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The 10 Eurovision finalists to watch: From Swedish saunas to suggestive microphones

The 10 Eurovision finalists to watch: From Swedish saunas to suggestive microphones

Telegraph17-05-2025
Grab your miniature flags and hold on tight – Eurovision 2025's finalists have been confirmed following Thursday's second semi-final. It's a fascinating line-up, encompassing comedy, pop, rafter-raising ballads and a celebration of coffee that has Italians gagging on their espressos. Ahead of Saturday's grand final in Basel, here's a run-down of 10 tunes worth looking out for.
10. La Poupée Monte le Son, Laura Thorn (Luxembourg)
A creepy banger seemingly about a doll that wants to be pop star (the title translates as 'the doll turns up the volume'). The track is a tribute to Luxembourg's Serge Gainsbourg-composed 1965 Eurovision winner Poupée de Cire, Poupée de Son –though the blistering techno beat would have had Gainsbourg coming out in blisters. Luxembourg used to be a Eurovision power and has five victories under its belt. Could this be the post-Barbie bopper to restore some of that faded glory?
9. What the Hell Just Happened?, Remember Monday (UK)
'What the hell just happened?' was the thought racing through the minds of Eurovision viewers last year when Olly Alexander staged his performance of Dizzy inside a mocked-up sex dungeon. Twelve months later, Hampshire trio Remember Monday are playing it straighter with a girl power anthem celebrating the joys of a messy night out and the even messier morning after.
A bit of a Frankenstein monster of a tune, it probably won't win – it's slightly all over the place, sounding a bit like The Last Dinner Party if they really wanted to impress Simon Cowell, crossed with Queen rebooted as a Dolly Parton cover band. But they are full of vim, and having reached the knockout stages of The Voice in 2019, know what it's like to perform under pressure.
Controversy continues to surround Israel's participation in Eurovision, but the scrutiny has not unduly detained the country's 24-year-old representative, Raphael. She has been through far worse than social media hate as a survivor of the October 2023 attacks. Raphael was among the attendees of the Nova music festival, where she hid from Hamas death squads by concealing herself under the bodies of other victims.
Inspired by Celine Dion, Beyoncé, and Led Zeppelin, New Day Will Rise is an old-fashioned, hair-dryer barnstormer that blends English, French, and Hebrew lyrics and has been interpreted as a response to the trauma Raphael suffered in 2023 – a tonne weight of emotion crashing down as she reaches the line, 'Everybody cries, don't cry alone.'
Benny Hill meets Richard Wagner on an innuendo-fuelled power ballad from former tango singer Erik Vikman. Ich Komme – the lyrics are German – is an ode to a healthy sex life, delivered by Vikman with the fury and enthusiasm of a thousand Valkyries. For anyone who has wondered what might happen if Aqua collaborated with Sisters of Mercy... Well, now you have your answer. The memorable staging features with Vikman astride a giant phallic microphone.
6. C'est La Vie, Claude (Netherlands)
There is a rich tradition of soppy man-pop doing well at Eurovision – just look at Nemo's 2024 winner, The Code. Dutch-Congolese singer Claude satisfyingly tweaks this familiar formula. Written as an ode to his mother, C'est La Vie starts as cheesy and maudlin but soon spreads its wings into energetic Afropop. Still not a patch on the B*witched original, obviously.
5. Bara Bada Bastu, KAJ (Sweden)
Sweden is on course to finally eclipse Ireland (boo!) and take first place on the leaderboard with eight Eurovision wins. But while this boisterous and bonkers song from Finnish comedy trio KAJ is among the favourites, it also has a bad case of what scientists call 'LadBaby' syndrome in that it's massively quirky and a bit annoying. That isn't to say comedy pop has never done well at Eurovision – it is part of the contest's DNA. Still, this wacky song about Finnish sauna culture (a source of bafflement to Swedes) is funny first and catchy second – and you wonder if that will be enough to get it over the line. Who knows? It might.
4. Bur man laimi, Tautumeitas (Latvia)
Finally, someone taking Eurovision seriously. Amid a parade of pervy stompers and songs about Finns and their saunas, this all-female six-piece goes bananas for Bjork and frantic for Florence and the Machine with a seismic salvo of melodic power-power. Costumes straight out of folk-horror shocker Midsommar add to the vibe while the haunting crescendo suggests an unlikely fandom for early Nineties madrigal goth trio Miranda Sex Garden. Just what you want from Eurovision, in other words. The song translates as 'Bring me happiness' – a surprise sentiment considering how terrifying it is.
3. Espresso Macchiato, Tommy Cash (Estonia)
Forget Israel's participation – the real controversy at Eurovision 2025 is Tommy Cash's Espresso Macchiato. Half of Italy is reportedly up in arms over its celebration of exaggerated cliches about Italy: 'I work around the clocko/That's why I'm sweating like a mafioso.' If the relentless melody and comedy-rap qualities are familiar, it is because co-writer Johannes Naukkarinen was responsible for the 2023 Finnish entry Cha Cha Cha, aka the one sung by the scary man with the glowing green hulk arms. The memorable staging features Cash fighting off a fake stage-invader. But will Eurovision voters want to shower him with douze points?
2. Volevo Essere un Duro, Lucio Corsi (Italy)
What if a young David Bowie grew up in Bari rather than Bromley and was obsessed with winning Eurovision? That is the sensibility evoked by glam-pop balladeer Corsi, whose entry feels like a love letter to the Thin White Duke's Hunky Dory years. It's one of the favourites, and you do have to credit Italy for standing apart from the pack. In 2021, Måneskin won with a glam-metal bopper Zitti E Buoni: this time, they're pinning their hopes on a wistful and entirely sincere post-hippy piano anthem. It might just work.
1. Wasted Love, JJ (Austria)
The key to a great Eurovision entry is to combine ludicrous ambition and absolute sincerity. That mix comes together perfectly on this slo-mo banger from former Voice UK contestant Johannes Pietsch. It starts as a graceful slab of neo-classical balladry and pivots into floor-melting techno. Talk about having your cake and also waving your cake around like a glow stick at a rave.
Eurovision 2025: Full line-up and running order
Norway, Kyle Alessandro – Lighter
Luxembourg, Laura Thorn – La Poupée Monte Le Son
Estonia, Tommy Cash – Espresso Macchiato
Israel, Yuval Raphael – New Day Will Rise
Lithuania, Katarsis – Tavo Akys
Spain, Melody – Esa Diva
Ukraine, Ziferblat – Bird of Prey
United Kingdom, Remember Monday – What The Hell Just Happened?
Austria, JJ – Wasted Love
Iceland, Væb – Róa
Latvia, Tautumeitas – Bur Man Laimi
Netherlands, Claude – C'est La Vie
Finland, Erika Vikman – Ich Komme
Italy, Lucio Corsi – Volevo Essere Un Duro
Poland, Justyna Steczkowska – Gaja
Germany, Abor & Tynna – Baller
Greece, Klavdia – Asteromáta
Armenia, Parg – Survivor
Switzerland, Zoë Më – Voyage
Malta, Miriana Conte – Serving
Portugal, Napa– Deslocado
Denmark, Sissal – Hallucination
Sweden, KAJ – Bara Bada Bastu
France, Louane – maman
San Marino, Gabry Ponte – Tutta L'Italia
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But you feel that he's very aware of British poetry history.' This is evident in the first lines of the opening song on Five Leaves Left — 'Time has told me/You're a rare, rare find/A troubled cure for a troubled mind.' 'When I think about Nick, I think about the painting, The Death Of Chatterton,' says Boyd. 'Chatterton was a young romantic British poet who died, I think, by suicide. You see him sprawled out across a bed.' I ask Boyd how aware he was of Drake's struggles with his mental health. 'It's a tricky question because I was aware that he was very shy,' he answers. 'Who knew what was going on with him and girls?' Boyd believes there was a time when Drake was better able to enjoy life's pleasures. 'When you read of his adventures in the south of France and in Morocco, it seems he was more relaxed and joyful. 5 'And when I went up to Cambridge to meet Nick and Robert Kirby before we did the first session, he was in a dorm. 'There were friends walking in and out of the room. There was a lot of life around him.' Boyd says things changed when 'Nick told me he wanted to leave Cambridge and move to London. 'I agreed to give him a monthly stipend to help him survive. He rented a bedsit in Hampstead — you could do that in those days. 'Nick started smoking a lot of hashish and didn't seem to see many people. I definitely noticed a difference. 'He'd been at Marlborough, he'd been at Cambridge and suddenly he's on his own, smoking dope, practising the guitar, going out for a curry, coming back to the guitar some more. He became more and more isolated and closed off'. Boyd describes how Drake found live performance an almost unbearable challenge. He says: 'He had different tunings for every song, which took a long time. He didn't have jokes. So he'd lose his audience and get discouraged.' 'It still haunts me that I left the UK' For Drake's next album, Bryter Layter, recorded in 1970 and released in 1971, Boyd remained in charge of production. Despite all the albums he's worked on, including REM 's Fables Of The Reconstruction and Kate and Anna McGarrigle's classic debut, he lists Bryter Layter as a clear favourite. It bears the poetic masterpiece Northern Sky with its heartrending opening line – 'I never felt magic crazy as this.' Boyd says: 'I can drop the needle and relax, knowing that John Wood and I did the best we could.' However, he adds that it still 'haunts me that I left for a job with Warner Bros in California after that. I was very burnt out and didn't appreciate how much Nick may have been affected by my leaving'. Drake responded to Boyd's departure by saying, 'The next record is just for guitar and voice, anyway'. Boyd continues: 'So I said, 'Well, you don't need me any more. You can do that with John Wood'.' When he was sent a test pressing of 1972's stripped-back Pink Moon, he recalls being 'slightly horrified'. 'I thought it would end Nick's chances of commercial success. It's ironic that it now sells more than his other two.' Then, roughly a year after leaving the UK, Boyd got a worried call from Drake's mum. 'Molly said she had urged Nick to see a psychiatrist because he had been struggling,' he says, with sadness, 'and that he had been prescribed antidepressants. 'I know Nick was hesitant to take them. He felt people would judge him as crazy — a typically British response.' Boyd again uses the word 'haunting' when recalling the transatlantic phone call he made to Drake. 'I said, 'There's nothing shameful about taking medicine when you've got a problem'. I know Nick was hesitant to take them [antidepressants]. He felt people would judge him as crazy — a typically British response Joe Boyd 'But I think antidepressant dosages were way higher in those days than they became. 'Doctors didn't appreciate the rollercoaster effect — how you could get to a peak of elation and freedom, then suddenly plunge back into depression. 'Who knows but it might have contributed to the feeling of despair Nick felt the night he took all those extra pills.' Drake died at home in Warwickshire during the early hours of November 25, 1974. As for Boyd, he made a lasting commitment to the singer who had such a profound effect on him. He says: 'When I left, I gave my company to Chris Blackwell because there were more debts than assets — and he agreed to take on the debts. 'But I said, 'I want it written in the contract that you cannot delete Nick Drake. Those records have to stay. 'I just knew that one day people would get him.'

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