Eurovision 2025 Reviews: Part 6
We're almost there - with just a couple of posts remaining, I'm getting ever closer to having assessed the full cohort of Eurovision 2025. As always, I'll be keeping predictions to a minimum; just thoughts, feelings and probably a few too many adjectives! Onwards we go, with entries from Austria, Czechia, Malta, Montenegro and San Marino.
Malta: Miriana Conte - "Serving"
If any country has the right to feel aggrieved by the re-introduction of televote-only semi-finals, it's surely Malta. Time and again, the small island nation with little diaspora to speak of struggles to get off the ground with the public from across the continent, and never has this been more apparent than in 2023 and 2024, when Malta finished last with the televote despite sending slick, polished packages on both occasions. This year, the Malta Eurovision Song Contest returned as the country's national selection with a revised format and several songs which would have had a reasonable chance of qualifying, however the ticket to Basel was eventually awarded to Miriana Conte. The song was originally titled "Kant", which in Maltese means 'singing', however, it was quite clear what Miriana really meant when she sang heartily about 'serving kant'. To absolutely nobody's surprise, the EBU eventually decided that this wouldn't fly, so the Maltese delegation released a new version of the song with a speed so remarkable that it might just suggest they had it prepared from day one. Now titled "Serving", and with the offending word removed, the song has been approved for Eurovision. This whole pantomime did cause a bit of controversy among fans, with some going so far as to accuse the EBU of censoring smaller languages. To this I once again say that anyone living in the real world knew what was meant by this song, and if Malta were that concerned about platforming their national language, they might have considered using more than one Maltese word to at least create some plausible deniability. So what's left when "Kant" is removed? Well, in my opinion at least, a far superior song. Without the whole thing focussing on that one moment, Miriana is allowed to shine throughout, with her strong vocals and boundless charisma taking centre stage. The music video sets her, and "Serving", aside from most other female-fronted pop songs, by showing that Miriana is very much in on the joke, and not afraid to look silly in the process of promoting her song.
I do think Malta has played the Eurovision game very well this year. When the original song was selected in February, it gained notoriety among the fans almost immediately, and this even extended outside of the Eurovision bubble, with the shock factor of the lyrics proving very effective. Particularly for a nation as small as Malta, Eurovision publicity three months before the contest itself is virtually unheard of, but through a clever lyrical choice, Miriana has become arguably the main talking point of this year's Eurovision season, even appearing on the BBC's Newsnight to discuss the changes to her song. As I've said above, if the team at the Maltese broadcaster have half an ounce of common sense, they will have been aware from the get-go that this song wasn't going to get to Eurovision in its original form, but by sitting back and watching the discourse unfold, they will have given the song an invaluable boost by the time we get to Basel. Again, Miriana herself leans into the whole charade exceptionally well, with her 'diva down' catchphrase, and I do think this year's Maltese entry will be remembered in years to come as a masterclass in how to do PR at Eurovision. For this reason, there isn't too much doubt in my mind that this will be Malta's first qualification since 2021. However, as I've said, Malta do struggle with the televote, and there will be a sizeable subset of the audience who are put off by, or don't understand, the package (as an aside, I think I would have been firmly inside this subset if I'd written this review a couple of weeks ago as the song has only really started to grow on me within the last week or so). The song is excellent in a more informal concert or club setting, however, in order for it to stand up at Eurovision, a TV spectacle as well as live performance, I think Miriana will need to be slightly more polished to avoid this song coming off as messy, or even a joke. Lots to be positive about here, but I hope Malta realise that this isn't the sort of package that comes along every year, and don't fall into the trap of trying to replicate it in 2026. There's some things you've either got or you've not, and Miriana Conte has it in spades.
My Score: 5.5
San Marino: Gabry Ponte - "Tutta L'Italia"
"Tutta L'Italia" is a stadium anthem in the making: catchy, bouncy and a chorus that sounds like a football chant. It's cheap and cheerful, not particularly revolutionary and won't be winning any awards for its composition, but it knows what it's doing and does it well. Whilst there are gimmicky moments throughout, there is a certain authenticity in this song that I think is easily missed. It feels like the sort of song that would be playing in a Mediterranean bar somewhere as people get progressively more drunk and rowdy. I'd argue that this song does have a lot of the broad appeal it will need to pick up voters across the continent - it's lively, listenable and is a welcome moment of joy in a year that is once again dominated by geopolitical issues. However, it has to be said that DJ entries don't have a good track record at Eurovision. Poland 2018, Finland 2019 and Austria 2022 all sank without a trace in the semi-finals and I worry that this might meet the same fate if it's not staged correctly. Unless San Marino come up with something excellent, there's a risk of this performance feeling awkwardly empty on stage. This is a song that needs a big presentation to match its big energy, and I think whether or not this comes off well could be the difference between qualifying and not for San Marino. The verses don't have much to them, and if the atmosphere in the chorus isn't maximised, with plenty of wide shots to show the audience reaction, it may lose some of its impact. If the rumours I have seen swirling online about the singers wearing masks turn out to be true, I am concerned that this package might not come together in the way that it needs to. That being said, this is a fun song that I enjoy listening to, and I equally wouldn't be surprised if this manages to gather the votes it needs on the night.
My Score: 7
Montenegro has never quite managed to get going in Eurovision. Since appearing for the first time as an independent country in 2007, they've only qualified for the final twice and have participated somewhat sporadically in recent years. After another disappointing result in 2019, the country withdrew for a couple of years, only to return in 2022 and be greeted with a second-last finish in the semi-final. Montenegro then withdrew again in 2023, and we haven't seen them at Eurovision since - until now. It was announced last year that Montenegro would be returning to the contest with 2022 representative Vladana serving as head of delegation. A national selection, Montesong, was scheduled for the end of November, and after an evening of complete and utter chaos, "Clickbait", performed by Neonoen, emerged as the winner. 'What?', I hear you cry, 'That isn't what it says at the top of this review!' Well, shortly after the conclusion of Montesong, a video emerged of Neonoen performing their song in 2023, prior to the period of eligibility for Eurovision 2025. Whilst this wouldn't necessarily have been enough to rule it out (see Reiley from Denmark), the band withdrew from contention after much scrutiny, and runner-up Nina Žižić was sent forward instead, with her song "Dobrodošli". Nina is no stranger to Eurovision, having appeared in 2013, performing the song "Igranka" alongside Who See, which, despite failing to qualify for the final, now holds a cherished fan favourite status for much of the community, and is widely regarded as the biggest risk Montenegro have taken in Eurovision. Unfortunately, "Dobrodošli" doesn't fit that same description. It's a pleasant, brooding ballad, which Nina performs with about the right balance of measured composure and raw emotion that the song requires.
Montenegro: Nina Žižić - "Dobrodošli"
However, it never quite makes it out of second gear. "Dobrodošli" takes a path very well-trodden in Eurovision: quiet first verse and pre-chorus, before a dark, moody chorus that wouldn't have sounded particularly out of place in Eurovision 2012. It builds drama, but the whole mood feels somewhat manufactured, and not in a way that makes it stay in your mind once the song has finished. Once you've heard the first chorus, you've heard it all, and I think this peaks a bit too soon, with the rest of the song following a very gradual descent until we get to another well-worn trope of somewhat non-descript wailing before it ends rather suddenly. Nina does perform it very well and I dare say her vocals deserve a better song than this. The long notes are executed well, and there is an atmosphere created for the moment it's being performed, however, I think this could have been a lot more powerful with a slightly different arrangement. Each individual element of this works well, however, for some reason it doesn't quite come together for me. I don't dislike the song, and I don't think it's delivered notably better or worse than any of its predecessors, I just don't think anyone would notice very much if this was taken out of this year's line-up whilst we weren't looking. I also think this is trying to appeal to an audience that is very niche. For most of the first-time audience without a particular knowledge or affinity for the genre of Balkan ballads, or indeed the region itself, it's hard to see what in this package is there for them to grab on to. It's competing against Serbia's "Mila", which is arguably more accessible, and, performing far later in the running order, may end up swallowing a lot of the votes that Montenegro are also competing for. Unfortunately, I'm not sure how much wider support this will garner on the night. Whatever happens, I do hope that Montenegro come back to Eurovision next year, however, if Nina does get another poor result, I fear that the broadcaster may not be able to justify such an expense once again.
My Score: 4.5
Czechia: Adonxs - "Kiss Kiss Goodbye"
Czechia (formerly known as the Czech Republic) have had something of a topsy-turvy past in Eurovision. Like Montenegro, they debuted in 2007, however, after three very poor results, withdrew until 2015. Since then, they have participated every year, and have qualified for the final on several occasions, although Aiko just missed out last year. This year, Czechia opted to move away from their national selection ESCZ in favour of choosing their entry internally, and this process gave us Slovak singer Adonxs with his song "Kiss Kiss Goodbye". Adonxs found fame locally through the Idol franchise, and as well as a singer is a dancer, model and LGBTQ activist. "Kiss Kiss Goodbye" is quite a restrained number, with a real smouldering atmosphere that builds from the very first moment. Adonxs' vocal register is very low, and effortlessly smooth in a way that is nice to listen to. This means that the song is a good vehicle for telling a story, with lyrics that are emotional without feeling melodramatic, and an air of desperation and frustration throughout. There's a tension from the start of the song which doesn't feel artificial, Adonxs' voice carries the song to its melancholy chorus, by which time the whole thing feels believable, which can't be said for all the songs this year. Before "Kiss Kiss Goodbye" was officially released, Adonxs performed an acoustic version at the Malta Eurovision Song Contest, showing off his ability to sing the song and also building momentum for this entry which has certainly served it well within the fan bubble. Personally, I enjoy this song but do think it feels slightly anonymous. I occasionally forget this song is in Eurovision this year - and it is a pleasant feeling when I'm reminded of its presence - but the fact that I need to be reminded in the first place is telling. In a strange way, I don't think it's forgettable - just anonymous, liable to fly under the radar with no particular 'wow' moment.
I think the film noir atmosphere isn't necessarily the sort of thing I'd listen to outside of Eurovision, and maybe that makes the song a bit less accessible for me, but I think this suffers from what I call 'supporting character syndrome' - I'm glad "Kiss Kiss Goodbye" is here, but would Eurovision 2025 feel drastically different without it? Not to me. It hasn't grabbed me in the same way that lots of other songs have, and I think it's a shame that such a talented artist is coming to Eurovision with this song. My other issue with this song is the dance break. Maybe Adonxs, being from a dance background, wanted to include a nod to this in his performance, but I don't think it works. It kills the momentum that the rest of the song works so hard to build, and feels like it comes from a different package altogether. The sudden change in the beat catches you off guard, and runs the risk of taking a first-time listener out of the moment. To be fair, the music video does give this a bit of added context, but the delegation will need to be very careful with how they stage this. I think it will be difficult for them to lead into this in a way that doesn't make the whole thing feel contrived and incongruous. This song's strong suit is its lyrics - it's exceptionally well-written, and I think that if the staging leans into this, with something a bit more simple and pared-back, focussing on the 'less is more' attitude that made the performance at MESC feel so authentic, Czechia could be on for a great finish in the final. To be clear, I don't think the random dance break ruins this. It feels out of place in the studio but of course we still don't know what it will look like in Basel, and I think the song is strong enough by itself to get it most of the way. Overall, this is definitely one of the best Czech Eurovision entries, and a clear step forward from last year.
My Score: 6
Austria: JJ - "Wasted Love"
Austria's Eurovision entries over the last few years have all been considered fan favourites at one point or another, only to be sunk by underwhelming live performances. "Halo", "Who The Hell Is Edgar?" and "We Will Rave" all followed this trajectory and had varying levels of success at the contest. This year, the Austrian internal selection process has given us JJ with his song "Wasted Love". This song fits nicely into the 'popera' category that is becoming ever more popular at Eurovision, with the skill required to sing in such varying vocal registers being appreciated more and more by juries - it's probably one of the reasons we're going to Basel this year. It's such a distinctive sound, and JJ, a countertenor with the ability to reach soprano heights, has a strong and distinctive voice to match. "Wasted Love" is an incredibly difficult song to sing, and creates an atmosphere so well, with the operatic chorus contrasted beautifully by slightly darker verses with hints of electronic and dance sounds, taking a gentle start and running with it until it becomes almost manic in the last forty seconds as the beat drops, taking us to a rave in the arena. The theme of the song is, as the title may suggest, unrequited love and the unhappiness of the end of a relationship; and JJ evokes some hauntingly beautiful imagery to match the bleaker, more gloomy parts of the song. Austria are currently one of the favourites to win the contest, with many fans expecting the song to do particularly well with the juries - and I can't say I disagree. If the juries vote in a similar way to last year, the sheer vocal talent on display here might be enough to get this up among the frontrunners - and it definitely shouldn't fall victim to the same curse of its aforementioned predecessors.
However, there are a couple of fairly significant issues with this package. For me, one of these is that I don't know how well the song fits together. By this I mean the 'rave' section at the end of the song. During these last moments, what is the intended audience reaction? Are we still supposed to be nodding on and admiring JJ's vocals, or dancing like the end of the world is near? I don't feel like we should have to be making that choice. Also, whilst we are in this quandary, what is JJ doing? On the studio track, the operatic vocals continue whilst we have 'wasted' repeated in the background - both originally performed by JJ, but clearly he can't sing both of them on stage. I'm not sure which of these he will perform in Basel - personally I find the operatic elements to be more interesting, and would prefer this to be what we hear live - but I think that either way, this is going to be relying heavily on pre-recorded backing vocals to communicate this song for maximum impact. This isn't a song that could have appeared in Eurovision five years ago, before we had this new innovation - and in one sense I think it's good that we do now have this musical diversity, but I do worry that this may be taking the rule slightly too far. As striking as this is, I also think this will live or die by its staging - and this is one I'm quite excited for, with the stage performance being directed by Sergio Jaén, the man responsible for Ireland's "Doomsday Blue" last year, and if he can pull something similar off for JJ, this will be challenging for the victory in Basel.
My Score: 8
Another five songs down - quite a varied collection, I think - and as rehearsals continue in Basel, I've not got long to get the last set of reviews up but that will be coming in the next few days, after which I will be sharing my final predictions for all three shows just in time for the big event!
So excited for this year's Eurovision! Will be interesting to see if the public go for a catchy crowd pleaser or more of a dramatic tale? But either way I'm sure we'll see some tactical Televoting from the countries neighbours 👀.
ReplyDeleteThanks for reading Freya! It's definitely an unpredictable year, and always interesting to see what the public gravitates towards. 'Neighbourly voting' is infamous at Eurovision, but does make sense when you consider that many of the Balkan countries (particularly those of the former Yugoslavia) have almost the same music industry - and of course a lot of mutual intelligibility when it comes to language. Diaspora also plays a role; Lithuania and Poland often get high televote scores from the UK for this reason. In the end though, I do believe the best song will win - and I look forward to finding out which that will be!
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