Eurovision 2025 RP

The Eurovision Song Contest 2025 marks the 69th edition of this iconic international music event, which has captivated audiences across the globe since its inception in 1956. Organized annually by the European Broadcasting Union (EBU), the contest brings together countries primarily from Europe—and beyond—to celebrate musical diversity, creativity, and unity. Each participating country submits an original song, performed live on stage, with viewers and juries from across the continent casting their votes to determine the winner. This year, Eurovision returns to Switzerland for the third time in its history, a special moment for the country after its memorable victory in 2024. Swiss artist Nemo won the previous edition in Malmö with the genre-blending and deeply personal song “The Code”, earning widespread acclaim and clinching Switzerland’s first win since 1988. As a result, the honor of hosting the 2025 contest was awarded to the vibrant and culturally rich city of Basel, where the spirit of music, unity, and celebration will once again take center stage.

KEY PHASES OF THE FESTIVAL

• Pre-Party: Events held these year in London where the artists perform their entries and engage with the other artits (creating friendships bewteen them), fans and media.​

• Arrival in Basel (Switzerland): Delegations of every country and artists arrive in the host city these year Basel, participating in cultural activities and rehearsals.​

• Rehearsals and Ceremonies: Includes technical and dress rehearsals, as well as the opening ceremony featuring the turquoise carpet event.​

--The semi-finals, grand final and performances are done in the St. Jakobshalle Arena

• First Semi-Final: Tuesday, 13 May 2025. -Second Semi-Final: Thursday, 15 May 2025.​
• Grand Final: Saturday, 17 May 2025, where the 25 remaining entries compete for the coveted trophy.​ The GF is separated in: --Flag parade: artists march in the stage with their countries flag --Songs: every artists of the 25 countries perform their song --Televote and the invitited artits: While the televotes are open the invitited artists perform while the artists tlk with eachother or stay in their delegations table --End of the televote and start of the national jurys points: all the nationals juries of every european contry give their points --Public votes, announcement of the winner and winning performance: the last votes are counted and after giving the winner the glass microphone (throphie) they perform the winning song
• Spain, France, Italy, Germany, the UK and the last winning contry (these year Switzerland) pass to the grand final inmeditaly (the Big 5)

Eurovision Song Contest 2025 (Basel, Switzerland)

The Eurovision Song Contest 2025 was the 69th edition of the annual competition and took place in Basel, Switzerland. This followed Switzerland’s victory at Eurovision 2024 in Malmö with the song “The Code” by Nemo. In August 2024, the EBU and Swiss broadcaster SRG SSR announced that Basel would host ESC 2025, with the St. Jakobshalle arena chosen as the main venue. A local referendum in Basel-Stadt canton had approved the necessary funding. This was Switzerland’s third time hosting Eurovision (after 1956 and 1986). The contest week ran from 10 to 17 May 2025. Nine live shows were staged at St. Jakobshalle – including a welcome Opening Ceremony, two semi-finals (Tuesday 13 May and Thursday 15 May at 21:00 CEST) and the Grand Final (Saturday 17 May 21:00 CEST). The period 10–17 May also saw fan events

Format and Participation

A record 37 countries participated (37 broadcasters submitted entries). Of these, 31 competed in the semi-finals (with the top 10 from each semi advancing to the final) and the remaining six (the “Big Five” – France, Germany, Italy, Spain, United Kingdom – plus host Switzerland) were prequalified to the Grand Final. Montenegro returned after its 2022 hiatus. The semi-finals were held on 13 and 15 May 2025, each featuring a live show of competing acts and interval performances. The Grand Final took place on 17 May, with 26 countries (20 qualifiers plus the Big Five and host) vying for the trophy.

The contest’s production was handled by SRG SSR. The executive producers were Reto Peritz and Moritz Stadler, with Yves Schifferle as Head of Show. Martin Österdahl served as the EBU Executive Supervisor (the continuation of his role from 2024). After the scandals of 2024, the EBU announced on 1 July 2024 a restructuring: it created a new Eurovision Director (Martin Green) and Commercial Director to oversee the contest moving forward. A comprehensive set of participant conduct rules and “duty of care” guidelines was also implemented. The overall budget was CHF 61 million, split mainly between the Canton of Basel-Stadt (CHF 35M), SRG SSR (CHF 20M) and the EBU (CHF 6M).

Theme, Logo and Stage

The official motto for Eurovision 2025 remained “United by Music”, but the Swiss hosts used the slogan “Welcome Home” to capture the spirit of holding the contest in a border city. The logo (unveiled Dec 2024) was called “Unity Shapes Love”, featuring multicolored pixelated Eurovision hearts coming together, symbolizing people of diverse backgrounds uniting through music.

The stage design was by German designer Florian Wieder, who previously worked on seven Eurovision contests. The stage was inspired by Switzerland’s Alpine landscape and multilingual culture: it featured an LED arch over the main stage, and a long central extension that reached into the standing audience area. The color scheme and visuals changed between shows (semi-finals vs final), but always incorporated Swiss motifs (such as mountain silhouettes). The sound and lighting design were state-of-the-art, with dynamic moving platforms and large LED screens behind and above the performers.

A mascot named Lumo was introduced on 26 February 2025 – an anthropomorphic red heart with orange curly hair, designed by Swiss artist Lynn Brunner. This was the first Eurovision mascot since 1992. Lumo appeared in graphics and on-site decorations, embodying the “Welcome Home” theme.

Presenters and Ceremonies

The live shows were hosted by a trio of well-known presenters. Swiss comedian Hazel Brugger, Italian-Swiss TV host Michelle Hunziker, and former Swiss Eurovision entrant Sandra Studer co-anchored all three live broadcasts (both semi-finals and the final). Studer and Brugger are Swiss nationals, Hunziker is a popular personality in Switzerland and Italy. Former Eurovision host Sven Epiney was responsible for introducing the performers in the green room and reading out the Swiss jury points. Online webcast segments were hosted by Mélanie Freymond and the Belgian-Swiss DJ duo Bastian & Marcel (presenters at the Arena Plus venue).

The official opening of the contest took place on 11 May 2025 at Messe Basel (the expo center), after a Turquoise Carpet event through the city. In that event, the delegations walked from Basel Town Hall across the Middle Bridge while being presented to press and fans; the carpet’s turquoise color matched Switzerland’s harbored motto. The Opening Ceremony at Messe Basel included welcome speeches by Swiss officials and the lighting of a ceremonial lantern.

Each semi-final and the final had an “anthem” theme:

Semi-final 1 – “Where It All Began”

Semi-final 2 – “The Eurovision Fans Party”

Grand Final – “Let’s Celebrate a New Winner”

These themes were reflected in on-screen graphics and short opening sequences that referenced Eurovision history and Swiss culture (e.g. footage of the Eurovision flags lining the Rhine in Basel).

Flag Policy

In 2025 the EBU revised the contest’s flag rules. Artists on stage or in the green room were only allowed to display the flag of their own country during official events. However, the audience was permitted to wave any flag allowed under Swiss law – including LGBT Pride and Palestinian flags, as long as they bore no extremist or illegal symbols. Swiss law also prohibited hate symbols (no Nazi imagery, etc.), and restricted flag size (max 1.0 × 0.7 m) and flagpoles (hollow plastic only) for safety. Violating these rules could lead to confiscation of flags or ejection from the venue. This relaxation for spectators was widely noted in the press.

Contest Events Supporting Events

Several Eurovision fan events were held in Basel:

Eurovision Village – An open-air fan zone in the halls 1–5 of Messe Basel, with large video screens showing the live broadcasts and a stage for free daytime concerts by local and national artists. It was open 10–17 May.

EuroClub & Café – The official afterparty venue (night-time events) also at Messe Basel (Hall 5). After each show, fans could attend themed parties featuring DJs and guest appearances by Eurovision alumni. This area was ticketed or credential-only.

Eurovision Square – A stage at Barfüsserplatz (Basel’s central square) hosting free live performances (Swiss pop acts, cultural shows) each afternoon.

Eurovision Street – Steinenvorstadt, a popular pedestrian street, was transformed into a “Eurovision Street” during contest week, with decorations, Eurovision-themed displays, and street performances in the evenings. It aimed at giving the nightlife district a Eurovision atmosphere.

On the Grand Final evening (17 May), St. Jakob-Park stadium (next to the arena) became Arena Plus: a public viewing party for ticket-holders who could not get arena seats. The 40,000-seat football stadium hosted big screens relaying the Final, plus live concerts by former Eurovision stars (e.g. folk singers, pop acts). Sustainability: All fan venues (Village, Square, Street) were within walking distance or public transport, and organizers encouraged use of trams/buses (public transit was free for event ticket-holders).

Transport and Accommodation

Basel is easily reached by air and rail. The city is served by EuroAirport Basel–Mulhouse–Freiburg (just 6 km away) with flights from all over Europe, and by Zürich Airport (75 km) with frequent train connections. Basel has three main train stations (Basel SBB, St. Johann, Kleinbasel) connecting to Swiss and international rail networks. During ESC week the local public transport network was expanded, with extra night trams and “ESC Nightlines” running through the city. Ticket-holders for St. Jakobshalle, Arena Plus and EuroClub enjoyed free public transit on Basel trams and buses during the event. Basel’s tram lines (10, 11, etc.) ran more frequently and later at night.

Many fans booked hotels in Basel-Stadt and the surrounding Basel-Landschaft canton. Each official hotel package included a 30-day Basel transport pass (ESCXTRA report), making it convenient to explore. As Eurovision drew a large international crowd, local businesses extended hours: shops opened on the Sunday of the Eurovision weekend, and restaurants/theaters often stayed open late. Tours of Basel’s 40+ museums and architecture were also promoted via a free “Basel – Welcome Home” smartphone app.

Stages and Facilities

St. Jakobshalle – A modern indoor arena (capacity ~12,000). All live shows took place here. Behind the stage were dressing rooms, makeup areas and the Artists’ Green Room. (The Green Room was modestly decorated, with screens broadcasting the show; finalists gathered there after performing, and presenters interviewed them before vote-reads.)

Press Centre – Located in the St. Jakob Arena (an adjacent ice hockey stadium, 6,600 seats) which was converted into the media hub. Accredited press, press conference rooms and mixed zone were set up here. Most heads of delegation, journalists and fan media operated from this centre. Interview studios and commentary booths were located in the Press Centre.

Turquoise Carpet – A special entrance carpet (replacing the usual red carpet) laid out in Basel’s city centre on 11 May. Contestants and delegations were presented there to media and local fans before entering the Opening Ceremony. The carpet walked through the historic Old Town and finished at Messe Basel.

Audience and Fans – Each semi-final and final at St. Jakobshalle was a sold-out event. Fans dressed in costumes and waving flags filled the arena (attendance ~11,500 per show). Fan clubs from many countries held meetups in the fan zones. The Eurovision Village and Arena Plus sold out quickly as well. The overall contest achieved a massive TV audience; the EBU reported 166 million viewers watched the Grand Final globally, a combined 47.7% audience share (the highest since 2004). The fan engagement on social media was also extremely high.

Contest Summary Semi-Final 1 (13 May 2025)

Fifteen countries performed in Semi 1 (plus guest juries/automatic finalists voting). The qualifiers, in order of points, were: Ukraine, Albania, Netherlands, Sweden, Estonia, Iceland, Poland, Norway, Portugal, and San Marino. Non-qualifiers were Cyprus, Croatia, Slovenia, Belgium, and Azerbaijan. During the show, Spain, Italy and Switzerland (though not competing) each performed their entries as intervals. The Opening Act featured Swiss folkloric performances: yodelers and alphorn players performing past Eurovision songs in Swiss style (“Tattoo”, “Arcade”, “Waterloo”, “The Code”). Another interval act was “Made in Switzerland”, a comedic musical number by Petra Mede (Swedish Eurovision host) satirizing Swiss inventions, performed with hosts Brugger and Studer. Four past Eurovision artists from 2024 then sang “Ne partez pas sans moi” (Switzerland’s 1988 winning song) as a tribute – introduced by Céline Dion on video. Finally, Denmark’s 2000 winner Jørgen Olsen performed “Fly on the Wings of Love” (with new lyrics referencing the slogan “United by Music”) as an interval after the qualifiers were announced.

Semi-Final 2 (15 May 2025)

Sixteen countries competed in Semi 2 (voting was by televote only among the semi participants). The ten qualifiers advanced to the Final (these included, for example, Greece, Italy, etc.). The exact list is available in official records. The show featured interval performances by Swiss artists celebrating Eurovision’s return to Switzerland, as well as guest acts (e.g. a medley by local pop bands). Notably, Italy’s RAI broadcast featured a pre-recorded message by international Eurovision stars. (This semi was opened by the Swiss-Mongolian band The Hu performing their hit song.)

Grand Final (17 May 2025)

The Grand Final featured 26 songs: the 20 semi-final qualifiers and the Big Five plus host. The running order placed Switzerland at #19 (by draw). Early in the show, Hazel Brugger delivered a keynote noting “Eurovision is back where it began in 1956, in Switzerland”. All 26 countries performed, followed by interval acts. During the voting segment, each country’s jury awarded points 1–8,10,12, and then televotes were announced.

In the end, Austria’s entry won the contest. The artist Johannes Pietsch (stage name JJ), a 24-year-old Austrian countertenor, performed the operatic pop ballad “Wasted Love”. He received 436 points, giving Austria its third Eurovision victory (first since 2014). JJ had co-written the song and was known for blending pop with classical vocals.

The runner-up was Israel’s entry: Yuval Raphael, a 25-year-old Israeli singer (winner of HaKokhav HaBa), performing the pop ballad “New Day Will Rise”. She earned 357 points, having won the public televote. Ukraine’s Ziferblat won the televote segment, but finished fourth overall. Third place was Estonia’s entry: Tommy Cash (Tomas Tammemets), an Estonian rapper/visual artist with the hip-hop-influenced “Espresso Macchiato” (356 points). Italy placed fifth with Lucio Corsi’s “Volevo essere un duro” (256 points). The Swiss host entry (Zoë Më, “Voyage”) finished 10th.

Detailed voting charts are published by the EBU. In parallel, various Eurovision fan and press awards were given (Marcel Bezençon Awards, OGAE poll results, etc.).

Participating Countries and Entries

Eurovision Song Contest 2025 – Basel, Switzerland Total participating countries: 37

Albania Broadcaster: RTSH Artist: Shkodra Elektronike Members: Kolë Laca, Beatriçe Gjergji Song: “Zjerm” Act type: Electronic / alternative duo RP character vibe: Artistic, mysterious, politically aware, avant-garde. Often quiet backstage, but very intense during rehearsals.

Armenia Broadcaster: AMPTV Artist: Parg Full name: Pargev Vardanian Song: “Survivor” Act type: Solo male pop RP vibe: Determined, emotional, survivor-energy. Focused, often training vocals alone.

Australia Broadcaster: SBS Artist: Go-Jo Full name: Marty Zambotto Song: “Milkshake Man” Act type: Solo male pop / funk RP vibe: Chaotic fun, flirtatious, always joking with fans and press.

Austria 🇦🇹 WINNER Broadcaster: ORF Artist: JJ Full name: Johannes Pietsch Song: “Wasted Love” Act type: Solo male, pop-opera RP vibe: Soft-spoken, introverted genius, emotionally intense. Calm offstage, devastating onstage.

Azerbaijan Broadcaster: İTV Artist: Mamagama Song: “Run With U” Act type: Alternative pop band RP vibe: Experimental, stylish, tight-knit group energy.

Belgium Broadcaster: VRT Artist: Red Sebastian Full name: Seppe Herreman Song: “Strobe Lights” Act type: Solo male electronic pop RP vibe: Club kid, fashion-forward, dramatic, loves attention.

Croatia Broadcaster: HRT Artist: Marko Bošnjak Song: “Poison Cake” Act type: Solo male dark pop RP vibe: Theatrical, brooding, intense eye contact, very online.

Cyprus Broadcaster: CyBC Artist: Theo Evan Song: “Shh” Act type: Solo male pop RP vibe: Mysterious heartthrob, media-trained, charming but guarded.

Czechia Broadcaster: ČT Artist: ADONXS Full name: Adam Pavlovčin Song: “Kiss Kiss Goodbye” Act type: Solo male pop RP vibe: Confident, queer-coded elegance, very professional.

Denmark Broadcaster: DR Artist: Sissal Full name: Sissal Jóhanna Norðberg Niclasen Song: “Hallucination” Act type: Solo female pop RP vibe: Dreamy, emotional, slightly anxious before performances.

Estonia Broadcaster: ERR Artist: Tommy Cash Full name: Tomas Tammemets Song: “Espresso Macchiato” Act type: Solo male experimental rap RP vibe: Chaos incarnate, meme lord, unpredictable, controversial icon.

Finland Broadcaster: Yle Artist: Erika Vikman Song: “Ich komme” Act type: Solo female electro-pop RP vibe: Dominant diva energy, fearless, sexually liberated, iconic.

France Broadcaster: France Télévisions Artist: Louane Full name: Anne Peichert Song: “Maman” Act type: Solo female ballad RP vibe: Emotional, sincere, loved by press, gentle star aura.

Georgia Broadcaster: GPB Artist: Mariam Shengelia Song: “Freedom” Act type: Solo female pop RP vibe: Patriotic, serious, passionate about representation.

Germany Broadcaster: ARD / NDR Artist: Abor & Tynna Members: Attila Bornemisza, Tünde Bornemisza Song: “Baller” Act type: Duo pop RP vibe: Sibling energy, playful arguments, very close.

Greece Broadcaster: ERT Artist: Klavdia Song: “Asteromata” Act type: Solo female ethnic pop RP vibe: Artistic rebel, culturally proud, experimental queen.

Iceland Broadcaster: RÚV Artist: Væb Song: “Róa” Act type: Duo electronic RP vibe: Minimalist, introverted, Nordic calm.

Ireland Broadcaster: RTÉ Artist: Emmy Song: “Laika Party” Act type: Solo female pop RP vibe: Cute, quirky, bubbly, social media darling.

Israel Broadcaster: Kan Artist: Yuval Raphael Song: “New Day Will Rise” Act type: Solo female ballad RP vibe: Under pressure, emotionally resilient, surrounded by security.

Italy Broadcaster: RAI Artist: Lucio Corsi Song: “Volevo essere un duro” Act type: Solo male glam rock RP vibe: Retro rock poet, eccentric, lovable outsider.

Latvia Broadcaster: LTV Artist: Tautumeitas Members: 6 female vocalists Song: “Bur man laimi” Act type: Folk vocal group RP vibe: Sisterhood, mystical, calm strength.

Lithuania Broadcaster: LRT Artist: Katarsis Song: “Tavo akys” Act type: Alternative band RP vibe: Emo poets, introspective, quiet but intense.

Luxembourg Broadcaster: RTL Artist: Laura Thorn Song: “La poupée monte le son” Act type: Solo female pop RP vibe: Eurovision history nerd, joyful comeback energy.

Malta Broadcaster: PBS Artist: Miriana Conte Song: “Serving” Act type: Solo female pop RP vibe: Confident, bold, TikTok-core queen.

Moldova Broadcaster: TRM Artist: Natalia Barbu Song: “In the Middle” Act type: Solo female pop-rock RP vibe: Veteran, mentor figure, calm professionalism.

Montenegro Broadcaster: RTCG Artist: Nina Žižić Song: “Dobrodošli” Act type: Solo female ballad RP vibe: Emotional comeback story, serious, respected.

Netherlands Broadcaster: AVROTROS Artist: Claude Song: “C’est la vie” Act type: Solo male pop RP vibe: Warm, charismatic, multilingual charmer.

Norway Broadcaster: NRK Artist: Kyle Alessandro Song: “Lighter” Act type: Solo male pop RP vibe: Young star energy, optimistic, slightly overwhelmed.

Poland Broadcaster: TVP Artist: Justyna Steczkowska Song: “Gaja” Act type: Solo female ethno-pop RP vibe: Diva legend, commanding presence, mystical.

Portugal Broadcaster: RTP Artist: Napa Song: “Deslocado” Act type: Indie band RP vibe: Laid-back artists, introverted, emotional depth.

San Marino Broadcaster: SMRTV Artist: Gabry Ponte Song: “Tutta l’Italia” Act type: DJ / producer RP vibe: Party king, industry veteran, nonstop energy.

Serbia Broadcaster: RTS Artist: Princ Full name: Aleksa Jelić Song: “Mila” Act type: Solo male pop RP vibe: Romantic, dramatic, classic Eurovision male lead.

Slovenia Broadcaster: RTVSLO Artist: Klemen Slakonja Song: “How Much Time Do We Have Left?” Act type: Solo male ballad RP vibe: Emotional storyteller, reflective, media-savvy.

Spain Broadcaster: RTVE Artist: Melody Song: “Esa diva” Act type: Solo female pop RP vibe: Confident, fiery, veteran performer.

Sweden Broadcaster: SVT Artist: KAJ Members: Kevin, Axel and Jakob Song: “Bara bada bastu” Act type: Band / comedy pop RP vibe: Chaotic fun, sauna memes, fan favorites.

Switzerland (Host) Broadcaster: SRG SSR Artist: Zoë Më Full name: Zoë Anina Kressler Song: “Voyage” Act type: Solo female pop RP vibe: Graceful host energy, calm, proud.

Ukraine Broadcaster: Suspilne Artist: Ziferblat Members: Fedir & Valentyn Leshchynskyi Song: “Bird of Pray” Act type: Alternative band RP vibe: Symbolic, serious, deeply artistic.

Results and Reception

In the Grand Final, Austria’s JJ won with 436 points. Israel’s Yuval Raphael was second (357 points), winning the televote, and Estonia’s Tommy Cash was third (356 points). The result charts showed broad support across Europe, with several juries and publics giving Austria top marks. Notably, Israel’s entry received a large public vote, which led to some broadcasters (RTVE, VRT, RTÉ, etc.) calling for a review of the voting system after the contest.

During the contest, a major controversy involved Israel’s participation due to the Gaza War. Before the event, some national broadcasters had lobbied for discussion or exclusion of Israel. The Spanish broadcaster RTVE, for example, aired a pre-contest message about Palestine, prompting EBU warnings. On the Turquoise Carpet in Basel, there were pro-Palestine demonstrations behind the Israeli artist. In the Final, booing erupted when Israel’s performance concluded; the Swiss TV broadcast substituted prerecorded applause over the live boos. After the contest, it was revealed that the Israeli government had run an extensive campaign to boost votes for their entry. In response to these issues, several broadcasters demanded an independent audit of televoting results. The EBU defended the result on rule grounds, noting that any member country can participate.

Aside from this, other incidents (such as a wardrobe malfunction by Belgium’s Red Sebastian, or a minor outcry over a political gesture by a singer) were covered by fans but did not dominate the official narrative. The contest’s flag policy (allowing diverse flags in the crowd) was a point of discussion but was implemented smoothly. Overall, ESC 2025 was seen as a successful event with record viewership: the EBU reported a total audience of 166 million for the final (up 3 million from 2024) – the highest share since 2004. Youth viewership was particularly high (60.4% share among ages 15–24), reflecting strong engagement.

Venues and Fan Experience

St. Jakobshalle (Basel) was the contest’s central venue. It normally hosts sports and concerts; for Eurovision week, it was transformed into a broadcast arena with approximately 12,400 standing seats. (The working capacity was slightly reduced by staging installations.) Alongside the main stage, the arena housed the performers’ backstages, dressing rooms and the Green Room (a lounge area where finalists gather after performances). During broadcasts, the camera often showed cameras positioned around the arena, capturing the audience’s reactions.

St. Jakob-Park – FC Basel’s 40,000-seat stadium, used as Arena Plus on Final night. Fans without arena tickets could watch the Final on giant screens here. The stadium was also shown on TV during the broadcast (a tradition since Stockholm 2016). It hosted live music (bands, DJs, Eurovision alumni) on an external stage, creating a festival atmosphere. Fans could enter Arena Plus with final-night tickets.

Eurovision Village – Held in Messe Basel and Congress Center halls, the Village was a free-zone hub for fans. It had multiple stages for daytime concerts by local and international acts, public screenings of rehearsals and shows, sponsor activations, food stands, and spaces for meet-and-greets. The official EuroClub was in Hall 5 of Messe at night.

Eurovision Square and Street – In the city center, Barfüsserplatz (Square) featured an outdoor stage with free daily performances (5–6 acts per day) by Swiss pop, folk and youth artists. Steinenvorstadt (Kleinbasel) became the “Eurovision Street”: its bars and clubs hosted Eurovision-themed parties each night, and the street was decorated with flags and art.

Accommodation and Transport – Basel and its region offered around 7,000 hotel rooms. The city’s tourist board created special Eurovision travel packages. A public transport “Basel Area” travel pass (covering Basel-Stadt and Basel-Landschaft zones) was given free with many hotel stays; otherwise, ESC ticket-holders had free local travel on trams/buses. Special shuttle trains ran late at night between Basel St. Jakob (S-Bahn station) and Basel SBB (main station) and onward to nearby Swiss and cross-border destinations. The local BaselCard was not required due to these provisions.

Fans and Audience – Over 12,000 people attended each show at St. Jakobshalle, many traveling from across Europe. Fan clubs from all participating countries organized group trips. The Eurovision Village drew tens of thousands of visitors (free access), often peaking during rehearsals. Basel’s rich cultural offerings (museums, Rhine cruises, old town tours) were promoted to fans; extended shop hours and public events (fireworks over the Rhine on final night) were planned to enhance the visitor experience.

Broadcast and Coverage

All 37 participating broadcasters transmitted the contest live (e.g. BBC One in the UK, ARD in Germany, Rai1 in Italy, etc.). Most provided local commentary feeds. For example, Dutch AVROTROS commentators openly debated the flag rules change, and some broadcasters (Spain’s RTVE, Belgium’s RTBF/VRT, Ireland’s RTÉ) gave post-contest statements on voting concerns. The EBU produced an official compilation album “Eurovision Song Contest: Basel 2025” (released April 2025), featuring every entry, which charted in several countries. The contest was also streamed live on Eurovision.tv (with English and local subtitles) and on broadcasters’ apps.