Eurovision 2025 Semi-Final 2: Surprises and Stellar Tunes

 

Basel Brings the Party

The second semi-final of Eurovision 2025 lit up the St. Jakobshalle in Basel, Switzerland, with a vibrant showcase of music and spectacle. Hosts Hazel Brugger and Sandra Studer set a fun, irreverent tone from the start. Brugger – a Swiss comedian – kept everyone laughing with self-aware quips (“I learnt English to host this show… and in the end it doesn’t matter because the commentators talk over you anyway,” she joked). Studer, a former Eurovision contestant from 1991, brought warmth and even showed off her vocals by closing the night with a touching cover of Italy’s classic “Insieme: 1992.” Together, the duo leaned into Eurovision’s trademark campiness, from Hazel crowd-surfing and mock “hoovering” the stage to a hilariously over-the-top interval skit celebrating Swiss inventions (yes, they even sang about potato peelers and electric guitars). The arena’s visuals matched the energy – a high-tech stage pulsing with color and pyrotechnics under the contest’s theme “Unity Shapes Love.” By the time the lights dimmed for the first act, the Basel crowd was more than ready to party.

Music, Mayhem, and Memorable Performances

Australia kicked off the night in high gear. Singer Go-Jo brought all the boys and girls to the yard with his funky track “Milkshake Man.” Donning neon streetwear and flanked by dancers, he turned the stage into a giant retro diner, complete with milkshake props. The performance was pure chaotic fun – one journalist in the media centre was even spotted gyrating wildly to the beat – and it had the crowd roaring. Next up, Montenegro’s Nina Žižić delivered a sultry Balkan pop number “Dobrodošli,” cutting a striking figure in a gown so enormous it practically threatened to swallow her. She navigated the stage amidst billowing smoke, belting out powerhouse vocals as her dress glittered under the lights.

Ireland kept the quirkiness going: singer Emmy danced atop a replica of the Sputnik 2 spaceship during her upbeat song “Laika Party.” This techno-pop tribute to the Soviet space dog Laika featured pulsating LED stars and a crew of dancers in silver space suits. It was a bizarre sight – equal parts science class and rave – but Emmy’s infectious energy had the audience clapping along. By contrast, Latvia’s folk-pop band Tautumeitas transported everyone to an enchanted forest with “Bur Man Laimi.” Dressed in flowing earthy outfits, the six women performed a hypnotic routine to ethereal “folktronica” beats. Green laser lights and virtual oak trees on the backdrop helped conjure a mystical vibe, and the crowd swayed as if under a pagan incantation.

The variety continued with Armenia’s act, simply known as Parg, who gave one of the night’s most intense performances. His goth-pop anthem “Survivor” had Parg literally running on a treadmill on stage for the entire three minutes – an athletic feat that left viewers both amazed and exhausted on his behalf. All the while, he sang about resilience against a backdrop of flames and lightning, never missing a beat. Immediately after, Austria’s artist JJ shifted the mood with a powerful operatic ballad, “Wasted Love.” Dressed in elegant white, JJ navigated choppy emotional waters (quite literally – the LED screens showed stormy seas). His soaring vocals and the dramatic string arrangements gave the arena a goosebump moment. By the end of his song, many in the audience were holding up phone lights and cheering.

As a bonus treat, one of the automatic finalists – the UK’s trio Remember Monday – took to the stage next (performing out of competition). They rocked their entry “What The Hell Just Happened?” with spirited harmonies and plenty of attitude, giving the audience a taste of what’s to come in the final. With Basel already buzzing, the semi-final acts resumed with Greece’s enchanting ballad. Singer Klavdia stood under a faux thunderstorm to deliver her song “Asteromáta.” This moody, atmospheric piece built up to a big high note – and when Klavdia nailed it, the Greek delegation in the arena erupted in a huge reaction. The performance earned applause mid-song and showed that Greece brought some serious vocal firepower this year.

Lithuania followed with a completely different flavor. Band Katarsis is a wildcard in this year’s lineup, bringing a brooding alt-rock track “Tavo Akys.” Rarely has Eurovision heard such a sullen, grunge-influenced sound, but the arena audience was into it – many banged their heads to the heavy guitar riffs. By the song’s dramatic climax (featuring a guitar solo and an explosion of sparks), cheers were echoing through St. Jakobshalle. On the heels of that rock intensity came Malta’s Miriana Conte with perhaps the most risqué performance of the night. Her rave-pop banger “SERVING” lived up to its name with an edgy, avant-garde staging: neon dancers, suggestive choreography, and Miriana herself clad in a futuristic latex outfit. She even ended the song by bouncing on a pink medicine ball on stage, in a cheeky nod to the song’s tongue-in-cheek lyrics. The crowd went wild for it – at one point, hundreds joined in to shout a “missing” explicit lyric in unison (if you know, you know). It was a true Eurovision party moment that had everyone laughing and cheering.

Georgia’s act brought a proud cultural flair. Singer Mariam Shengelia began her song “Freedom” in a traditional chokha coat, before unleashing a dynamic mix of ethno-pop and dance. She was accompanied by a troupe of dancers in folk costumes who twirled giant white flags across the stage. The visual of those huge flags sweeping around Mariam during the song’s climax was stunning. Georgia’s performance blended old and new – one minute a solemn folk melody, the next a burst of confetti and a DJ drop – showing the country’s unique ability to marry tradition with Eurovision-scale showmanship. After Georgia, another Big Five contender stepped in as a guest: French pop star Louane gave a stirring performance of her ballad “Maman.” In a dramatic piece of staging, a wind machine and sandstorm effects swirled around Louane as she sang about losing her mother – a heartfelt moment that had the arena silently captivated.

Back to the competitors: Denmark’s singer Sissal delivered a haunting synth-pop song “Hallucination.” Her staging was minimalistic but effective – think cold blue lighting and mirror illusions that made it appear there were multiple Sissals on stage. Though she battled some nerves at the start, she soon found her footing, hitting a big note that drew appreciative whistles from the crowd. Meanwhile, Czechia’s act Adonxs turned the arena into a nightclub. Dressed in a sleek all-white outfit, Adonxs served strong vocals on his upbeat track “Kiss Kiss Goodbye,” then surprised everyone with an acrobatic dance break midway through – complete with a backflip and tight choreography with his dancers. It was an eye-popping number that had viewers applauding the daring staging.

One of the night’s standout visual spectacles came from Luxembourg. Laura Thorn embraced a full marionette theme for her retro-funky song “La Poupée Monte Le Son” (which translates to “The doll turns up the volume”). On stage, Laura literally played a life-size doll, complete with strings attached to her wrists and a jerky puppet dance. The staging paid homage to France Gall’s 1965 Eurovision classic “Poupée de Cire, Poupée de Son,” but with a modern feminist twist – Laura’s message, as she’s said in interviews, is “I’m not your doll!” The audience adored the playful choreography and the nod to Eurovision history. By the end of the song, when her “puppet strings” were symbolically cut and she triumphantly “turned up the volume,” the crowd in Basel gave a huge round of applause.

Closing out the competitive lineup, Israel’s Yuval Raphael delivered a note-perfect rendition of her powerful ballad “New Day Will Rise.” Standing under golden spotlights with a subtle sunrise backdrop, Yuval’s performance was straightforward and all about the vocals. She hit every note flawlessly, earning cheers for her vocal runs. Despite some controversy swirling before the show (a brief protest during an earlier rehearsal), her live performance went off without a hitch – pure, heartfelt and dignified. Serbia followed with something completely different: the duo Princ had the crowd grooving to “Mila,” a sultry R&B-influenced track. Their staging featured a neon nightclub vibe with purple lights and two dancers performing a sensual routine around the singers. While not as flashy as some others, Serbia’s act brought smooth choreography and a catchy chorus that had audience members dancing in their seats. And finally, leaving a lasting impression, Finland’s pop diva Erika Vikman hit the stage as the 16th act. Erika’s song “ICH KOMME” (a bilingual Finnish-German dance track) started with her literally flying in on a giant golden microphone prop! Dressed in a sparkling hot-pink outfit that would make Barbie jealous, she commanded the stage with diva swagger. The performance built to a spectacular finale where Erika held a long high note while the platform lifted her into the air – one of the most jaw-dropping endings of the night. The crowd erupted, clearly in love with Finland’s fiery pop extravaganza.

Surprises, Upsets and Big Reactions

After all 16 performances, it was time for results – and Eurovision wouldn’t be Eurovision without some nail-biting twists. This year, the producers unveiled a new way to announce qualifiers designed to ratchet up the tension. Instead of simply reading one country at a time, the hosts often revealed three names on screen at once, then dramatically announced which one of those three “might” go through, leaving the other two acts momentarily in limbo. This split-screen suspense had everyone on edge (at one point, cameras showed some singers visibly sweating as they awaited their fate). Fortunately, the tenth and final qualifier was still revealed the old-fashioned way – no extra drama needed, just a straight announcement – sparing us the sight of anyone’s shattered dreams on live TV. It was a bold format change that got fans buzzing on social media, with some calling it “thrilling” and others deeming it “cruel.” Love it or hate it, it definitely had hearts racing in the arena.

In the end, ten countries punched their tickets to Saturday’s Grand Final. The lucky qualifiers (in random order) were: Lithuania, Israel, Armenia, Denmark, Austria, Luxembourg, Finland, Latvia, Malta, and Greece. This mix of favorites and underdogs drew loud cheers across the venue. Particularly sweet was Luxembourg’s qualification – the tiny nation only returned to Eurovision last year after a long hiatus, and now they’ve made the final two years in a row, much to the delight of their fans. Finland’s Erika Vikman was another crowd favorite, so her name getting called was met with deafening applause (and a visible sigh of relief from Erika on camera). Austria’s JJ fell to his knees in joy upon hearing he advanced, overcome that his heartfelt ballad struck a chord.

Of course, that meant six acts were left disappointed, and there were a few shock exits. The most jaw-dropping upset of the night was Australia failing to qualify. As a country that almost always sails through to the final, Australia’s non-qualification drew audible gasps in the arena. Go-Jo’s fun performance had a lot of fans dancing, but ultimately it wasn’t enough – a result that has many viewers debating what went wrong. (“The stage looked rather empty,” one fan lamented online, suggesting the zany music video for “Milkshake Man” was hard to translate to the live stage.) Also missing out was Czechia’s Adonxs, whose elimination surprised some – his slick pop number and acrobatics had been well-received, but competition was fierce this year. Georgia and Ireland also bowed out, despite delivering memorable sets (Georgia’s flag-waving spectacle and Ireland’s space-dog antics will be missed in the final). For Montenegro and Serbia, both smaller countries with passionate followings, not making it through was a tough break as well. It’s safe to say the voting results spurred plenty of debate, with fans already fiercely discussing on Twitter which performances deserved a spot and which ones fell short.

Drama and Good Vibes in Equal Measure

No Eurovision semi-final is complete without a bit of drama and controversy, and tonight had its share – though thankfully, most of it happened off-stage. Israel’s participation was under the microscope this week due to ongoing geopolitical tensions. During the afternoon rehearsal, a protester briefly disrupted Yuval Raphael’s run-through by waving a Palestinian flag and whistling, highlighting objections from some about Israel in the contest amid the conflict in Gaza. However, on the live broadcast there were no incidents; Yuval performed flawlessly and earned respectful applause. The show’s organizers had also beefed up messages of unity throughout the night – from Sandra Studer’s closing song about European togetherness, to the very interval acts chosen – perhaps mindful of keeping the focus on music over politics. Elsewhere, there were no major technical glitches or on-stage mishaps (unless you count Nina Žižić nearly disappearing into her own giant dress as a “mishap” – a comedic moment more than a crisis!). In fact, the overall vibe of the evening was positive and exuberant. Even the artists who didn’t qualify were gracious; many could be seen hugging their competitors and smiling through disappointment. As one of the hosts said in closing, “Tonight we have 10 happy countries and 6 who are sad, but in the end we all shared this amazing night together.” The spirit of Eurovision camaraderie was alive and well in Basel.

One of the highlights of the night was a truly heartwarming interval tribute. During the break while votes were counted, the show paid homage to the Eurovision Song Contest that never happened – 2020. In a nostalgic segment, four artists who were set to compete in 2020 (before the contest was cancelled) finally got their moment on the Eurovision stage. Gjon’s Tears from Switzerland gave a goosebump-inducing performance of his ballad “Répondez-moi,” hitting the same crystal-clear high notes that had made him a pre-contest favorite. Right after, Lithuanian group The Roop had the arena dancing along to their viral hit “On Fire” – the crowd knew the signature moves and joined in enthusiastically (Basel momentarily turned into TikTok, with thousands doing the “On Fire” hand dance). Next, Azerbaijan’s charismatic Efendi strutted out in full Cleopatra regalia to perform her aptly titled song “Cleopatra,” complete with snake-charmer choreography and a thumping ethnic beat. Finally, Malta’s Destiny – who would go on to win Junior Eurovision and later slay at Eurovision 2021 – closed the tribute by belting her 2020 tune “All of My Love.” By the end of this interval act, the audience was on their feet. It was a moving reminder of Eurovision’s resilience: even songs once left unheard can find new life and unite people years later.

Looking Ahead to the Grand Final

As the confetti settled and the Basel crowd began to file out, there was a palpable mix of excitement and anticipation in the air. We now know all the finalists for Eurovision 2025, and the stage is set for a spectacular showdown on Saturday night. The ten qualifiers from this semi will join the ten from the first semi-final, plus host nation Switzerland and the “Big Five” (France, Germany, Italy, Spain, and the UK) in the Grand Final lineup. Expect an eclectic mix of music styles on that final stage – from Finland’s explosive pop and Armenia’s goth-pop, to Sweden’s rumored comedic act (from Semi-Final 1) and the host country’s own entry. With so many fan-favorites and dark horses in the mix, the competition is truly wide open.

Tonight’s show gave Eurovision fans everything they could hope for: great songs, bold staging, laughs, a few tears, and more than a couple of surprises. It was a rollercoaster for the young and young-at-heart alike – one moment we were singing along to a crazy Maltese club banger, the next we were stunned by a shock non-qualifier, and then we were collectively “aww”ing at a nostalgia-filled interval act. Eurovision 2025’s Semi-Final 2 will be remembered for its fun factor and unpredictability. As we head to the Grand Final, one thing is certain: if the semi-finals were this thrilling, the final in Basel is going to be an unmissable extravaganza. Get your popcorn (and maybe a milkshake) ready – the Eurovision magic is just getting started!

Eurovision 2025 Semi-Final 1: Basel Blazes with Surprises and Spectacle

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!

Tracks in Orbit: Week 202519

                           

New week, new music, with top artists and rising stars dropping fresh songs. From emotional pop ballads to upbeat anthems, here are five newly released tracks you’ll want on your playlist – and why everyone’s talking about them.

Miley Cyrus – “More To Lose”

Miley Cyrus is baring her soul on “More To Lose,” a heartfelt ballad that hits right in the feelings. The song leans into a stripped-down, emotional sound – a gentle melody underlines Miley’s powerful voice as she reflects on a relationship falling apart. The lyrics convey deep regret and longing (Miley sings about “thought we had more to lose”), making it a real tear-jerker. In the simple music video, Miley appears in high-fashion outfits with tears streaming down her face, showing she isn’t afraid to get vulnerable. “More To Lose” is the latest taste of her upcoming album Something Beautiful (due out at the end of May), following earlier singles like “Prelude” and “End of the World.” It sets a reflective tone for the album, and fans are loving how raw and genuine this new track feels. Miley is definitely in her feelings here – and it’s a vibe we can all relate to.

Tom Grennan – “Full Attention”

British singer Tom Grennan keeps the energy up with “Full Attention,” a bright and upbeat pop track that will put you in a good mood instantly. Driven by lively guitars and a catchy beat, the song showcases Tom’s raspy, soulful vocals as he sings about giving someone (or something) his undivided attention. Lyrically, “Full Attention” comes across as uplifting and positive – think of it as Tom’s reminder to be present and appreciate a real connection. The vibe is feel-good and radio-friendly, true to Tom Grennan’s signature style that blends pop, rock, and a touch of soul. This is his third new song of the year (after “Shadowboxing” and “Boys Don’t Cry”), and it continues to build excitement for his next album due later in 2025. In short: “Full Attention” is a fun, confident anthem about focusing on what matters, and it’s perfect for singing along at the top of your lungs.

Mark Ambor – “Who Knows”

Rising pop singer Mark Ambor delivers pure summer vibes on “Who Knows,” a vibrant pop anthem that will have you dancing and smiling in no time. The track is bursting with upbeat energy – bouncy synths, a driving beat, and Mark’s warm vocals come together to create a carefree atmosphere. Lyrically, “Who Knows” is all about living in the moment and embracing a carpe diem attitude. The chorus is super catchy (don’t be surprised if you’re humming “who knows…!” all day) and the whole song exudes a carefree, feel-good mood that’s tailor-made for road trips and beach days. Mark wrote this song himself, and he’s been teasing it for a while on social media. In fact, “Who Knows” was already a fan-favorite at his live shows – fans were singing along to every word on his recent tour before the song was even officially out! Now that it’s released, it’s poised to become a summer hit. This is a big moment for Mark Ambor, who has quickly gone from sharing homemade songs online to selling out tours. If you love pop music that’s upbeat and empowering, give “Who Knows” a listen – it might just become your new anthem for enjoying life as it comes.

PinkPantheress – “Illegal”

PinkPantheress is back and going to her roots with “Illegal,” a clubby tune that brings late-night UK garage vibes into 2025. The song is fast-paced and hypnotic, built on a skittering beat and an infectious groove that makes you want to move. PinkPantheress’ soft, alluring vocals tell the story of a crush so intoxicating that it feels almost “illegal” – in other words, a love so good it’s almost too good to be true. In a cool twist, the track samples a ’90s electronic classic (Underworld’s “Dark & Long (Dark Train)”), layering old-school rave elements under PinkPantheress’s modern touch. This gives “Illegal” a nostalgic rave-y flavor while still sounding fresh and uniquely PinkPantheress. The song arrives alongside her new mixtape Fancy That, and she’s described it as a return to the gritty garage sound that first got her noticed. The music video matches the song’s creativity – it blends live action with funky animation, showing PinkPantheress and a love-struck boy in a trippy cat-and-mouse chase through the city. It perfectly captures that dizzy, butterflies-in-your-stomach feeling of crushing on someone. Overall, “Illegal” shows PinkPantheress having fun with her dance music influences and proving she’s the queen of dreamy Y2K-style bops.

Avril Lavigne feat. Simple Plan – “Young & Dumb”

Pop-punk fans, rejoice – Avril Lavigne and Simple Plan have teamed up for a nostalgic banger called “Young & Dumb.” This song is an upbeat pop-punk jam that feels like a time machine to the early 2000s, in the best way. Crunchy guitars, fast drums, and an insanely catchy chorus make it an instant head-bopper. Avril’s edgy vocals blend with Simple Plan’s signature punk energy as they sing about being, well, young and dumb – living life, making mistakes, and not caring what anyone thinks. It’s the kind of song that makes you want to throw your fist in the air and shout along. Despite the title, “Young & Dumb” carries a fun, celebratory vibe about youthful freedom and memories of wild summer nights.

What makes this collab extra special is the history behind it. Avril Lavigne and Simple Plan are both Canadian pop-punk legends who came up around the same time (if you remember bopping to Avril’s “Sk8er Boi” or Simple Plan’s “Perfect” back in the day, you’ll get the hype). They actually toured together in 2003, and now they’ve reunited all these years later for this song – talk about a full-circle moment! Avril started teasing “Young & Dumb” on social media by revealing a tattoo of the song title and hinting that she had something fun in store for the tour she’s on. Simple Plan, who are joining her on tour, jumped in and the result is this super fun track. In the music video, you can see they had a blast filming together – it’s basically a pop-punk party with the band and Avril rocking out. “Young & Dumb” is fresh out but already feels like a classic Avril anthem with a new twist, and it’s sure to get both longtime fans and new listeners singing along. If you need a boost of feel-good pop-punk nostalgia, this song delivers big time.

2.5 Million Fans?! Inside Lady Gaga’s Record-Breaking Night in Brazil

Imagine a crowd so gigantic it could be a city of its own – over two million people singing in unison under the Rio de Janeiro sky. This past weekend, pop superstar Lady Gaga achieved just that, delivering a free concert on Copacabana Beach that drew an audience of historic proportions. It was a night of music, love, and pure spectacle that broke records, sparked pop culture buzz, and even hid a dramatic behind-the-scenes security story. Here’s everything that went down at Gaga’s monumental Brazil show – from the jaw-dropping crowd count and a foiled terror plot, to how authorities measure such massive turnouts, plus what fans (and even Madonna) had to say about it.

A Historic Night on Copacabana Beach

On Saturday night, May 3, 2025, Copacabana Beach was transformed into the world’s biggest concert venue. Lady Gaga took the stage by the ocean for a free, open-air show as part of Rio’s “Todo Mundo no Rio” initiative – a city project bringing international artists for free concerts. It was Gaga’s first performance in Brazil in over a decade, and fans had been waiting eagerly (some since dawn!) to see their Mother Monster live. By showtime, a sea of people stretched along the iconic beachfront. According to local officials, about 2.1 million people packed the area, but Gaga’s own team later hinted the crowd could have been closer to 2.5 million, making it the largest concert ever by a female artist. This astonishing turnout shattered the previous record held by pop legend Madonna, who drew about 1.6 million to the same beach last year.

Under the starry sky and towering palm trees, Gaga delivered a spectacular performance that lasted around two hours. The show, part of her new “Mayhem” tour, was divided into multiple acts with full theatrical flair – fireworks, elaborate costumes, and big video screens to ensure even fans half a kilometer away could see her. She opened the concert with her viral hit “Bloody Mary”, and treated the gigantic audience to a mix of beloved classics like “Poker Face”, “Bad Romance” and “Shallow”, as well as new tracks from her latest album. The energy was off the charts. Many Brazilian fans (a.k.a. her “Little Monsters”) showed up in their own Gaga-inspired outfits – some dressed in throwback looks referencing her eras – turning the beach into a giant costume party.

Beyond the glitz, one of the night’s most touching moments came when Gaga paused to speak from the heart. She took out a letter and, voice quavering with emotion, thanked her Brazilian fans for waiting 12 long years for her return. “I loved you ten years ago, and I love you tonight. I’ll love you forever, Brazil!” she shouted, bringing roars from the crowd. Gaga later said she was completely overwhelmed seeing the ocean of people: “Nothing could have prepared me for the feeling I had during last night’s show… The sight of the crowd during my opening songs took my breath away,” she wrote on Instagram the next day, calling it “the largest crowd for any woman in history”. Indeed, looking out at nearly two million fans, Gaga was visibly moved – at one point on the big screens, she placed a hand over her heart as the audience illuminated the beach with cell phone lights.

How Do You Count 2.5 Million People?

Speaking of 2.5 million people – how do we even know that many showed up? Estimating a crowd of this magnitude is both an art and a science. Authorities and event organizers use every tool available to get a headcount (or at least an educated guess). In Rio, the official tally of 2.1 million came from a joint effort by the city government, the military police, and Gaga’s production team. They likely relied on aerial imagery and area calculations to gauge the throng. Picture Copacabana Beach divided into a grid: by analyzing photos or live drone footage from above, experts can estimate how many people occupy a section of a given size, then multiply by the total area filled. For instance, if one segment of sand the size of a soccer field holds, say, 5,000 tightly packed fans, and the crowd stretches across 20 such segments, you’re already at 100,000 people. Now scale that up dramatically for the miles of beach that were jam-packed on Saturday!

Typically, crowd scientists use assumptions about density – a very packed crowd might have up to 4-5 people per square meter, whereas a looser crowd might have 1-2 people per square meter. By examining how tightly folks were standing (something you can judge from overhead photos or even satellite images), they estimate the average density in different zones. Drones and helicopters were almost certainly flying overhead during Gaga’s concert, capturing the unbelievable sight of the beach swarming with humans. These images help officials count clusters and ensure their numbers aren’t just wild guesses. In recent years, high-resolution aerial photography and even AI-powered crowd-counting software have made these estimates more accurate. In fact, events of this scale often get post-event analysis: tech teams can feed images into computer programs that detect individual heads or dense blobs of people.

Of course, crowd estimates are never perfect – which is why Gaga’s camp and the city offered slightly different figures. The city’s conservative count was 2.1 million, but Gaga proudly announced “2.5 million” based on her team’s sources. Either way, it’s astronomical – for context, that’s like two-thirds of the population of Los Angeles gathered for one concert! It even approached the all-time record (Rod Stewart’s 1994 New Year’s show on the same beach drew around 3.5 million). However you count it, seeing that “crowd tsunami” in person must have been awe-inspiring. “The truth is, the energy here in Copacabana is incredible,” said Abril, a tourist who traveled from Argentina for the show, “Rio is amazing and always brings magical moments like this.”

A Close Call: Terror Plot Thwarted

Amazingly, amid all the euphoria, the night had a hidden danger that almost cast a dark shadow – an attempted terrorist attack that thankfully never came to pass. On Sunday morning, as fans were still buzzing about the concert, Brazilian police dropped a bombshell (figuratively): they announced they had foiled a bomb plot aimed at the Copacabana show. According to authorities, a group of extremists had been planning to detonate homemade explosives and Molotov cocktails in the crowd. The suspected motive was chilling – this group was spreading hate online and sought to target the very community of love and inclusivity that Gaga stands for. Officials said the conspirators were part of an online network promoting hate speech, encouraging violence and even trying to radicalize teenagers to join their scheme.

In a twisted move, the plotters allegedly posed as “Little Monsters” (Gaga fans) in fan forums to recruit help for their attack. They dubbed their evil plan “Operation Fake Monster,” since the ringleaders were literally fake fans trying to infiltrate Gaga’s fanbase. The goal of these would-be attackers? Authorities say they wanted to cause chaos and gain notoriety on social media as a sick “challenge”. It’s a horrifying thought, especially given the joyful spirit of the event.

Fortunately, Brazilian police and intelligence units acted in time. In the days leading up to the show, cybercrime investigators picked up on suspicious chatter in online groups. Acting on a tip, they launched a coordinated operation across multiple states. Just hours after the concert ended, police arrested two individuals believed to be behind the plot – including a 17-year-old minor and the supposed leader of the group. Raids were carried out in 13 locations, and evidence like firearms and bomb-making materials was seized. The main suspect was initially released on bail, oddly enough, but when he skipped a court summons the next day, a judge ordered him back into preventive detention.

Crucially, this threat never materialized during the concert. In fact, the public had no clue at the time – authorities wisely kept it under wraps until they were sure the situation was neutralized, to avoid causing panic among the 2+ million in attendance. The event went off safely, with no disturbances reported in the moment. Lady Gaga’s team only learned about the foiled attack from news reports the next morning, and a spokesperson confirmed that there had been no known security issues during the show itself. It’s a testament to the massive security operation that was in place: thousands of police, soldiers, and firefighters were deployed around Copacabana that night, screening the crowd and keeping an eye out. Their vigilance, plus the behind-the-scenes cyber sleuthing, ensured that what could have been a tragedy was averted. As scary as it is to imagine what might have happened, the key takeaway is that the fans who attended were kept safe, and they got to enjoy an epic concert unaware of the drama that was defused in the background.

Fan Buzz and Madonna’s Reaction

In the aftermath, social media and fan circles exploded with excitement over just how record-breakingly huge the Copacabana concert was. “I feel like the whole city showed up. I’ve never seen Rio this packed!” one local fan, Lucas, told reporters, comparing it to Madonna’s crowd last year and suggesting Gaga’s night might have been even bigger. He added, “The city feels even more full this time, I’m so excited!”. Indeed, the vibe among attendees was pure exhilaration – and a bit of disbelief at being part of such a massive audience. Videos from the beach show fans screaming every lyric, waving flags from Brazil and beyond, and embracing each other in tears of joy when Gaga sang ballads like “Shallow.” “It’s my dream. It’s my love,” said one fan in an interview, barely containing his emotions after finally seeing Gaga perform live in his hometown after years of waiting.

For many, this event wasn’t just a concert – it was a pop culture moment. Fans traveled from all over (more than 500,000 tourists flooded into Rio for the show) to be there. The communal experience of so many Little Monsters together was electric and, as some noted, surprisingly orderly. Safety measures were clearly visible, with security checkpoints and medics on standby, which helped everyone feel at ease despite the shoulder-to-shoulder crowd. “It was super crowded but super well-organized. Honestly, I felt safe the whole time and just had fun!” one attendee posted on TikTok, reflecting a common sentiment that the event, while gigantic, was well managed by organizers.

And what about the previous record-holder, Madonna? Did the Queen of Pop have anything to say about Lady Gaga breaking her attendance record? As of now, Madonna hasn’t made any public statement about it – no tweets or Insta posts commenting on the Copacabana numbers. If there’s any rivalry to be found, it’s mostly in good fun among the fanbases. Gaga’s fans celebrated her achievement (some playfully poking that “the new Queen has been crowned”), while Madonna’s fans defended that Madge paved the way for these mega-shows. In truth, both icons seem to have mutual respect these days. Madonna herself is busy with her own projects (she had a smash concert on that very same beach last year, after all), and she’s well aware of the ebb and flow of records. So no drama here – just a passing of the torch in a way. It wouldn’t be surprising if Madonna privately sent Gaga congratulations, but publicly she’s been quiet.

What’s undeniable is that Lady Gaga’s Rio spectacular has set a new bar. Even Gaga appeared in awe of the moment, dedicating her final encore to the fans and saying she’ll “never forget this night.” The concert not only highlighted her enduring star power but also symbolized the era of ultra-massive live music events. In a music industry where tours are getting bigger and bolder, Gaga just proved that the bigger the crowd, the bigger the love. From the joyous frenzy on the sand to the serious work behind the scenes keeping everyone safe, the night of 2.5 million fans will go down in pop history as a shining example of music’s unparalleled ability to bring people together – safely, joyfully, and in truly epic numbers.

Tracks in Orbit: Week 202518

                          

There’s nothing like kicking off the week with some fresh tunes! Today we’re spotlighting five hot tracks that just dropped or are making waves on the scene. From a superstar pop collab to a long-awaited rock comeback, this list has a little something for everyone. Let’s dive in and check out what’s buzzing: