Eurovision 2025 shattered records with millions of TV viewers, expansion to new platforms, and tremendous economic success for Basel. Here are all the key figures and insights.

Eurovision 2025, held this past May in Basel, Switzerland, was not only a thrilling spectacle for hundreds of millions of viewers – it also became a cultural, digital, and economic powerhouse. According to a recent impact report published by the research department of the EBU, this was one of the most significant editions in the competition’s history.

More than 166 million viewers experienced the event via television, over 83 million watched content on YouTube, and for the first time, the gaming platform Roblox participated in the Eurovision Song Contest, offering a groundbreaking virtual viewing experience.

Beyond Ratings: A Global Cultural and Social Phenomenon

The numbers are impressive, but the true strength of Eurovision lies in its unique blend of culture, technology, and a cross-border audience experience. The viewing rate among young people (ages 15–24) reached 60.4% – the highest figure since 2013. A quarter of viewers were under 35, highlighting the competition’s extraordinary ability to connect generations and attract new audiences.

The report also reveals that songs from the contest became global hits. Five songs entered the Billboard Global chart, and three made it to the Spotify Global Top 50 – including the winning song from Austria, “Wasted Love.” Additionally, out of 37 songs, 20 each received over 10 million streams. The synergy between music, audiences, and algorithms has turned Eurovision into a genuine springboard for artists.

Basel’s Economic Windfall and a New Benchmark

On the economic front, the data is equally striking. The city of Basel reported a 95% occupancy rate in hotels and 50,000 overnight stays – double the annual average. Around 700 volunteers participated in organization, and 500,000 people enjoyed Eurovision-related events. Estimated revenues for the local economy reached about 60 million Swiss francs (about €63 million).

The EuroMix team, which covered Eurovision 2025 from Basel, vividly recalls the surprise at the depth of the fusion between high culture and pop – art exhibitions, street installations, and live performances transformed the city into an open-air museum. The prevailing sentiment was that this was not just a televised event, but a truly urban and cultural phenomenon.

Roblox, Streaming, and for the First Time – Sign Language for Every Song

For the first time in Eurovision history, all 37 songs were translated into sign language by individuals who are deaf from birth, an initiative led by “SWISS TXT”, underscoring the commitment to full accessibility.

Technologically, a groundbreaking step was taken with the launch of “My Eurovision Party 2025” on the popular gaming platform “Roblox” – an interactive gaming and viewing experience that attracted over 800,000 users from 183 countries, including the USA and Canada.

In my view, this was one of the season’s most refreshing additions. In conversations I held with young members of the EuroMix community, there was palpable excitement about the ability to watch Eurovision as part of a digital game. This points to a clear trend: the competition is not just changing with the times – it is actively shaping them.

Music as a Bridge, Languages as a Beating Heart, and Identity Struggles

The exposure report shows that Eurovision 2025 was the most linguistically diverse ever: 24 out of 37 songs included a non-English language, and 17 were performed exclusively in a foreign language. Notably, the three most played songs were not in English. Thus, Eurovision returns to its roots – as a platform for promoting national cultural identity.

The fact that songs in Italian, German, Swedish, Spanish, and Finnish-German were among the most played once again demonstrates the power of a musical language that transcends English. EuroMix fan communities noted again this year that the use of a local language creates authenticity and moves audiences more than anything else.

Branding, Community, and Trust – Eurovision as a Model for a New Era

From my professional analysis as a journalist who has covered Eurovision for many years, it is clear that the competition positions itself as a multidisciplinary model for the intersection of public content, social trust, and advanced digital engagement. EBU studies show a positive correlation between a country’s level of social trust and Eurovision viewership – countries where Eurovision is highly popular also tend to have high levels of interpersonal trust.

The implications are far-reaching: Eurovision is not just a music competition, but a mechanism for social cohesion, linguistic diversity, and a reflection of the dynamic between culture and politics. It is no wonder that many countries invest significant resources in the contest, and at times, even diplomatic relations are influenced by it.

Eurovision 2025 – More Than a Competition, a Historic Phenomenon

From the data, the conversations within the EuroMix community, and my personal observations, it is clear that Eurovision 2025 will be remembered as one of the most important and diverse contests of the past generation. This Eurovision broke records, connected audiences, made culture accessible, and promoted messages of solidarity and identity. It not only responded to a changing world—it actively reshaped it.

Eurovision 2025: The 69th Eurovision Song Contest was held in the city of Basel, Switzerland, on May 13, 15, and 17. This was the third time Switzerland hosted the competition, the last being in 1989 in Lausanne. The host venue was St. Jakobshalle, with a capacity of 12,400. This was Basel’s first time hosting the contest.