Following the satellite dish-spinning popera-meets–drum and bass of Swiss musician Nemo’s 2024 winning entry “The Code,” the Eurovision Song Contest will be heading to Switzerland — namely its cultural capital of Basel — for the first time since 1989. It’s still not confirmed whether Celine Dion, who scored that 1988 win for the famously neutral territory, will be making an interval appearance as rumored. But we do know 37 nations are providing us with a smorgasbord of sounds ranging from espresso-powered electro-swing to sauna-based schlager. If you haven’t yet acquainted yourself with this year’s runners and riders, here’s every entry ranked from worst to best.
37.
“Freedom,” Mariam Shengelia (Georgia)
After six straight failures to qualify, Georgia finally broke their duck last year when Nutsa Buzaladze’s “Firefighter” made it to the lofty heights of 21st place. Don’t expect a full-blown renaissance, however. Having competed on her homeland’s versions of The X Factor, The Voice, and Dancing With the Stars, Mariam Shengelia might have the necessary stage presence. But the talent-show veteran — a controversial choice given her reported support for conservative party Georgia Dream — has been encumbered with a cacophonous mess of cocktail-bar piano, militant drums, and frenzied strings, which completely obscures the song’s apparent message of hope.
36.
“Poison Cake,” Marko Bošnjak (Croatia)
Could Croatia experience this year’s biggest downturn? Runner-up in 2024 thanks to Baby Lasagna’s ridiculous but infectious nü-metal throwback, the Balkan nation may well struggle to qualify with an entry that’s taken all the wrong lessons from last year’s winner. Indeed, from its industrial-pop verses to its creepy nursery-rhyme chants, “Poison Cake” sounds like several songs rolled into one; sadly all of them are borderline unlistenable. Nevertheless, former talent-show victor Bošnjak certainly has a novel influence, the delicacy in question inspired by Minny’s feces-filled chocolate pie in The Help.
35.
“Mila,” Princ (Serbia)
Serbia have only qualified by the skin of their teeth in the last two years, and the dated theatrics of “Mila” suggests their luck might finally run out. Performed by Stefan Zdravković, a luscious-locked man who dubs himself the prince of his Vranje hometown, the “if you love them, set them free” ballad could have been entered at any point in the contest over the past three decades. And while Princ — who perhaps unsurprisingly once played the lead in Jesus Christ Superstar — belts it out well, this sounds little more than cannon fodder.
34.
“Survivor,” Parg (Armenia)
“Survivor” was co-penned by Peter Boström and Thomas G:son, who also contributed to both of Loreen’s Eurovision winners. There’s little of the magic of “Euphoria” or “Tattoo” here, though, perhaps because they’ve had to fight for credits with 14 other songwriters and producers. Remarkably, given its similarity to “Radioactive,” “Believer,” and essentially their entire chest-beating, chest-exposing oeuvre, not one is an Imagine Dragon. Although performer Parg knows how to sell the heck out of a song, it’s unlikely he’ll surpass the 14th place of his recent duet partner Brunette.
33.
“Shh,” Theo Evan (Cyprus)
Cyprus’s floor-filling entry certainly boasts an impressive songwriting pedigree. Lasse Nymann and Linda Dale were responsible for Nemo’s 2024 winner, while Dimitris Kontopoulos has penned entries for a record-breaking seven different nations. Sadly, “Shh,” appears to be a case of too many cooks. Indeed, while 2025’s first confirmed performer Theo Evan — also the country’s first native performer in eight years — shows signs of his Berklee College of Music background, he’s been handed a shambles of a trance track likely to get even the most hardened of clubbers hitting mute.
32.
“Milkshake Man,” Go-Jo (Australia)
After a strong start to their Eurovision history, Australia have recently flattered to deceive. With last year’s Aboriginal-inspired entry failing to qualify, the approach in 2025 seems to be “if you can’t beat ’em, join ’em.” Indeed, co-written with “Geronimo” hitmakers Sheppard, “Milkshake Man” is a sugary-sweet novelty song which recalls both Kenny Loggins’s “The Heat Is On” and Scooch’s double entendre-filled “Flying the Flag” (“Well, I got chocolate, vanilla and lactose-free / And a caramel banana that you have got to see”). In essence, it’s exactly what you’d expect to hear from a man who prides himself on his ability to master the guitar and unicycle at the same time.
31.
“New Day Will Rise,” Yuval Raphael (Israel)
Yuval Raphael certainly isn’t short of a dramatic backstory: She attended the Nova musical festival attacked by Hamas on October 7, surviving by hiding under dead bodies for eight hours in a bomb shelter. She is, however, short of a potential winner. Sharing the same co-writer, “New Day Will Rise” covers the same Über-ballad territory as last year’s fifth-placed “Hurricane,” with the only notable differences a burst of French and lyrics which don’t allude to the war quite so overtly. Expect a strong televote once again, but there are better entries for the ballad-favoring juries to award their douze points to.
30.
“Kiss Kiss Goodbye,” Adonxs (Czech Republic)
Not content with becoming the first openly queer winner of Czech talent show SuperStar and challenging the Slovakian dictionary’s official definition of “love,” activist, model, and self-proclaimed Adonis Adam Pavlovčin is now setting his sights on the Eurovision stage. “Kiss Kiss Goodbye” could have been dismissed as one of those overwrought piano ballads that leaves the jury in raptures and the audience at home snoozing. But the echoes of ’70s Queen at their most bombastic and the early ’00s style dance-break, which allows Adonxs to embrace his inner Jennifer Lopez, ensures it just about avoids such territory.
29.
“Tutta l’Italia,” Gabry Ponte (San Marino)
Four years after somehow bagging Flo Rida, San Marino have secured another Grammy-nominated purveyor of party-starting pop. This time around, it’s Gabry Ponte, a.k.a. one-third of “Blue (Da Ba Dee)” hitmakers Eiffel ’65 flying the blue-and-white flag. The DJ/producer’s recruitment makes a little more sense — he hails from the neighboring Turin and “Tutta l’Italia” was the theme tune to this year’s Sanremo Music Festival. And its mix of Eurotechno, traditional folk, and beerhall chants is already making headway in the streaming world: It’s currently the third most-streamed track on Spotify. How many of those listens have been while completely sober, however, remains a mystery.
28.
“What the Hell Just Happened?,” Remember Monday (United Kingdom)
The U.K.’s recent problem has been sending a solid radio-friendly pop banger but by someone without the required vocal presence to sing it live. They’d appeared to have solved this by recruiting harmony-laden The Voice graduates Remember Monday. And boy, can they sing. Unfortunately, the girlband has thrown another spanner in the works with a Frankenstein’s mess of an entry. The aptly named “What the Hell Just Happened” can’t decide whether it wants to be a Taylor Swift-esque confessional, Broadway show tune, or a The Last Dinner Party–style display of middle-class girl power, and ultimately fails to deliver either way. Still, the titular question undeniably lodges itself in your brain.
27.
“How Much Time Do We Have Left?,” Klemen (Slovenia)
“Our baby boy was crawlin’ in the livin’ room / You read a diagnosis, it said that you’d be dyin’ soon.” Having gone from hosting Slovenia’s national selection to winning it, multitalent Klemen is responsible for this year’s clunkiest line. He’s already garnered controversy, too, thanks to a sketch impersonating every 21st-century Eurovision winner in which he donned blackface. The problematic star will be hoping to draw the attention toward this heartfelt ballad written about his wife’s battle and recovery from a rare cancer which, for some reason, he half-performs upside down. On-the-nose lyrics aside, it’s a genuinely poignant tribute which should hoover up jury votes if it makes the final.
26.
“Asteromata,” Klavdia (Greece)
Following a string of generic entries that could have hailed from anywhere on the continent, Greece recently appear to have rediscovered their roots, firstly with Marina Satti’s snake-charming bop “Zari” and now with “starry-eyed girl” Klavdia’s dramatic ballad “Asteromata.” Resembling a young Nana Mouskouri, The Voice graduate sings about the bond between Greek refugees and their homeland in a touching, if slightly mournful, manner. But just before all the banshee wailing threatens to overwhelm proceedings, along comes a hypnotic tribal beat which briefly turns the wake into a party.
25.
“Lighter,” Alessandro (Norway)
After last year’s folk-metal banger undeservedly went from hot favorite to propping up the leaderboard, Norway have now opted for tried and tested territory, a formulaic synth-pop bop performed by a Troye Sivan–esque twink. Formerly of Norway’s Got Talent and the brilliantly named boyband Umami Tsunami, Alessandro co-wrote and co-produced “Lighter” in honor of his cancer-stricken mom. A touching backstory for sure, and one which explains the song’s survival instincts (and slightly confusing metaphors). But while its lyrical themes are strong, its sound is distinctly lightweight. In such a maximalist field, this may struggle to make itself heard.
24.
“Róa,” Vaeb (Iceland)
Iceland appear to have lost their way lately following the highs of BDSM overlords Hatari and lost winners Daði og Gagnamagnið; their last two generic entries have failed to qualify. From a distance, the Nordic island appear to have sent Ireland’s annoying but strangely lovable two-time entrants Jedward to restore their reputation. But the bleached blonde, twinky siblings who’ve seemingly consumed their body weight in E numbers are in fact brothers Hálfdán and Matthias Matthíasson. Væb’s sheer force of energy will no doubt send the equally hyperactive, fiddle-heavy techno to the final, but it may well struggle against the bangers that are far less likely to bring on a migraine.
23.
“Volevo essere un duro,” Lucio Corsi (Italy)
Italy has been a reliable top-ten presence since 2017. Yet with Lucio Corsi only their second choice entrant — Sanremo Festival winner Olly declined to partake for reasons still unknown — they may struggle to extend their impressive record this year. On paper, “Volevo essere un duro” would appear to be channeling their last winner, Måneskin. It’s co-written by their regular video director, while Corsi himself is obviously no stranger to a bit of guyliner. But apart from the widdly guitar solo, his meditation on childhood dreams has more in common with the Tin Pan Alley pop of Billy Joel and Elton John than hedonistic glam rock.
22.
“Dobrodošli,” Nina Žižić (Montenegro)
This year’s only returnee, Nina Žižić had previously competed for Montenegro back in 2013, finishing 12th in the semifinal on a collaboration with hip-hop duo Who See. She may have a better chance of qualifying flying entirely solo, even if her entry is only at the contest by default: Rock band first choice NeonoeN’s “Clickbait” was withdrawn having fallen foul of the EBU’s release window rules. Produced by Eurovision journeyman Darko Dimitrov, “Dobrodošli” is the kind of string-soaked showstopper you can imagine gracing the credits of a classic James Bond. And grasping her unexpected second chance, Žižić’s powerhouse delivery would almost make Shirley Bassey proud.
21.
“Espresso Macchiato,” Tommy Cash (Estonia)
After Sabrina Carpenter made 2024 the year of the espresso, singer, rapper, and all-round agent provocateur Tommy Cash is aiming to make 2025 the year of its milkier cousin. That’s if the man who’s collaborated with Diplo, Boys Noize, and Imanbek makes it to Eurovision. Arguing that its mishmash of American Italian is perpetuating national stereotypes, certain members of the Italian government have requested a disqualification. With lines like “Life is like spaghetti, it’s hard until you make it,” and “Mi money numeroso, I work around the clocko / That’s why I’m sweating like a mafioso,” they perhaps have a point. Luckily, its electro-swing “We No Speak Americano”–esque sound isn’t so offensive.
20.
“Bird of Pray,” Ziferblat (Ukraine)
Ukraine has been the most consistent Eurovision nation of the decade so far, never finishing lower than sixth thanks to either strong material (Go_A’s “Shum”), public goodwill (Tvorchi’s “Heart of Steel”), or a mixture of both (Kalush Orchestra’s winner “Stefania”). Their impressive recent record, however, may well be blemished by Ziferblat’s “Bird of Pray” a curious blend of ’70s glam rock, Muse-esque prog, and banshee wails which seems unlikely to connect as strongly on an emotional level. Props to Ukraine for thinking outside of the box, but this would scream non-qualifier if performed by any other nation.
19.
“Laika Party,” Emmy (Ireland)
Thirty years after Secret Garden’s Irish violinist, Fionnuala Sherry, helped Norway win Eurovision, the same two nations have traded the opposite way. This time around, the singer-songwriter born Emmy Kristine Guttulsrud Kristiansen is representing the Emerald Isle with what on the surface sounds like a jaunty, nonsensical ditty not a million miles away from fellow Scandinavians Aqua. But “Laika Party” is a surprisingly touching tribute to the titular Soviet dog who was sent into space — hence the final national performance’s CGI falling bones — in which her tragic journey is reimagined as one long cosmic disco party.
18.
“Strobe Lights,” Red Sebastian (Belgium)
Former Belgium’s Got Talent contestant Seppe Herreman adopted the Red Sebastian pseudonym after his favorite character in The Little Mermaid. But although there are plenty of references to Alice in Wonderland, his co-penned “Strobe Lights” isn’t exactly a family-friendly affair. Indeed, with its pulverizing beats, laserlike synths, and themes of sexual ecstasy, the techno-pop cut sounds more suited to a Berghain dark room than the Mouse House. But as the 24th place for Austria’s similarly relentless entry proved last year, Eurovision isn’t always the most welcoming place for a rave.
17.
“Deslocado,” Napa (Portugal)
Five-piece guitar band Napa have already topped Portugal’s singles chart with “Deslocado,” the first homegrown entry to do so since the self-satisfied Salvador Sobral in 2017. The latter, of course, also ended up topping the Eurovision leaderboard. But although this warm, stripped-back number — inspired by the disorientation they experienced on moving from the island of Madeira to the mainland — mines a similar “authentic” vibe, audiences are unlikely to fall for the same trick twice. Still, its breezy harmonies and gentle acoustics will provide a much-needed antidote to all the bells and whistles elsewhere.
16.
“Run With U,” Mamagama (Azerbaijan)
Having failed to qualify with ’60s throwback twins TuralTuranX and one-off pairing Fahree & Ilkin Dovlatov, Azerbaijan has now decided that three men are much better than two. Baku-based trio Mamagama claim to be inspired by the likes of Bob Dylan and Amy Winehouse. But there’s little counterculture folk or beehived retro-soul to be found on “Run With U,” an effervescent synth-pop banger which recalls Daft Punk’s “Get Lucky” and, most notably, last year’s U.K. entry from Olly Alexander. It’s unlikely, however, that any homoerotic boxing will be on display.
15.
“Tavo akys,” Katarsis (Lithuania)
Vilnius-based four-piece Katarsis have already scored a number one back home with an observational relationship tale front man Lukas Radzevičius has described as “the most pompous song in our band’s work.” Presumably he didn’t mean to throw shade at his own entry. But admittedly there is something quite grandstanding about the angst-ridden affair which occupies this year’s “real music” quota. In a contest short of guitars, “Tavo akys” will definitely grab attention. But as Latvia’s Sudden Lights discovered in 2023, playing-it-straight indie rock and Eurovision success are usually mutually exclusive terms.
14.
“Baller,” Abor & Tynna (Germany)
Germany managed to reel Stefan Raab, the head honcho responsible for selecting Lena’s 2010 winner, back for the first time in 13 years. Given his gritted-teeth response at the national final results, he obviously doesn’t expect Hungarian-born Austrian siblings Abor & Tynna to bring home another victory. Still, as Germany’s first native-language entry since 2007 and entirely English-free since balcony-climbing Guildo Horn back in 1998, “Baller” is a perfectly solid piece of fun-in-the-club EDM. And there’s a nice nod to their pair’s father, a cellist in the Vienna Philharmonic Orchestra, with a Jimi Hendrix–esque smashing of his instrument of choice.
13.
“Maman,” Louane (France)
France is so confident in their entry this year they premiered it during the half-time of Les Bleus’ Six Nations–winning game against Scotland — think French rugby’s answer to the Super Bowl. Performing on a platform that floated above the pitch, alongside a string orchestra and army of military drummers that will have to be whittled down to meet the six-people-only stage requirements, powerhouse vocalist Louane certainly proved she can handle a large crowd. But while The Voice semifinalist, also a César Award winner for her turn in coming-of-age La Famille Bélier, will undoubtedly be a jury favorite, her dramatic ballad is perhaps a little too conventional to take the crown.
12.
“Wasted Love,” JJ (Austria)
From the mini-Andrea Bocellis of Italy’s Il Volo (third in 2015) to Australian Kate Miller-Heidke’s alternative pole-dancing (ninth in 2019), popera has acquitted itself well over the last decade. Expect The Voice UK contestant Johannes Pietsch to get plenty of chairs spinning round for his Über-dramatic effort, co-written by Teya (a.k.a. one-half of the Austrian duo who posed 2023’s most pressing question, “Who the Hell Is Edgar?”) Classical purists will no doubt turn up their noses, particularly for the fact its outro suddenly veers from the concert hall into the warehouse rave. But there’s a reason bookmakers are expecting this to challenge for the win.
11.
“La poupée monte le son,” Laura Thorn (Luxembourg)
Luxembourg’s follow-up to their unexpected Eurovision return may well be this year’s most charming entry, a delightfully kitsch throwback to the golden era of Gallic pop known as ye-ye. Indeed, as both its title (“the doll turns up the sound”) and puppet-on-a-string choreography hints at, “La poupée monte le son,” pays homage to the second of the small nation’s five victories. But while the Serge Gainsbourg-penned 1965 winner “Poupée de cire, poupée de son” left its vocalist France Gall without any autonomy, Laura Thorn makes it clear she’s in full control.
10.
“Esa diva,” Melody (Spain)
After finishing a lowly 22nd with some flamboyant synth-pop from a couple who only achieved stardom well into their 50s, Spain is hoping to turn things around with some flamboyant synth-pop from an artist propelled to fame at age 10. Melody scored a major European hit with “El baile del gorila” back in 2001, also picking up a Latin Grammy nod for its parent album. There’s little doubt the former child star will go down a storm with the live audience — Nebulossa garnered the biggest reaction last year. But even with the beefed-up revamp, the aptly named “Esa diva” might just be a bit too fabulous for its own good.
9.
“Voyage,” Zoë Më (Switzerland)
No country has won back-to-back Eurovisions since Ireland did the record-breaking triple in 1994. Don’t expect Switzerland to buck the trend, even if they do boast this year’s prettiest entry. Indeed, Zoë Më’s vocals are so fragile and the orchestral production so light of touch that “Voyage” often threatens to float away into the ether. Still, juries will ensure that it stays on the left-hand side of the leaderboard, and already confirmed to perform 19th, it will no doubt provide some respite from all the wall-to-wall up-tempos that usually dominate toward the show’s end.
8.
“Bara bada bastu,” KAJ (Sweden)
Finnish comedy troupe KAJ defeated 2015 winner Måns Zelmerlöw at Melodifestivalen, and they’re being tipped to go all the way with the novelty pop of “Bara bada bastu.” On paper, Sweden’s first native language effort since Jill Johnson in 1998 sounds like it would get lost in translation. It’s a sardonic look at how Swedes view their neighboring Finns’ sauna culture which apparently draws from the agricultural tractor-based scene known as “Epadunk.” Yet the trio’s enthusiasm, not to mention an attention-grabbing set including spruce trees, grilled sausages, and towel-clad dancers, seems guaranteed to be the night’s talking point. Even ABBA’s Björn Ulvaeus has given it the thumbs-up.
7.
“Hallucination,” Sissal (Denmark)
Only the second-ever contestant from the Faroe Islands to perform at Eurovision, Sissal will be hoping to surpass predecessor Reiley, who finished a lowly 14th in his 2023 semifinal. Co-written by regular Denmark contributor Melanie Wehbe (Leonora’s “Love Is Forever,” Saba’s “Sand”) and produced by Joy Deb (Fifth Harmony, Akon), the sky-scraping synth-pop of “Hallucination” certainly has some strong behind-the-scenes credentials. And while it admittedly bears more than a passing resemblance to fellow Scandinavian Loreen’s “Euphoria,” it’s refreshing to hear a banger this year that plays it entirely straight.
6.
“Gaja,” Justyna Steczkowska (Poland)
This year’s oldest contestant at 52, Justyna Steczkowska will also break a historic Eurovision record when she unleashes her bewitching brand of pagan pop on the unsuspecting public. Having also represented Poland in 1995, she’ll surpass Anna Vissi (Cyprus 1982/Greece 2006) for the longest-ever gap between contest appearances. Steczkowska certainly provides plenty of bang for your buck during a frantic routine in which she picks up the violin, descends from the skies like a bird about to catch her prey, and throws herself into an aerobics workout that would give ’80s Jane Fonda a run for her money. It’s all totally bonkers, obviously, but it’s all strangely hypnotic, too.
5.
“C’est la vie,” Claude (Netherlands)
Netherlands initially asked last year’s entrant, Joost Klein — disqualified from the final after a reported fracas with a camera operator — to bring his big-suited, mullet-haired energy to Basel. But on his rejection, they switched their attention to the slightly less zany Dutch-Congolese singer Claude, a The Voice Kids graduate who scored a massive 2022 European hit with “Ladada.” Co-written as a tribute to his “glass-half-full” mother, the bilingual “C’est la vie” initially threatens to be one of those dreaded sad-boy ballads that clogged up the contest in the early 2020s. Thankfully, it soon bursts into a joyously infectious Afropop number, which may match the high place Joost was predicted.
4.
“Ich komme,” Erika Vikman (Finland)
Once hailed as the queen of Finland’s tango scene, Erika Vikman completed her transition to pop in 2020 with an ode to Hungarian porn star Ilona Staller. One shouldn’t be too surprised, therefore, that “Ich komme” is a literal ode to sexual pleasure (it doesn’t exactly take a mastering of the Finnish language to decipher the title’s meaning) performed atop a giant phallic microphone that “ejaculates” fireworks. It’s even less surprising that the EBU have reportedly asked Vikman to tone things down a little. Luckily, the pummeling techno beats, chorus line chants, and 2 Unlimited–esque arcade synths ensures it still compels without all the sledgehammer innuendo.
3.
“Serving,” Miriana Conte (Malta)
This year’s most scandalous entry, “Serving,” made The Guardian’s front pages and the BBC’s flagship news show due to its original, ridiculously unsubtle title. Miriana Conte, representing her country at the fifth time of trying, repeatedly argued that “Kant” is simply the entirely innocuous Maltese word for “singing.” But her pronunciation of the term, and the fact she’d stuck “serving” in front of it, means she was always going to fall foul of media regulators. The new family-friendly version still has plenty to offer, though, namely its colorful blend of Middle Eastern pop, EDM, and reggaeton, and the naturally charismatic Conte, who oozes star quality with every sassy move.
2.
“Zjerm,” Shkodra Elektronike (Albania)
Albania has never finished higher than fifth since debuting in the contest back in 2004. But some are predicting that the combined might of Shkodër-born, Italian-raised duo Beatriçe Gjergji and Kolë Laca may just change that. Shkodra Elektronike, who describe “Zjerm” as an “ode to human compassion,” beat hot favorite Elvana Gjate in the national final. And their blend of swirling Middle Eastern strings, tribal rhythms, and gruff-voiced rhymes — think the missing link between Ray of Light–era Madonna and ’90s Eurodance favorites the Real McCoy — is more than worthy of a record-breaking finish.
1.
“Bur man laimi,” Tautumeitas (Latvia)
All-female, conveniently numbered six-piece Tautumeitas deservedly triumphed over former entrants Justs and Citi Zēni to represent a relatively resurgent Latvia. After qualifying last year for the first time since 2016 — albeit with the contest’s most boring song — the Baltic nation has considerably upped their game with a Björk-adjacent blend of traditional folk, tribal percussion, and ethereal native chants. Indeed, “Bur man laimi” sounds like you’ve suddenly been planted in the middle of an enchanted forest, with the group’s Midsommar-esque pagan outfits only adding to the mystical vibes. It may be a little too avant-garde to even qualify, but it’s undeniably this year’s most magical offering.
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