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LONDON / CNN / BASEL, Switzerland – May 18, 2025 — In a spectacular night that
blended operatic grandeur with contemporary pop, Austria secured its third-ever
victory at the Eurovision Song Contest, as singer JJ captivated audiences and
juries alike with his emotionally resonant anthem, "Wasted Love." The grand final,
held in the vibrant Swiss city of Basel, culminated in a triumphant moment for the
classically trained countertenor, marking Austria's first win since Conchita Wurst's
iconic victory in 2014. The contest, a dazzling tapestry of Europe's most diverse
musical talents, once again proved itself to be more than just a song competition –
it was a reflection of the continent's cultural richness, its underlying tensions, and
its enduring capacity for unity through music.
A Voice for the Ages: JJ's Ascent to Eurovision Glory
From the moment the ethereal strains of "Wasted Love" filled the St. Jakobshalle
arena, it was clear that Austria's entry was a force to be reckoned with. JJ, a
classically trained countertenor whose vocal prowess is nothing short of
remarkable, delivered a performance that transcended the typical pop sensibilities
of Eurovision. His operatic vocals, soaring effortlessly over a dramatic and
evocative pop arrangement, created a unique soundscape that resonated deeply
with viewers across the continent.
The staging itself was a masterpiece of thematic storytelling, designed to
complement the song’s poignant lyrics. Evoking the imagery of a shipwreck, the set
was a visual metaphor for the emotional wreckage described in "Wasted Love." The
interplay of lighting, minimalist props, and JJ's commanding stage presence
transformed the performance into a piece of high art, setting it apart from many of
the more conventional acts. The dramatic flair, combined with the raw vulnerability
in JJ’s delivery, struck a chord with both the public and national juries, securing
Austria a resounding victory.
Speaking to CNN before the final, a visibly humbled JJ had expressed his profound
gratitude for the reception his music had already received. "I feel very, very
humbled and honored that the artwork that I’m putting out there is being so well
accepted," he shared, his voice a mix of anticipation and earnestness. "This is the
kind of music that I want to continue making." The personal narrative behind
"Wasted Love" only added to its impact. "I had a pretty tough year, and I wanted to
write about my personal experience with wasted, unreciprocated love," he
confessed, offering a glimpse into the emotional wellspring that fueled his winning
entry. When asked about his potential reaction to a victory, he’d envisioned a
moment of overwhelming emotion: "If I won Saturday’s final, I would probably
break down, start crying and then call my family." His prediction proved accurate,
as tears welled in his eyes upon the announcement of his win, a testament to the
immense journey and personal investment poured into his performance.
The Fabric of the Grand Final: A Kaleidoscope of European Talent
The 69th edition of the Eurovision Song Contest once again delivered on its
promise of a spectacle unmatched in the world of live music. The St. Jakobshalle in
Basel was transformed into a glittering, sequin-drenched arena, pulsating with the
energy of thousands of fans and the anticipation of millions more watching
worldwide. After an opening film that humorously depicted a thriller-style chase
across Swiss mountains to deliver the iconic microphone-shaped trophy, the
contestants made their grand entrance in an Olympics-style flag parade, a visual
reminder of the unifying spirit the contest aims to foster.
Thirty-seven countries initially sent performers to this year’s Eurovision, a
testament to the contest's enduring appeal. Through two rigorous elimination
semifinals held on Tuesday and Thursday, eleven nations were regrettably knocked
out by public voting, while six automatically qualified for the final, including the
"Big Five" (France, Germany, Italy, Spain, and the United Kingdom) and the host
nation (Switzerland). This left 26 acts vying for the coveted crystal trophy in
Saturday’s grand final.
The diversity on display was staggering, a living testament to Europe’s rich musical
tapestry. Norway’s Kyle Alessandro, at just 19 years old, kicked off the live
performances with his flaming power-pop number "Lighter," setting a high-octane
tone for the evening. He was swiftly followed by Luxembourg’s Laura Thorn, whose
playful "La Poupée Monte Le Son" (The Doll Turns Up the Volume) brought a
quirky, upbeat charm to the stage.
The variety continued to unfold with each subsequent performance. Lithuania's
Katarsis brought a raw, unpolished energy with their grunge rock offering,
demonstrating the contest's broadening musical horizons. Ukraine’s Ziferblat
channeled progressive rock, showcasing complex arrangements and a
sophisticated sound. The UK’s Remember Monday offered a refreshing country pop
tune, a nod to the growing global appeal of the genre.
Italy’s Lucio Corsi took viewers on a nostalgic trip with "Volevo Essere Un Duro" (I
Wanted to be a Tough Guy), evoking the flamboyant aesthetics and powerful vocals
of 1970s glam rock. Meanwhile, Icelandic duo VAEB delivered a rhythmic and
unique performance, rapping about rowing in "RÓA," proving that even niche
themes could find a place on the Eurovision stage. Latvia’s six-woman ethno-pop
group, Tautumeitas, enchanted the audience with their gorgeous, intertwined
harmonies on "Bur Man Laimi" (Bring Me Happiness), a bewitching track that
melded traditional folk chants with fairytale imagery, becoming an instant fan
favorite.
The evening was also replete with divas in true Eurovision fashion. Spain’s Melody
delivered a powerful vocal performance with "Esa Diva," while Poland’s Justyna
Steczkowska made a triumphant return to Eurovision after a 30-year hiatus,
performing "GAJA" with seasoned grace. Malta’s outrageous Miriana Conte
captivated with "Serving," a song whose previous suggestive title and lyrics had
been adjusted on the orders of contest organizers, performed on a set that
included a dazzling glitter ball and giant lips, encapsulating the flamboyant spirit
of the contest.
Beyond the competitive acts, the show featured compelling appearances by past
winners and beloved figures. Nonbinary Swiss singer Nemo, the reigning 2024
champion, bookended the live performances, opening the show with their
intensely emotional 2024 winner "The Code" and returning to close the interval act
with their intense new single "Unexplainable." There was also an anticipated face-
off between two recent fan favorites: Croatia’s Baby Lasagna, the charismatic 2024
runner-up with "Rim Tim Tagi Dim," and Finland’s Käärijä, whose rap-pop party
anthem "Cha Cha Cha" took second place in 2023. Their joint appearance was a
treat for fans who had passionately supported their previous bids for the trophy.
Despite widespread rumors, a much-anticipated appearance by Canadian
chanteuse Celine Dion, who famously won Eurovision for Switzerland in 1988
before becoming a global superstar, failed to materialize. Her absence, while noted,
did little to dampen the overall spirit of celebration and musical excellence that
defined the night.
Israel’s Second Place and the Shadow of Geopolitics
Securing a remarkable second place was Israel’s Yuval Raphael, with her anthemic
and deeply personal song "New Day Will Rise." Raphael, a survivor of the horrific
Hamas October 7 attacks, brought a powerful and poignant message of resilience
and hope to the Eurovision stage. Her performance was a testament to her
remarkable vocals and emotional depth, garnering significant support from
segments of the fanbase and national juries.
However, Raphael’s participation, much like at last year’s event, remained a focal
point of geopolitical tension surrounding the contest. Despite organizers’
insistence that Eurovision is an apolitical event, the ongoing war in Gaza cast a
long shadow over the proceedings. Pro-Palestinian demonstrations had taken
place in Basel throughout the week, and the arena itself saw Palestinian flags
being flown – a significant rule change by the European Broadcasting Union (EBU),
which had controversially banned all flags apart from national ones in 2024. This
year, audience members were permitted to bring Palestinian flags or any others,
provided they were legal under Swiss law, though performers themselves were still
restricted to waving only their own country’s flag.
The heightened emotions surrounding Israel's presence manifested dramatically
during Raphael’s performance. At its conclusion, a man and a woman attempted to
storm the stage, according to the EBU. "One of the two agitators threw paint, and a
crew member was hit. The crew member is fine and nobody was injured," the EBU
later confirmed in a statement to CNN. The incident, though quickly contained,
served as a stark reminder of the volatile political climate that Eurovision has
increasingly found itself navigating.
Earlier in the day, hundreds of people marched through Basel, waving Palestinian
flags and chanting "Boycott Israel," underscoring the strength of feeling among
protesters. Conversely, a group of Israel supporters gathered in Basel’s cathedral
square to rally behind Raphael and to assert that "Jews belong in public spaces in
Switzerland," as Zurich resident Rebecca Laes-Kushner eloquently put it. She
emphasized that a win for Raphael "would be such a strong statement against
antisemitism" and reiterated the sentiment that the event "is supposed to be
about music, not about hate."
The EBU, responsible for running Eurovision, had attempted to mitigate potential
discord by tightening the contest’s code of conduct this year, urging participants
to uphold Eurovision’s core values of "universality, diversity, equality, and
inclusivity," alongside its commitment to political neutrality. Eurovision director
Martin Green commented on the challenging environment, stating that the
organizers' goal was to "re-establish a sense of unity, calm and togetherness this
year in a difficult world." He commended the delegations, saying, "All 37
delegations, in difficult times, have behaved impeccably."
Beyond the Headlines: The Enduring Appeal and Evolution of Eurovision
Despite the political undercurrents, the Eurovision Song Contest remains a defining
event on the LGBTQ+ calendar and continues to attract immense interest across
the continent. It’s a platform where eccentricity is celebrated, and diverse
performances are not just tolerated but actively embraced. This year’s contest
truly showcased that spirit, from the Latvian ethno-pop group's bewitching folk
chants to the Ukrainian glam rock-inspired group, and the Estonian artist whose
playful caricature of Italian coffee culture became a talking point. The Albanian
double act's haunting track "Zjerm" also solidified its place as a fan favorite,
demonstrating the contest's capacity to elevate lesser-known artists and unique
musical styles.
Dean Vuletic, a renowned expert on the history of Eurovision, highlighted the
contest's evolution. He observed that the competition has become significantly
more diverse over the years, both musically and linguistically. "In the past it was
about having a catchy, innocuous pop song, usually in English," he explained. This
year alone, songs were performed in 20 different languages, including Ukrainian,
Icelandic, Albanian, Latvian, and Maltese, showcasing a linguistic richness that was
once rare. Vuletic emphasized that the "formulaic approach to a Eurovision entry
hasn’t succeeded" in recent times. Instead, he argued, "An entry needs to be
memorable and it needs to be authentic in order to succeed these days." JJ’s
"Wasted Love," with its deeply personal narrative and unique operatic pop fusion,
perfectly embodied this contemporary criterion for success.
The voting process itself, a combination of national juries and public televoting
from across Europe and Australia (who also participates), ensured that the winner
was truly a continental favorite. Estonia, with its gimmicky yet infectious "Espresso
Macchiato" by Tommy Cash, secured a respectable third-place finish, solidifying its
place as a memorable act. San Marino, unfortunately, found itself in the last-place
spot, a harsh reminder of the intense competition.
Before the grand final, bookmakers had their favorites, with KAJ, representing
Sweden with their ode to sauna culture "Bara Bada Bastu," being widely tipped to
win. Austrian singer JJ’s "Wasted Love" was also a strong contender. French
chanteuse Louane, with her soulful ballad "maman," and Dutch singer Claude with
"C’est La Vie" had also seen their odds rise significantly. Finland’s Erika Vikman,
with her innuendo-laden "Ich Komme," and Estonia’s Tommy Cash were also in the
mix, adding to the unpredictable nature of the contest. Ultimately, while some
predictions held true, the final outcome reinforced Eurovision’s reputation for
delightful surprises.
As the confetti rained down and JJ lifted the shimmering trophy, the moment was a
culmination of weeks of rehearsals, intense competition, and a continent-wide
celebration of music. Eurovision 2025 in Basel will be remembered not only for
Austria's third victory and JJ's extraordinary performance but also as a powerful
testament to the contest’s enduring ability to bring people together through song,
even in a world grappling with profound divisions. The stage is now set for Austria
to host the 70th edition of the Eurovision Song Contest in 2026, promising another
chapter in this iconic musical saga.
