Did the change in Eurovision semi-final voting hurt Serbia? Željko Joksimović responds to his country’s failure to reach the final and shares his views on the voting system.

At Eurovision 2025, held in Basel, Serbia failed to qualify for the final for the first time in eight years with the song “Mila” (in English: “My Darling”), performed by Princ and produced by Željko Joksimović, one of the most prominent names in the Balkan music scene. Serbia’s failure to reach the final sparked widespread public and media criticism, particularly regarding the elimination of jury voting in this stage. This is a significant event for Serbia, a country that has established itself as a strong performer in the Eurovision Song Contest.

Broader Implications: Rules, Politics, and Audience Experience

Serbia’s non-qualification exposed tension surrounding the Eurovision 2025 voting system, which saw jury voting removed from the semi-finals in favor of televoting only – a move intended to enhance fairness and musical authenticity, but one that ultimately generated considerable controversy.

Željko Joksimović argued in an interview that: “If there had been a jury, Serbia would have been in the final”, thus reigniting the debate over the balance between professional taste and the preferences of the wider public.

This year’s contest was also marked by political tensions, as an incident between the Albanian and Serbian delegations triggered a media storm and calls for Albania’s disqualification due to alleged nationalist gestures – an event that underscored the political sensitivities that often surround the European stage.

Behind the Scenes: Creativity, Trends, and Historical Comparisons

The song “Mila” was re-arranged under the guidance of Joksimović, regarded as one of the most respected producers in the history of the contest, and himself a two-time Eurovision performer. In 2004, he represented Serbia and Montenegro with “Lane Moje” (in English: “My Darling”), finishing second – a song that has become one of the most beloved in contest history. In 2012, he returned as a performer with “Nije Ljubav Stvar” (in English: “Love Is Not a Thing”), earning Serbia third place. Princ, who first gained recognition on “The Voice Bulgaria”, was chosen to represent Serbia after winning the national selection. Despite high expectations, he did not reach the Eurovision final. The song and performance received professional acclaim but failed to capture the broader public’s vote.

This year’s Eurovision was notable for its exceptional musical highlights: Austria won with “Wasted Love” by JJ, a pop-opera piece blending countertenor vocals with electronic music, which became a major talking point across Europe. Israel, which finished second in the final, enjoyed overwhelming public support but once again faced a gap with the jury’s ranking – a phenomenon seen for the second consecutive year, highlighting the complex dynamics between geopolitical blocs, cultural preferences, and professional judgment.

Personal Experiences and Professional Perspective

Over the years, as someone who has closely followed dozens of Eurovision contests, it is clear that every change in the voting system creates a domino effect on the results. In conversations I held with Eurovision fans in the EuroMix community, some expressed disappointment over the absence of juries in the semi-finals, while others felt that televoting best reflects the spirit of the times. I have often felt that the combination of professionalism and authenticity produces the contest’s most memorable moments – yet this year, the tension between the two seemed to reach a new peak.

Musical Analysis and Historical Parallels

Serbia’s failure to reach the final this year recalls similar cases in the past – for example, in 2009, when it also missed the final for the first time. However, history shows that countries with a rich musical tradition, like Serbia, tend to return quickly to the spotlight. As seen in Serbia’s victory in 2007 with “Molitva” (in English: “Prayer”), or Joksimović’s own successes in 2004 and 2012, sometimes a single performance is enough to bring a country back to the top.

Future Trends and Impact on the Contest

The controversy over Serbia’s non-qualification, alongside the growing public debate about the voting system, is expected to increase pressure on the European Broadcasting Union to consider further reforms. It is possible that in the coming years, we will see the return of jury voting in the semi-finals, or the development of hybrid models that better balance public taste and professional expertise. These trends, together with the growing influence of fan communities and increased youth engagement, ensure that the Eurovision Song Contest will continue to evolve and surprise in the years ahead.

Željko Joksimović: Eurovision Icon and Balkan Musical Pioneer

Željko Joksimović is one of the most prominent and influential figures in the history of the Eurovision Song Contest – a creator and performer whose status transcends borders and communities. Born in Belgrade on April 20th, 1972, Joksimović is considered a multidisciplinary artist – composer, singer, producer, conductor, and multi-instrumentalist, mastering 14 different instruments. As a child, he won the “Best Accordionist in Europe” award at a festival in Paris and has since established himself as one of the leading creators in the Balkans.

His Eurovision achievements are particularly impressive: in 2004, he represented Serbia and Montenegro with “Lane Moje” (in English: “My Darling”), finishing second – a song that became one of the contest’s most beloved. In 2006, he composed “Lejla” (in English: “Lejla”) for Bosnia and Herzegovina (third place), in 2008 he wrote “Oro” (a traditional Serbian dance) for Serbia (sixth place), and in 2012 returned as a performer with “Nije Ljubav Stvar” (in English: “Love Is Not a Thing”), bringing Serbia third place. He also composed “Adio” (in English: “Goodbye”) for Montenegro in2015, and additional songs for national Eurovision selections.

Joksimović is known for his ability to blend sweeping ethnic ballads, innovative arrangements, and deep influences from Balkan folklore, all while maintaining exceptional musical quality. He has won prestigious awards, hosted Eurovision 2008 in Belgrade, and has become a respected and beloved figure among Eurovision fans across Europe. His work is considered a milestone in the Eurovision genre, and his influence is still evident today in songs and artists from across the continent.

Serbia at Eurovision 2025

“Mila” (in English: “Mila”) is the song performed by Princ, who represented Serbia at Eurovision 2025 in Basel, Switzerland. The song placed 14th in the second semi-final with 28 points.

Serbia failed to qualify for the final – for the first time since 2017. Out of 17 years of participation, Serbia has failed to reach the final only a handful of times – just four times in total.

Eurovision 2025: This was Serbia’s 17th participation in Eurovision. Serbia joined the contest in 2007 and achieved its best result in the same year when singer Marija Šerifović won first place with the song “Molitva”.