Eurovision 2025: Wrapped Up And Ready For Posting To Austria!
Author / Photographer: Cain Cooper | Instagram
In a dramatic crescendo of orchestral chords and pulsing light (reminiscent of the diva dance from The Fifth Element), Austria’s JJ (Johannes Pietsch) claimed the trophy at the 69th Eurovision Song Contest, with his pop‑opera anthem Wasted Love, scoring 436 points to beat a fierce field of 26 finalists.
The confetti has been swept away, production vans have been driven from the lot, and locals are returning to work. Eurovision’s large contingent of gay pilgrims has departed for their various corners of the globe, armed with this year’s branded merch. DNA spent the week on the ground in Basel, Switzerland, covering the two semi-finals and grand final, and here is what you may have missed.
GAYS FOR THE WIN!
JJ’s well-deserved victory marks a historic third consecutive win by an openly LGBTQIA+ artist following non-binary Swiss singer Nemo in 2024 and Sweden’s bisexual icon Loreen in 2023. The 24-year-old Austrian-Filipino countertenor proudly embraced his queer identity throughout the contest, and in his acceptance, urged the audience to “Forget hate… love is the strongest force.”
When DNA interviewed Czechia contestant ADONXS ahead of the competition and posed the question, what makes Eurovision a safe space for the queer community, he said, “I don’t think Eurovision needs another queer ambassador, but to be representing Czechia and Slovakia where I’m from, I can still be a voice for them.”
In Basel itself, trams were adorned with Eurovision rainbow branding, next to St. Jakobshalle in the free public viewing stadium, where the city’s residents (and visitors alike) shed their reserved Swiss veneer and celebrated love. We were all, in effect, “United By Music” – Eurovision’s enduring slogan, introduced in 2023.
Yet, beneath the sequins and sustainable glitter, echoes of global unrest, particularly protests surrounding Israel’s inclusion, and subsequent public voting campaign resulting in 2nd place, lent a poignant edge to the festivities, reminding spectators that unity and defiance often walk hand in hand.
WHO GOT THEIR TOP OFF?
If Eurovision 2025 proved anything, it’s that shirtless performances remain the ultimate crowd-magnet – a visual shorthand for effortless spectacle and unapologetic bravado.
Armenia’s PARG steamed up our treadmill motors while performing Survivor, narrowly qualifying for the final. Performing shirtless and with grime applied to his torso, amid roaring flames and chest-thumping choreography, he embodied rebellion and resilience in every beat. When DNA interviewed him, he said, “Some people said, you can’t do this. This isn’t for man, it’s not for boys. [But] everything that is happening here, it’s a really good thing for my life. We are all survivors, and survive every day.”
Australian wildcard Go‑Jo (Marty Zambotto) served cheeky innuendos and flamboyant showmanship, peeling off his shirt mid-performance and knee-sliding to the front of the stage during Milkshake Man. His camp tribute to summer beverages made waves online but ultimately failed to qualify for the final. Despite this, Go-Jo cemented his status as a queer icon, with his performance lauded for striking a balance between irony, inclusivity, and raw style. We wish him a long and successful career, both in Europe and at home in Australia.
WHO WERE THE HOT DANCERS?
The dancers play unsung heroes every year. They don’t just accompany a singer with each leap, stomp, and spin, they are integral to the narrative. We aim to amplify their presence here, both in performances and in cheeky, impromptu shoots around the streets of Basel.
Simi Simoes supported Luxembourg’s Laura Thorn in the retro-chic La Poupée Monte le Son, navigating a 1960s dollhouse-inspired staging that reinforced why background choreography is the backbone of Eurovision storytelling.
“This year, I had the chance to represent Luxembourg, where I’m from, for the second time, but in Switzerland, where I live. What people often say about the Eurovision community is that once you’re part of it, you’re part of a big family… I felt welcomed back, and I’m warmed knowing that I can be back year after year,” said Simi.
Diego Siqueira, a Brazilian-Croatian choreographer, crafted the staging and also danced alongside performer Princ in Mila, retelling the story of Orpheus and Eurydice in a physical lyricism that blurred the line between artist and interpreter.
“Being on that stage is a privilege. The first time [for Croatia in 2019], I portrayed an angel and tried to prove that I was worth it… this time I went in embracing who I am, and that changed the whole picture. This time I was a demon!”
Federico Milan, seen in non-competition segments of each broadcast show, backed opening acts and interval performances. Learning choreography for over eight routines (some with quick 45-sec costume changes) over the three shows, Milan tells us: “I felt part of a team, a family, united every day to create and deliver the best possible show. I was a stand-in dancer in Turin 2022, but living this experience as a house Eurovision dancer was so unique. I leave a fan, and will always dream of participating in some form from now on.”
These dancers and choreographers breathe life into Eurovision, where, regardless of a country’s wealth, talent and skill are presented on the same stage under the same parameters. Talent can be pooled from all parts of Europe, and used to amplify a performance – a kaleidoscopic living canvas, if you will.
OTHER HIGHLIGHTS
Finland’s Erika Vikman (Ich Komme), Malta’s Miriana Conte (Serving), Poland’s 52-year-old diva Justyna Steczkowska(Gaja) and Spain’s child star turned buxom diva, Melody (Esa Diva).
Eurovision 2025 was once again messy in the best way – vivid, politically charged, queer-affirming. And dare we say, ick komme by the end of it. Austria is expected to host again in 2026, with Vienna, Innsbruck, and Graz in the running, with whispers JJ might co-host alongside mentor and 2014 winner, Conchita Wurst.
For DNA to cover Eurovision for the 6th year now, we recognise Eurovision, at its core, is still a space where identity, daring and defiance take centre stage, and to our preference, with as little clothing as possible.
