by Ilay Gaist Comment Closed




Exclusive to Euromix: A deep analysis of Eurovision 2025 data unveils recurring patterns, gender imbalance, and placements that spark questions. Is the production shaping the narrative before the competition begins?

As Eurovision 2025 approaches, participating countries have unveiled their songs, revealing this year’s prominent musical trends. From quiet ballads to crowd-pleasing anthems, and from solo artists to cohesive bands, an analysis of the semi-finalists and automatic qualifiers for the final paints a rich, multi-layered, and sometimes surprising picture of the competition’s direction.

To understand the main trends of the year, we went through each song, country by country, and examined the type of song, the identity of the performer, the language of the lyrics, the nature of the ensemble, and other fascinating parameters that provide a deep insight into the spirit of Eurovision 2025. The fascinating data continues in this article!




Crowd-Pleasing Songs vs. Ballads: Who Will Take the Spotlight?

Among the 37 songs competing in Eurovision 2025:

  • 14 songs are crowd-pleasers, making up 37.84% of the competition (Iceland, Poland, Estonia, Sweden, Norway, San Marino, Croatia, Cyprus, Australia, Ireland, Malta, Denmark, Finland, Spain).
  • 14 songs are ballads, also comprising 37.84% (Slovenia, Ukraine, Portugal, Netherlands, Greece, Montenegro, Austria, Lithuania, Georgia, Israel, Serbia, France, Switzerland, Italy).
  • 9 songs fall outside these definitions – neither ballads nor crowd-pleasers – accounting for 24.32% (Belgium, Azerbaijan, Albania, Latvia, Armenia, Czechia, Luxembourg, Germany, United Kingdom).

This trend is unlike anything seen before: while ballads maintain a strong presence, crowd-pleasing songs set the overall energy of the competition. Interestingly, both categories hold equal representation at 37.84%. Notably, many crowd-pleasers are strategically placed towards the end of the semi-finals—a psychological and televisual tactic designed to leave a lasting impression.

Songs that do not fit into either category represent 24.32% of the lineup. This reflects some countries’ desire to break away from traditional dichotomies and experiment with unique musical styles. These entries often aim to establish distinct artistic identities.

These statistics may symbolize a balance between energizing audiences and evoking emotions. It is worth noting that ballads typically aim to win over televoters and jury members alike, whereas crowd-pleasers tend to dominate among live viewers during the event.




More Soloists, Fewer Groups: A Growing Trend

  • 14 songs are performed by male soloists – 37.84% (Slovenia, Estonia, Norway, Belgium, San Marino, Netherlands, Croatia, Cyprus, Australia, Armenia, Austria, Czechia, Serbia, and Italy).
  • 13 songs are performed by female soloists – 35.13% (Poland, Montenegro, Ireland, Greece, Malta, Georgia, Denmark, Luxembourg, Israel, Finland, Spain, France, and Switzerland).
  • 7 songs are performed by bands – 18.92% (Ukraine, Sweden, Portugal, Azerbaijan, Latvia, Lithuania, and the United Kingdom).
  • 3 songs are performed by duos – 8.11% (Iceland, Albania, and Germany).

Together, soloists (male and female) make up approximately 72.97% of all participants. This significant figure aligns with a trend that has persisted for several years – favoring a person-centered stage where the production can build a central character, a story, and an emotional journey that audiences can connect with. It seems that productions featuring a single soloist are logistically simpler and more impactful during live broadcasts.




The Song’s Language: English Remains Popular, but Native Languages Return to the Stage

  • 14 songs are entirely or primarily in English – 37.84% (Slovenia, Norway, Belgium, Croatia, Cyprus, Australia, Armenia, Austria, Czechia, Ireland, Malta, Denmark, Azerbaijan, and the United Kingdom – relatively more male soloists).
  • 17 songs are are entirely or primarily in a native language – 45.94% (San Marino, Serbia, Italy, Montenegro, Greece, Luxembourg, Finland, Spain, France, Switzerland, Iceland, Albania, Germany, Sweden, Portugal, Latvia, and Lithuania – relatively more female soloists and all three duos).
  • 4 songs combine a native language with English or French – 10.81% (Poland – English and Polish; Georgia – English and Georgian; Israel – English, French and Hebrew; Ukraine – English and Ukrainian).
  • 2 songs feature a combination of languages that do not include a native language – 5.41% (Estonia – English and Italian; Netherlands – English and French).

In total, 54.06% of the songs incorporate some level of English. This reflects a persistent desire to remain internationally relevant and communicate with a broad audience. However, over half of the songs also include only a native language or a combination involving it – demonstrating a strong effort to preserve national identity. In some countries like France, San Marino, and Lithuania, the local language is an integral part of the style, culture, and message.

Songs in English make up 37.84% of the entries; songs in a native language account for 45.94%, while the remaining 16.22% combine languages (with or without a native language). This means that more than half of the songs include some English – indicating a desire to reach a wide audience while balancing between global messaging and cultural roots.




Order of Appearance: A Strategically Planned Production

The order of appearance is not random. The lineup reflects an effort to keep viewers engaged throughout the broadcast while maintaining variety. A closer look at the order reveals fascinating insights:

  • 100% of the songs closing both semi-finals are crowd-pleasers, indicating a clear intent to leave a strong final impression.

  • Over 60% of ballads are placed in the middle of the performances, suggesting a strategy to create “calm amidst the noise,” thereby building a dramatic arc in real-time.

In practice, the placement of each song reflects marketing and televisual considerations:

  • The first semi-final opens with Iceland (a crowd-pleaser) and closes with Cyprus (a crowd-pleaser).

  • The second semi-final opens with Australia (a crowd-pleaser) and ends with Finland (a crowd-pleaser).

Performances in positions 15 or 16 in the semi-finals, for example, are considered particularly strategic. With Cyprus and Finland, both featuring crowd-pleasing songs, occupying these spots, it is evident that this placement aims to maximize memorability and viewership.

The middle slots of each semi-final feature ballads – for example, Portugal in the middle of the first semi-final and Greece in the middle of the second (both will perform 7th), likely to introduce a dramatic atmosphere and balance the overall energy.




New Breakdowns: What We Haven’t Seen Before

Division by Geographic Regions:

    • Among 14 Western European countries:

      • 8 countries (57.14%) sing exclusively in their native language (San Marino, Italy, Luxembourg, Spain, France, Switzerland, Germany, and Portugal).

      • 5 countries (35.71%) sing exclusively in English (Belgium, Austria, Ireland, Malta, and the United Kingdom).

      • Only the Netherlands (7.14%) combines English and French.

    • Among 15 Eastern European countries:

      • 6 countries (40%) sing exclusively in English (Slovenia, Croatia, Cyprus, Armenia, Czechia, and Azerbaijan).

      • 6 countries (40%) sing exclusively in their native language (Serbia, Montenegro, Greece, Albania, Latvia, and Lithuania).

      • 3 countries (20%) combine their native language with English (Poland, Georgia, and Ukraine).

    • Among 6 Northern European (Nordic-Baltic) countries:

      • 3 countries (50%) sing exclusively in their native language (Iceland, Sweden, and Finland).

      • 2 countries (33.33%) sing exclusively in English (Norway and Denmark).

      • Only Estonia (16.67%) combines a foreign language with English (English and Italian).

    • Outside Europe – 5.41%:

      • Australia – sings exclusively in English.

      • Israel – sings in its native language alongside English and French.

    • Representation of Rare Languages:

      • Italian appears three times (8.11% of the songs), with Estonia being a unique case for choosing to sing partly in Italian despite it not being a native language there.

      • French is featured in five songs, either as an addition or as the primary language, accounting for 13.51% (Luxembourg, France, Switzerland, Netherlands, and Israel).

    • Analysis of Song Placement by Type:

      • The first and last songs in each semi-final are crowd-pleasers – 100% consistency. This pattern has been maintained from previous years.

      • In the first semi-final, 50% of ballads (2 out of 4) are placed between positions 5–12; in the second semi-final, this figure rises to 57.14% (4 out of 7). These placements likely aim to create dramatic moments in the middle of the performances.

    • Gender Diversity in Groups:

      • Out of seven bands competing this year, two are all-female bands – 28.57%. Latvia and the United Kingdom are the only countries sending female bands; the rest are male bands.

      • Male performers dominate with representation in 71.43% of the groups’ songs – a significant imbalance indicating gender disparity among acts.

    • Unique Composition and Song Type:

      • All duos (100%) perform songs in their native language.

      • Out of 14 crowd-pleasers, 13 songs (92.86%) are performed by soloists.

    • Breakdown of Bands by Style:

      • Sweden is the only band sending a crowd-pleaser – 14.28%.

      • Ukraine, Portugal, and Lithuania have sent ballads – 42.86%.

      • Azerbaijan, Latvia, and the United Kingdom have opted for experimental songs – 42.86% – ndicating an exploration of musical depth or group-oriented approaches.




Has the End of Eurovision 2025 Already Been Written?

Eurovision 2025 has yet to begin, but the data already tells the story behind the scenes. Behind the colorful and dazzling list of songs lies a clear picture of recurring trends that almost seem mathematical: more soloists, fewer women, quiet ballads placed precisely in the middle of the show, and crowd-pleasers almost always positioned at the end. English dominates, native languages are pushed aside, and duos and bands have nearly disappeared from the map.

It’s hard to ignore the thought that the composition, style, language, and placement are not the result of random choices – but rather part of a carefully planned system, perhaps pre-scheduled, perhaps directed from above. This might be a precise and fascinating televisual puzzle operated remotely – with the goal of shaping viewers’ moods, setting the evening’s pace, and maybe even determining the winner’s identity. When everything seems too planned – from the order of performances to the languages chosen by singers – it’s hard to avoid asking: Has the end of Eurovision 2025 already been written?

Special thanks to Guy Solo for assisting in building and writing this article!




Eurovision 2025: Dates and Time

The Eurovision Song Contest for 2025 will take place in May, as per tradition. Here are the exact dates:

For those wondering “What time will Eurovision 2025 air?” each event will begin at 21:00 CET.

Israel will compete in the second semi-final on Thursday, May 15th, hoping for a successful performance! If Israel makes it into the top ten songs of the semi-final, it will advance to the grand final broadcast on May 17th at 21:00 CET.



Eurovision 2025’s Venue

Eurovision 2025 will be held in Basel, Switzerland. This marks the third time Switzerland has hosted the competition, following previous events in 1956 in Lugano, and 1989 in Lausanne. The event will take place at St. Jakobshalle arena, which is expected to accommodate approximately 12,000 spectators per show. Choosing this venue ensures an impressive experience for both live audiences and viewers at home with excellent acoustics and advanced technical conditions.

Preparations for Eurovision 2025

Preparations for Eurovision 2025 are already underway. On January 28th, 2025, a draw determined which countries would perform in each semi-final, it’s a crucial event shaping the competition’s structure. Following this draw, ticket sales for Eurovision began on January 29th, allowing fans to secure their spots at the arena. Currently, each representative is rehearsing their performance in their respective countries ahead of May’s big stage show. In early May, all delegations will arrive in Basel to conduct organized rehearsals on the competition stage.




Side Events and Eurovision Parties

Leading up to Eurovision 2025, several side events and parties are planned across Europe. These events feature Eurovision contestants showcasing their songs ahead of the competition. For contestants, these gatherings offer an excellent opportunity to promote their songs, meet fans, and give interviews to various European media outlets.

These events include:

  • Eurovision in Concert – Amsterdam – April 5th

  • MancHagen – Manchester – April 11th–13th

  • PrePartyES – Madrid – April 17th–19th




The History of Eurovision

The Eurovision Song Contest began in 1956 as an attempt to unite Europe after World War II through music. Since then, it has evolved into one of the largest and most-watched musical events worldwide. Over the years, Eurovision has served as a stage for some of the world’s most successful artists like ABBA, Céline Dion, and Julio Iglesias.

Initially determined by jury votes alone, technological advancements have transformed voting methods over time. Today viewers can vote via apps and text messages while enjoying live broadcasts globally through digital platforms. Furthermore, technology enables more spectacular performances with advanced visual effects enriching viewers’ experience.




Impact of Eurovision

Eurovision has significantly influenced popular culture across Europe and beyond—many competing songs becoming international hits while fostering LGBTQ+ rights acceptance alongside broader cultural diversity appreciation.

Hosting Eurovision also presents substantial economic opportunities for host countries—attracting thousands of tourists creating temporary jobs alongside providing international exposure despite high hosting costs sparking public debates over feasibility periodically.

Eurovision 2025: This will be Switzerland’s 65th participation in the Eurovision Song Contest. Switzerland joined the competition in 1956, being one of the seven founding countries, and has won three times over the years. Its most recent victory was at the last Eurovision in 2025, with Nemo’s song “The Code.” This win follows Switzerland’s previous victory in 1988 with the song “Ne partez pas sans moi,” performed by international singer Céline Dion.