Switzerland” that had everyone giggling – they name-dropped Swiss inventions like the Swiss Army knife, velcro, and even joked that Eurovision itself was a Swiss invention (pat on the back!). In a brilliant cameo, legendary host Petra Mede (who had hosted Eurovision multiple times before) appeared dressed as William Tell, complete with crossbow and an apple, to add some extra comic flair. The mash-up of Swiss humor ended with a knowing reminder that Switzerland hosted the very first Eurovision in 1956 – a full-circle moment appreciated by the Eurovision nerds out there.
We also got a touching tribute to one of Eurovision’s biggest icons: Céline Dion. The Canadian superstar (who won Eurovision 1988 for Switzerland long before “My Heart Will Go On”) appeared in a pre-recorded video message, sending her love to Basel and encouraging the contestants. Right after, four contestants from last year’s contest (2024) took to the stage to perform “Ne Partez Pas Sans Moi”, Céline’s winning song. It was a goosebumps moment as these young artists harmonized on the classic ballad, and you could feel the legacy of Eurovision passing to a new generation. The fact that it was in the first semi – rather than waiting for the final – made it feel like a special treat just for those watching that night.
When it came time for results, there was plenty of tension and a new twist in how qualifiers were revealed. This year, Eurovision introduced a split-screen dramatic reveal: for the first nine qualifiers, they showed three nervous acts at once on screen, then suddenly announced one of them as through to the final. This format led to some heart-stopping moments (and a lot of nail-biting in green rooms!). For example, at one point Portugal, Slovenia, and another country were all displayed together – many assumed Slovenia was a lock, but then Portugal’s name popped up as the qualifier, prompting screams of joy from Team Portugal and probably a few gasps across Europe. “I got shocked twice – first seeing those three on screen, then seeing Portugal’s name!” one fan posted, summing up the chaos. In the end, the 10 countries that earned their place in the Grand Final were (in announcement order): Norway, Albania, Sweden, Iceland, Netherlands, Poland, San Marino, Estonia, Portugal, and Ukraine. Each time a name was called, the arena exploded – you could see how much it meant to the artists. Albania’s duo dropped to their knees in happy tears, and Sweden’s KAJ group bear-hugged each other with big grins. On the flip side, five countries were left behind as non-qualifiers: Cyprus, Belgium, Slovenia, Azerbaijan, and Croatia. There were some audible sighs and pouts when those last spots filled up without these names; especially for Slovenia and Belgium, which many thought had done enough. Eurovision fans will surely debate these results for weeks – should Slovenia have gone through instead of X? Would juries have saved Belgium? – but on this night the public televote had the final word.
Drama, Controversy and Camaraderie
No Eurovision show would be complete without a bit of drama and controversy, and the first semi-final had its share of talking points. Technically, the production was top-notch, but viewers did notice some sound mixing issues: at times, the music overpowered the vocals for certain uptempo songs. This possibly hurt entries like Belgium and Cyprus, where live vocals struggled to cut through a loud backing track. A few fans online grumbled that the broadcast audio didn’t do justice to those performances. The EBU will likely tweak the balance for the next shows to ensure every chorus and high note lands perfectly.
There was also an interesting political undercurrent in Basel. With Eurovision’s huge platform, real-world tensions aren’t far away. Security around the venue was very tight – over a thousand police officers were reportedly on duty. Organizers confirmed they expected protests related to Israel’s participation due to the ongoing conflict in Gaza. (Switzerland saw some small demonstrations earlier in the week, and a larger anti-war protest was planned for the night of Semi-Final 2 when Israel performs.) The hosts made no direct mention of these issues on-air, keeping the focus on music. However, it was clear that Eurovision’s ethos of unity was being tested by current events. Thankfully, Semi-Final 1 went off without any interruptions or incidents in the arena. If anything, the global situation only reinforced the importance of those moments of togetherness – like when the crowd waved peace signs during Ukraine’s song, or cheered a mention of love and inclusion by the hosts. Eurovision is famously apolitical on its stage, but everyone knew the significance of seeing so many countries come together, singing on one stage peacefully. As one presenter noted during the show, Eurovision’s core purpose is to bring people joy and unity, and you could genuinely feel that spirit throughout the evening.
Looking Ahead to the Final
By the end of the night, Basel’s first semi-final had delivered both entertainment and emotion in equal measure. We laughed (thanks to sauna parties and Petra Mede’s comedic cameo), we danced (who wasn’t bopping to San Marino’s beat?), and some even cried (Claude’s mirror moment, anyone?). The results gave us a mix of expected outcomes and big surprises, setting the stage for an exciting grand final. The ten qualifiers from this semi will join the other automatic finalists – host Switzerland and the “Big Five” (France, Germany, Italy, Spain, UK) – plus ten more to be decided in Semi-Final 2. With the lineup taking shape, fans are already buzzing about who the 2025 Eurovision champion could be. Will Sweden’s sauna song keep the hot streak and bring the trophy back to Stockholm? Could a heartfelt ballad from the Netherlands or Ukraine swoop in for victory? Or perhaps an underdog like Albania or Portugal will shock the world on Saturday? One thing’s for sure: if the semi-finals are any indication, we’re in for a thrilling and unpredictable finish.
As the credits rolled on Semi-Final 1, the cameras caught artists from different countries hugging, congratulating, and consoling each other. That’s the magic of Eurovision – it’s a competition, but it’s also a family. “United by Music,” the slogan rang true. From rowing boats to dragons, from sauna towels to mirror reflections, the first semi-final gave us stories we won’t soon forget. And in true Eurovision fashion, it left us hungry for more. Roll on the next show – Europe (and beyond) can’t wait to sing together again!
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