Rate the best and worst Eurovision songs live with our interactive scoreboard
Eurovision is finally here - and you can play along by rating the performances with our very own interactive scoreboard. Play along with your friends and family to compare your final ranking after a winner has officially been crowned!
After two knock-out semi-finals, 20 qualifiers have been chosen to join the Big Five countries and reigning champions, plus hosts Switzerland on what is set to be a spectacular occasion in Basel.
The running order has now been decided, with Norway's Kyle Alessandro due to open the show with his entry, Lighter.
Israel 's Yuval Raphael qualified for the final after a public vote despite continued calls for Israel to be banned amid protests over the war in Gaza. The singer, a survivor of the October 7 Nova music festival massacre, will be the fourth act to take to the stage to perform the ballad New Day Will Rise.
Fans will have to wait until near the end of the evening to see the bookies' favourite, KAJ of Sweden, who is 23rd in the lineup.
Meanwhile, British hopes rest with the country pop group Remember Monday. Band members Charlotte Steele, Holly-Anne Hull, and Lauren Byrne are sixth in the lineup with their energetic song, What the Hell Just Happened?
After the UK finished 18th last year, and 25th in 2023, Remember Monday will be hoping they can return to the successes of 2022, when Sam Ryder came second.
Now, as you watch the action unfold, you can keep track of your favourite performances by playing along with our interactive widget. Simply rate the artists out of 10 to choose your favourite. Then check back to see how your score tallies with the opinions of other Eurovision fans.
Meanwhile, as fans wait for the excitement to start on Saturday, why not take our quiz to test how well you know Europe's premier song contest?
Can you recall the year Bucks Fizz performed Making Your Mind Up, when Abba met their Waterloo, or even as far back as Sandy Shaw and Puppet on a String? Or perhaps you came late to the Eurovision party and have fond memories of more recent winners Netta, Maneskin, and last year's champion Nemo?
To help get you in the mood for Eurovision we've prepared a quiz testing your knowledge of all the cheesiest Eurovision classics.
All you have to do is guess the year of the song and performer. Use the slider to choose the year. Points are awarded for how close you get to the right answer, with 10 for being spot on, nine for one year out, eight for two, seven for three, and so on until you get to 10 years out.
Eurovision 2025 lineup (in running order)
1. Norway: Kyle Alessandro – Lighter 2. Luxembourg: Laura Thorn – La Poupée Monte Le Son 3. Estonia: Tommy Cash – Espresso Macchiato 4. Israel: Yuval Raphael – New Day Will Rise 5. Lithuania: Katarsis – Tavo Akys 6. Spain: Melody – ESA DIVA 7. Ukraine: Ziferblat – Bird of Pray 8. United Kingdom: Remember Monday – What The Hell Just Happened? 9. Austria: JJ – Wasted Love 10. Iceland: VÆB – RÓA 11. Latvia: Tautumeitas – Bur Man Laimi 12. Netherlands: Claude – C'est La Vie 13. Finland: Erika Vikman – ICH KOMME 14. Italy: Lucio Corsi: Volevo Essere Un Duro 15. Poland: Justyna Steczkowska – GAJA 16. Germany: Abor & Tynna – Baller 17. Greece: Klavdia – Asteromáta 18. Armenia: PARG – SURVIVOR 19. Switzerland: Zoë Më – Voyage 20. Malta: Miriana Conte – SERVING 21. Portugal: NAPA – Deslocado 22. Denmark: Sissal – Hallucination 23. Sweden: KAJ – Bara Bada Bastu 24. France: Louane – maman 25. San Marino: Gabry Ponte – Tutta L'Italia 26. Albania: Shkodra Elektronike – Zjerm
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
2 hours ago
- The Guardian
Here We Go Again: the enduring appeal of Mamma Mia!
The siren call comes from inside the house at 1634 Broadway: two plinking, instantly recognizable marimba notes, followed by a bubbly swell of melody and accompanied of course by Technicolor lights and the option of a triple-shot cocktail. Yes, Mamma Mia! is back on Broadway, once again providing much-needed escapism via idyllic Greek isle and the mind-clearing oeuvre of Abba. The grandaddy – or, perhaps, erstwhile father – of the modern jukebox musical returned to the Winter Garden Theatre this month after a decade away from New York, much to the delight of pop music fans young and old charmed by its ebullient disco and gloriously ludicrous plot. It may be fair to say that it never really left; though the original closed after in 2015 after nearly 14 years on Broadway, Mamma Mia! still echoes loudly in musical theater as, arguably, the ultimate feelgood show – a 'giant singing Hostess cupcake', as the New York Times memorably put it in their 2001 review. An untold number of jukebox musicals have proliferated in its frothy wake, featuring the catalogs of everyone from Buddy Holly to Alicia Keys, Alanis Morissette to the behind-the-scenes pop maestro Max Martin, though never with quite the same level of success and enduring appeal as the originators of the term 'Swedish hitmaker'. (Mamma Mia! is still running in London, where it first premiered in 1999, making it the longest-running jukebox musical in the West End, and the fifth-longest of all time.) A 2008 film adaptation starring Meryl Streep and Amanda Seyfried – the highest-grossing Broadway adaptation until last year's Wicked – cemented the musical, written by Catherine Johnson with music by Benny Andersson and Björn Ulvaeus, as a beloved slice of seriously unserious pop culture, a status not undone by its much less successful 2018 sequel, Mamma Mia: Here We Go Again. Judy Craymer, producer of the musical and its films, has confirmed that an improbable third movie is in development, with Seyfried in support and noted Abba fan Sabrina Carpenter eyed for a role. And the music of Abba has morphed from possibly risible artefact of the disco era to an inescapable pillar of celebratory dancefloors, rebounding around the English-language soundscape like its palindromic name. Its placeless, magnetic tunes seem to have always existed, the Greek chorus of effervescent pop culture. The four members of Abba – Andersson, Ulvaeus, Agnetha Fältskog and Anni-Frid 'Frida' Lyngstad – also live in perpetual youth as holograms in the popular Abba: Voyage virtual show in London. At a nearly full matinee showing this month, a crowd that appeared to be mostly out-of-towners or original Dancing Queens greeted what has been billed as a 'strictly limited' return engagement (until 1 February) with the enthusiasm of people who did not seem to realize that Mamma Mia! had ever been gone at all. Which is to say, happily, warmly and without extra fanfare. The production had the extra part covered; the second act overture, a medley of some of the hits-only show's top hits, was so abruptly loud that I jerked bolt upright in my seat, and I am someone generally soothed by the sensation of hearing loss. I managed to catch one of the final handful of Mamma Mia's 5,773 performances during its original run, and though I remember the sensation of attending – enlivened, giddy, a little daunted – I managed to lose most recollection of the plot (it presumably also served triple-dose cocktails). Which is fine, as Johnson's book is a nonessential and enjoyably ridiculous narrative seemingly invented to string together more than 20 Abba songs with their lyrics mostly unaltered. For those who also need a refresher: a few months before her wedding, 20-year-old Sophie (Amy Weaver) snoops through her mother's diary and discovers three former suitors of her mother, the fiercely independent Donna (Christine Sherrill), who could each be her father. She invites them to the big day, at her mother's self-run Greek taverna, though none know the real reason; Donna, a former disco singer, greets each of them (Rob Marnell, Jim Newman and Victor Wallace) with shock, a power drill and an especially spirited rendition of the titular track. In a matter of hours before the wedding, everyone seeks a very last-minute form of truth or former disco glory. This new rendition is no less spirited than its predecessor, though a bit smaller in stature, being a touring company bound for Wilmington, North Carolina, in March. That's most obvious in the show's relatively simplistic set – noticeably less grand than your typical Broadway musical fare – and lack of a marquee name, though the performers are consistently solid (and consistently drowned out by the music; anything short of a full BFA belt did not rise over the orchestra). But even a slightly scaled-down Mamma Mia! packs a punch – a walloping of foundational pop from start to finish. It's little surprise that even in previews, the return show immediately became one of the highest-grossing shows on Broadway, up there with fellow musical juggernauts such as Hamilton, the Lion King and Wicked. By the time of its ecstatic second ending, a three-track encore that gets all the adult characters into galactic disco suits for a straight concert play of the hits, the whole crowd expectedly gets on its feet. Afterwards, an older woman behind me grabbed her friends' wrists, arms overhead in a joint cheer, as if celebrating in a long-sought victory. And so goes the lure of Abba, a warm and welcome loop that never really ends.
The Guardian
3 hours ago
- The Guardian
Here We Go Again: the enduring appeal of Mamma Mia!
The siren call comes from inside the house at 1634 Broadway: two plinking, instantly recognizable marimba notes, followed by a bubbly swell of melody and accompanied of course by technicolor lights and the option of a triple-shot cocktail. Yes, Mamma Mia! is back on Broadway, once again providing much-needed escapism via idyllic Greek isle and the mind-clearing oeuvre of Abba. The grandaddy – or, perhaps, erstwhile father – of the modern jukebox musical returned to the Winter Garden Theatre this month after a decade away from New York, much to delight of pop music fans young and old charmed by its ebullient disco and gloriously ludicrous plot. It may be fair to say that it never really left; though the original closed after in 2015 after nearly 14 years on Broadway, Mamma Mia! still echoes loudly in musical theater as, arguably, the ultimate feelgood show – a 'giant singing Hostess cupcake', as the New York Times memorably put it in their 2001 review. An untold number of jukebox musicals have proliferated in its frothy wake, featuring the catalogs of everyone from Buddy Holly to Alicia Keys, Alanis Morisette to the behind-the-scenes pop maestro Max Martin, though never with quite the same level of success and enduring appeal as the originators of the term 'Swedish hitmaker'. (Mamma Mia! is still running in London, where it first premiered in 1999, making it the longest-running jukebox musical on the West End, and the fifth-longest of all time.) A 2008 film adaptation starring Meryl Streep and Amanda Seyfried – the highest-grossing Broadway adaptation until last year's Wicked – cemented the musical, written by Catherine Johnson with music by Benny Andersson and Björn Ulvaeus, as a beloved slice of seriously unserious pop culture, a status not undone by its much less successful 2018 sequel, Mamma Mia: Here We Go Again. Judy Craymer, producer of the musical and its films, has confirmed that an improbable third movie is in development, with Seyfried in support and noted Abba fan Sabrina Carpenter eyed for a role. And the music of Abba has morphed from possibly risible artifact of the disco era to an inescapable pillar of celebratory dance floors, rebounding around the English-language soundscape like its palindromic name. Its placeless, magnetic tunes seem to have always existed, the Greek chorus of effervescent pop culture. The four members of Abba – Andersson, Ulvaeus, Agnetha Fältskog and Anni-Frid 'Frida' Lyngstad – also live in perpetual youth as holograms in the popular Abba: Voyage virtual show in London. At a nearly full matinee showing this month, a crowd that appeared to be mostly out-of-towners or original Dancing Queens greeted what has been billed as a 'strictly limited' return engagement (until 1 February) with the enthusiasm of people who did not seem to realize that Mamma Mia! had ever been gone at all. Which is to say, happily, warmly and without extra fanfare. The production had the extra part covered; the second act overture, a medley of some of the hits-only show's top hits, was so abruptly loud that I bolted upright in my seat, and I am someone generally soothed by the sensation of hearing loss. I managed to catch one of the final handful of Mamma Mia's 5,773 performances during its original run, and though I remember the sensation of attending – enlivened, giddy, a little daunted – I managed to lose most recollection of the plot (it presumably also served triple-dose cocktails). Which is fine, as Johnson's book is a nonessential and enjoyably ridiculous narrative seemingly invented to string together more than 20 Abba songs with their lyrics mostly unaltered. For those who also need a refresher: a few months before her wedding, 20-year-old Sophie (Amy Weaver) snoops through her mother's diary and discovers three former suitors of her mother, the fiercely independent Donna (Christine Sherrill), who could each be her father. She invites them to the big day, at her mother's self-run Greek taverna, though none know the real reason; Donna, a former disco singer, greets each of them (Rob Marnell, Jim Newman and Victor Wallace) with shock, a power drill and an especially spirited rendition of the titular track. In a matter of hours before the wedding, everyone seeks a very last-minute form of truth or former disco glory. This new rendition is no less spirited than its predecessor, though a bit smaller in stature, being a touring company bound for Wilmington, North Carolina, in March. That's most obvious in the show's relatively simplistic set – noticeably less grand than your typical Broadway musical fare – and lack of a marquee name, though the performers are consistently solid (and consistently drowned out by the music; anything short of a full BFA belt did not rise over the orchestra). But even a slightly scaled-down Mamma Mia! packs a punch – a walloping of foundational pop from start to finish. It's little surprise that even in previews, the return show immediately became one of the highest-grossing shows on Broadway, up there with fellow musical juggernauts such as Hamilton, the Lion King and Wicked. By the time of its ecstatic second ending, a three-track encore that gets all the adult characters into galactic disco suits for a straight concert play of the hits, the whole crowd expectedly gets on its feet. Afterwards, an older woman behind me grabbed her friends' wrists, arms overhead in a joint cheer, as if celebrating in a long-sought victory. And so goes the lure of Abba, a warm and welcome loop that never really ends.
Daily Mail
19 hours ago
- Daily Mail
Geri Halliwell-Horner celebrates her mum Ana's 80th birthday by dancing to ABBA songs in fun-filled girls' night video
Geri Halliwell-Horner celebrated her mum Ana's 80th birthday by dancing to ABBA songs in the garden during a wholesome girls' night. The former Spice Girl and her loved ones saw in another year for Ana by having a well-needed girly get together on Sunday. Geri shared a heartfelt post on Instagram where she thanked her Spanish mum for the music in a nod to the iconic ABBA ballad. A group of nine women were all laughing and cheering in the sunset as they sang to two different ABBA hits - including the 1980 classic Thank You For The Music, as well as Gimme! Gimme! Gimme!. Celebrations were well underway as they all appeared in good spirits, with Geri oozing main character energy as she partied with her nearest and dearest. She wrote: 'Happy birthday Mama! 80 today. Thank you for the music' alongside two pink hearts. It's no secret that Geri and her mum are incredibly close. In 2021, the music star called her mum a 'wonderful, strong and caring mother and grandmother figure'. Elsewhere, Geri has been a supportive figure to her husband Christian Horner following the news he was released from his operational duties as the boss of Red Bull, one year after the scandal that engulfed him over texts he apparently sent to a female employee. It ends the longest reign of Formula One team principals in the sport and comes a year after the scandal. Red Bull issued a statement confirming the news, reading: 'Red Bull has released Christian Horner from his operational duties with effect from today, Wednesday 9 July 2025, and has appointed Laurent Mekies as CEO of Red Bull Racing.' Horner's former Spice Girl wife Geri stood by her husband after the explosive accusations rocked the Formula One paddock last year. Horner has vehemently denied the claims. Screenshots of alleged WhatsApp messages between Horner and a Red Bull employee were leaked anonymously the day after a three-week investigation, carried out externally, cleared the 51-year-old of all allegations. Horner survived accusations of coercive behaviour towards his colleague – and was twice cleared in internal investigations of wrongdoing. Elsewhere, Geri has faced yet another blow when it was revealed her book company has racked up a huge £1million debt. According to a new publication Geri could now be facing her own troubles as her company Falcon Queen Productions has sunk further into the red. The Mirror reports, Geri had a deficit of £750,000 in the year ending August 2024, compared to a £276,000 the previous year. The singer released her children's books, Rosie Frost and the Falcon Queen and Rose Frost: Ice On Fire via the firm. However, her 'main company, Wonderful Productions, earned £2.16m in the 12 months to August last year.' Wonderful Productions was set up by Geri in 1997 at the height of the Spice Girls' fame and channels earnings from her career in music and other commercial deals.
