Eurovision has long since turned into a stage where the voice gave way to political slogans and the talent to outrage. Once it was a celebration of music, and now the main issue is compliance with trends that should impress the public. This Saturday, in the live broadcast of the national final of the song contest, the performers who will represent Ukraine at Eurovision – 2025 were determined. According to the audience votes and jury scores, at the 69th song contest will perform a band from the Kyiv region called Ziferblat with the song Bird of Pray, that is, Prayer Song, which is an allusion to the cult song of the 70s Bird of Prey (from the English bird of prey – ed.). However, the sound, delivery and the very concept of the musical composition are so detached from the national musical tradition that it is impossible to feel the origin of the band. It is clear that we are not talking about the roots, nor about the authenticity, nor even about the modern musical reinterpretation of Ukraine. Another experimental electronics without a clear cultural identity appears before us.
Eurovision 2025: between music, politics and the circus of the absurd
Eurovision has long ceased to be just a music competition. What was once a competition of vocals, talent and national identity is now more like an ideological show aimed at the masses. Every year, less and less attention is paid to songs and performance skills, and more and more attention is paid to political messages, social manifestos and the participants’ compliance with the latest standards of “progressiveness”. The costumes are becoming brighter, the numbers are more outrageous, the scandals are louder, but the actual music is increasingly receding into the background. Points are awarded not for the strength of the voice or the depth of the composition, but for compliance with the trends dictated by the organizers and major media. As a result, the Eurovision stage turns into a battleground not between voices and songs, but between ideologies and social narratives. Instead of developing music and giving space for cultural diversity, the competition is gradually losing its essence.
Eurovision was born in 1956 as an attempt to unite Europe divided after the Second World War. It is not for nothing that they say that music is the language of the soul, which speaks without words, but is understandable to everyone. Thanks to this contest, the countries that yesterday stood on different sides of the barricades, had to gather together on one stage to sing, not argue. This song contest was entrusted with the mission of creating a symbol of a new Europe — open, united, able to find a common language through music.
The first competition was held in the Swiss city of Lugano, with the participation of only seven countries. In those days, everything was as simple as possible: no fancy costumes, light shows or political statements. Only songs, voices and the hope that music can become that universal language that does not need translations.
The world was changing, and Eurovision was changing with it. At first, these changes seemed organic. More and more new styles appeared, more participants. The show became more and more loud and bright, reminiscent of colorful Brazilian carnivals. But still, this holiday remained a competition, where talent and uniqueness of sound played the main role.
But later everything changed. In the 21st century, Eurovision became not just a platform for music, but a stage for something much bigger, but not art. Scandals, provocations, political demarches have become commonplace. The songs began to drown in the noise of discussions – who showed too bold an image, who made a hidden political statement, who protested the results. Sometimes it seems that music is just a background for a big European show about modern trends.
Eurovision is still watched by millions of people, but today it is difficult to perceive it as a song contest. It turned into a competition of symbols, identities, emotional reactions. The music that should have been the center of attention is now just one of the many components of a great show. In turn, society was divided into two camps. For the first camp, Eurovision has become a progressive platform where gender diversity is demonstrated and political views are openly expressed. In recent years, artists have increasingly used their numbers to emphasize individuality, support the LGBTQ+ community, and showcase different gender identities. Adherents of this opinion believe that it allows not only to draw attention to musical talent, but also to create a platform for social and cultural discussions that reflect modern societal transformations. In their opinion, this approach promotes inclusiveness and stimulates dialogue between generations, opening up new perspectives in art and self-expression.
Opponents of this trend, on the other hand, emphasize that Eurovision is moving away from its primary goal – putting on stage real musical talent and demonstrating the cultural identity of each country. By replacing the competition for vocal quality, composition and originality of performances with political messages and theatricality, the competition loses its authenticity. Such a transformation can diminish the value of the musical experience, because instead of sincerity and cultural diversity, shows and provocative performances come to the fore. According to this point of view, Eurovision, which was once a symbol of musical unity and creativity, is now turning into a platform for the manifestation of modern ideological trends, which calls into question its original purpose.
It should be noted that the Eurovision Song Contest in the past has shown the importance of music, pointing out that it is more than just a melody or a beat. Until the late 1990s, the contest had a clear language policy that required contestants to perform songs in their native language. Thanks to this, each performance was imbued with the authentic spirit of the nation. The songs reflected the history, traditions and unique character of each nation.
During this period, winners such as the legendary Johnny Logan and other artists who represented their countries with pride demonstrated not only vocal ability, but also the ability to tell stories through music. Performing works in the native language made it possible to create an emotional connection with the audience, because each sound was much closer to the roots of the culture. This approach contributed to the fact that Eurovision became a real platform for the meeting of different peoples, where everyone could share their unique heritage.
Modern transformations of the competition demonstrate a change in emphasis. More and more often, instead of musical skill, performances are focused on the influence of modern trends. The audience receives a show where the emphasis shifts from authentic cultural identity to the search for spectacular images and concepts that correspond to global trends. At the same time, the importance of the native language and the depth of the national heritage becomes completely unimportant, because the main thing is the scandal. For example, it is worth mentioning the Austrian “singer” Conchita Wurst, whose main “highlight” was a beard, despite long hair, bright makeup and a dress. Conchita Wurst, aka Thomas Neuwirth, has never identified himself as transsexual or transgender. The man is openly gay and performs as a drag queen. He proved: to conquer Eurovision, it is not necessary to be neither a man nor a woman – the main thing is to have a beard. When the stage became a field for experiments, not vocal skill, Thomas Neuwirth decided: why choose between the image of a luxurious lady and a strict man, if you can take the most effective of both?
The importance of performing songs in one’s native language is that it is the key to understanding the soul of the people. Each language carries unique metaphors, rhythms, and intonations that help convey a sense of community and belonging to a particular cultural tradition. This approach not only enriches the competition itself, but also becomes a kind of guarantee of preserving national identity in the conditions of globalization.
Ukrainians at Eurovision
Ukrainian performers at Eurovision have a special mission – to declare to the whole world with their performance that Ukraine exists, has gone through a difficult and thorny path to its existence and is still fighting for its existence. It’s not just three minutes on stage with bright lights and decorations, but an attempt to squeeze an entire country, with its pain, pride, history, traditions and even political nerves, into one song. And, it must be admitted, Ukraine managed to do this, thanks to some of its talented performers.
Let’s start with 2004, when Ruslana literally raised the whole of Europe and made them dance to her Wild Dances. This composition became a real cultural explosion. Hutsul motifs, wild energy, trembits, leather suits and drums that sounded like the heartbeat of the Carpathians. Ruslana proved to Europe that Ukrainian folklore is not a museum exhibit, but a living fire that can burn the stage. Ruslana’s victory was a victory for the entire country. The world learned about Ukrainians and began to notice us.
The ambiguous performance of Verka Serdyuchka with the composition “Dancing Lasha Tumbai” tickled the nerves of the neighboring state and caused a wave of discussions and memes. Thanks to its absurdity, this performance became a phenomenon. However, it can hardly be considered a worthy example of Ukrainian culture.
After 2014, Ukrainian performances at Eurovision took on a new meaning. It was no longer just a stage, but rather a tribune. With the composition “1944”, Jamala sang a song about the deportation of the Crimean Tatars, forcing Europe to hear a story that is usually not included in textbooks. It was a cry of pain, disguised under minor chords and piercing vocals, that brought victory. After all, everything was really sharp and frank.
Then came Go_A with “Shum” — and it was a real culture shock for Europe. Cold electronic run, whimsical vocals of Kateryna Pavlenko and absolutely wild energy of ancient Slavic rituals. Go_A proved that folklore can be not only authentic, but also ultra-modern. It was Ukraine without gloss, with roots growing through the concrete of megacities.
And in the painful and terrible year 2022 for Ukraine, the Kalush Orchestra announced themselves with their composition “Stefania”. A song that began as a lyrical odyssey about a mother, but against the backdrop of war became an anthem of resilience. At that moment, this composition became a call, a cry of the soul, the rhythm of the heart of the country, which beats against everything.
In those days, Ukrainian performers were not afraid to be real. They did not try to please formats or trends, but showed Ukraine as it is – multi-layered, gentle, rebellious, strong. It was this performance that demonstrated the best way to convey the country’s cultural heritage to the world.
But, unfortunately, there is now an increasing tendency to please the whimsical trends and distorted whims of the modern world, which is increasingly immersed in the chaos of distorted ideas about norms, where the boundaries between the real and the artificially imposed are blurred. What once seemed absurd is now presented as the new “norm”, and natural values are gradually replaced by what is beneficial to trends and fashion. In this pursuit of bright images, real life values are often lost.
It is worth mentioning that Moldova, a neighboring country of Ukraine, decided not to participate in Eurovision this year. Although live auditions and national selection were held in the country, the final stage never took place. The decision was made after a thorough analysis of the current situation, covering economic, administrative and artistic aspects. Against this background, it is impossible not to think about whether Ukraine itself, where a devastating war has been going on for three years, should participate in such competitions. But the organizers stress that Eurovision is a country’s voice in a time of war, worth preserving, no matter the cost. One could agree with them, but at the same time, the fact that this year the “voice of Ukraine” will speak not in a pure native language, but in some mixture based on another composition that has nothing to do with our cultural heritage, is confusing.
According to the musicians of the Ziferblat band, their track is a reflection of modern reality: longing for home, the pain of loss, prayer, support and the search for inner strength. Beautiful words, but only to hear them, you have to try – the lyrics of the song sound so blurred that you can decipher it only with the help of psychic abilities.
Here are the lyrics:
Come and come to me too,
my bird
The song soars with heavy wings…
Heart-heart beloved,
don’t worry
Fate trusted the world
The last of us…
I am looking for light, I will move the mountains
And
I call you Fly Bіrd,
I’m beggіng you,
Beggіng you please just
Lіve! Share
My heart wіth someone who
Cares of Me
And my lіttle bіrd of pray!
Come back home
native path,
Song of migratory birds
Gives birth to spring
Fly lіke a Bіrd!
Where do you go
I’m beggіng you please just
Lіve! Share
My heart wіth someone who
Flies Bird.
I’m beggіng you,
Beggіng you please just
Lіve! Share
My heart wіth someone who
Cares of Me
And my lіttle bіrd of pray!
Allegedly, the key image of the composition was a bird – a symbol of freedom and rebirth. However, where exactly in the words of this song her idea is, remains a mystery. Actually, like why some Ukrainians are delighted with such “art”, which is more like an experiment with the limits of auditory perception. But hey, in times when the audience is not impressed by the content and vocals, but by the emotional blur and conceptual chaos, the victory of Bird of Pray looks quite natural.
So, Eurovision turned into a platform where the voice gave way to hype, and art to conjuncture. But while others compete in outrage, it is important for Ukrainians not to get lost in this wave of demonstrative “progressiveness” and not to lose what makes our culture alive, deep and real. In times when trends change faster than the final chords of the next “hit”, it is worth remembering: the international stage should not be voiceless mannequins in a bright wrapper, but those who really embody national talent, content and identity.
https://youtu.be/fzSaFc4qQxg
