An opinion piece from Jay Kirby

Eurovision 2025 was certainly one to be remembered, and not only for its nail biter of an ending: political aspects aside, this year’s competition was chock-full of all the dazzling spectacle, impressive choreography and show-stopping musicianship that’s made the Eurovision Song Contest such a famous— or, perhaps, infamous— event each year. From dance-pop anthems to operatic displays, here are my picks for the ten best performances at this year’s competition.

Please note that only qualifiers for the contest’s final, held in Basel, were eligible for this list; regrettably, the infectious antics of Go-Jo’s ‘Milkshake Man’ didn’t quite go the distance, and Australia’s entrant misses out on a spot in my top ten as a result.

#10

This year’s youngest contestant may have had his chances at a podium finish curtailed by the running order, but that couldn’t stop Kyle Alessandro from bringing the heat in Basel. Kicking off the competition with about as much pyro as the board would allow, Norway’s entrant came at you thick and fast— it was a show so aggressive as to demand the dancers wear armour, not to mention the constant backflips and other stunts peppered throughout the track. Though ‘Lighter’ wasn’t the most unique or memorable track of the night, Alessandro’s energetic delivery gave it a much-needed shot of adrenaline, completely transforming the cut. An 18th place finish will surely do little to deter this rising Norwegian star, who really did manage to light up Eurovision from-the-off.

#9

In much the same way as Norway’s entry, Denmark’s performance thrived by allowing its central performer to do all the heavy-lifting. The nation hasn’t qualified for the competition’s final since 2019, placing six years worth of hopes on the back of Sissal: it was a safe bet, even if the performance ultimately went under-appreciated by both the jury and the televote. ‘Hallucination’ is a fairly barebones dance-pop track at its core, but Sissal’s thunderous vocals— some of the most confident of the night— consistently raised the bar, soaring across the final third of the cut. Adding on a glitzy light-show that put the song’s club influences on full display, Denmark’s 2025 entry was a spectacle, and one that deserved to make more of a splash than it did in Basel.

#8

Dance music was no rarity at Eurovision this year, and it’s earned another spot on my list in ‘Baller.’ Germany’s entry had some of the slickest presentation of the competition, using a strikingly washed-out colour palate to place all the emphasis on the act’s gigantic boom-box scenery and electric cello inclusion. Though overused throughout the cut, the central hook of ‘Baller’ was a catchy one, and it was surprisingly hard to stop yourself from dancing along with Tynna as the song’s electronic grooves marched on. The brother and sister duo weren’t the most impressive act of the night, nor the most striking: rather, Germany’s entrant was about as well-rounded as they came this year, and may just have been the best celebration of German music the country has mustered up in recent memory.

#7

Surrounded by bombastic power ballads and anthemic pop tunes, the melancholic musings of Portugal’s NAPA were easily forgotten: it’s a shame too, as on rewatch, the band’s performance was one of the most heartfelt and agreeable of the contest. ‘Deslocado’ perfectly captured the bittersweet feeling of leaving a cherished location behind, and the imagery of rolling hills and winding roads— easily missed in comparison with so many other blinding aesthetic endeavours— did wonders to reinforce that sweet, sentimental mood. NAPA weren’t really trying to stand out, and that’s no criticism: João Gomes’ willowy vocals fit together with the track’s gentle instrumentation well, leading to one of the comfiest moments of Eurovision 2025.

#6

Even year has its crowd-favourite: acts like Käärijä or Baby Lasagna have earned their place in the annals of Eurovision history in the last few years, and all signs were pointing to KAJ to join their ranks. Even if that didn’t quite end up happening, Sweden’s entry was still a highlight of the show for me, bringing some much needed levity to the contest. ‘Bara Bada Bastu’ benefitted immensely from the sheer charisma of its leading trio, as well as the playful nature of its ‘sauna’ setting— that’s not to say the cut was a joke entry though, as KAJ brought far more musical fanfare than something like Estonia’s ‘Espresso Macchiato.’ We’ve seen greater energy from past performances of the song, admittedly, but it was nonetheless impossible to deny the palpable sense of excitement racing through the arena towards the track’s conclusion: ‘Bara Bada Bastu’ has been raking in the streams since the contest, and the reason is no mystery.

#5

If the UK and Latvia were in a competition for the best harmonies of the night, it wasn’t much of a close race (even if Remember Monday put on a good show in their own right)— Tautumeitas pulled off a performance unlike anything else we saw at Eurovision this year, ditching flashy pop melodies and elaborate set pieces for a stunning showcase of pure vocal talent. The six members of the group played off of one another expertly, allowing their voices to weave together into a complex, intriguing arrangement. Latvia’s staging, perhaps the most minimalist of the competition, worked simply to draw attention to the mysterious nature of ‘Bur man laimi:’ if Eurovision were a competition judged solely on vocal prowess, there would be no debate that Latvia would’ve taken home the win.

#4

If the Eurovision jury claims to value original compositions, their poor treatment of this year’s Albanian entry was wholly unwarranted. ‘Zjerm’ integrated elements of traditional folk into a claustrophobic electronic soundscape, creating a foreboding mixture unlike anything else the competition had to offer. It was a performance built of division, not just between the garish crimson and stark black that dominated the staging, but between Beatriçe Gjergi’s soaring lead vocals and Kolë Laca’s ominous spoken word additions. No wonder the track performed so well in the televote, as this was surely one of the most arresting showcases of this year’s competition: Shkodra Elektronike have almost certainly created some new folktronica fans, and they just so happened to put on an excellent show on top.

#3

Unabashedly abrasive rock music was always bound to turn heads at Eurovision— still, it was shocking to see Lithuania’s entry bathing itself in such unrelenting sorrow. Katarsis brought crushing electric guitars and pounding drum fills into the fold, standing out in a similar manner to Måneskin in 2021, or even Lord Of The Lost in 2023: ‘Tavo akys’ was the grim reaper in a field of bubblegum, showing that more aggressive music can find its place in the limelight. Katarsis brought a real urgency to their show between the frantic instrumentation, swelling crescendo and genuine anguish in Lukas Radzevičius’ voice, plowing straight through their three-minute song. The four-piece are definitely the act I’m most interested to follow for future releases after they delivered such a heartbreaking performance this year.

#2

Luxembourg’s entry was completely lost in the shuffle when it came to voting this year, failing to gain much ground with either the jury or the at-home audience: the reason must surely be timing, as Laura Thorn could hardly have done more to create a spellbinding performance. Acting as a loving homage to France Gall’s ‘Poupée De Cire, Poupée De Son,’ ‘Le poupée monte le son’ spins the ‘doll’ theme on its head, breaking out as an empowering and triumphant anthem. Luxembourg really brought a complete package to Eurovision this year as this catchy tune was embellished by a truly jaw-dropping visual display: CGI antics, quick outfit changes and an onslaught of backing dancers all worked to support Thorn’s confident, endearing performance, making this a treat for both the eyes and the ears. ‘La poupée monte le son’ may have underperformed in the vote, but I’m nonetheless blown away by this gem of a show.

#1

At the end of the day, the winner of Eurovision 2025 seemed like a foregone conclusion after Austria’s performance forcefully stole the show and refused to give it back. ‘Wasted Love’ was one of the most impressive and left-field inclusions in the competition this year, floating through passages of both soaring opera and intense electronic music— both aspects benefitted equally from JJ’s angelic vocals, which sold this tale of failed romance about as convincingly as possible. The song might have taken the win on musical quality alone: when combined with some of Eurovision 2025’s most breathtaking staging, Austria’s entry was elevated to all-timer status. Near-every element of this performance worked in tandem to create not just a strong show, but an emotional rollercoaster: broadcasting in black and white, using the imagery of a floundering ship, that vocal performance, it all coalesced into something truly, truly special. I can think of no more deserving winner of this year’s competition than JJ, and I was ecstatic to see the jury and televote agreeing.