Austrian singer JJ has won the Eurovision Song Contest in Basel, Switzerland, after a nail-biting finish that saw him topple Israel from pole position at the very last minute. The 24-year-old, who is a counter-tenor at the Vienna State Opera, took the title with the song Wasted Love, an tempestuous electro-ballad about unrequited love. "Thank you so much for making my dreams come true," he said as he accepted the coveted glass microphone trophy. "Love is the strongest force in the world, let's spread more love." The singer scored 436 points, with Israel in second place on 357 and Estonia third on 356. The UK's act, Remember Monday, placed 19th with 88 points. For the second year in a row, the UK received zero from the public. JJ's younger sister broke through security guards to hug him after his victory was announced. The Austrian said his whole family had arrived to support him at the contest, including his 85-year-old grandfather, and a four-month-old niece, who watched outside with his brother. It is the third time Austria has won the contest, with previous victories going to Udo Jürgens' Merci, Cherie in 1966; and Conchita Wurst with Rise Like a Phoenix in 2014. JJ was inspired to take part in Eurovision by Conchita. The singer had always been one of the favourites to win, but the most hotly-tipped contestants were Sweden's KAJ - whose tongue-in-cheek ode to sauna culture, Bara Bada Bastu, ultimately took fourth place. Speaking after the show, JJ said he was "so pleased" that viewers had connected with his story of heartache. "I wanted to let them have an insight on my deepest soul [and] how I felt when we wrote the song." "What I'm trying to commit [to] is that there's no wasted love. There's so much love that we can spread around. It's the strongest force on planet earth." Asked how he would celebrate, he replied: "Honestly, I need to sleep now. I'm tired." For the second year in a row, there was controversy over Israel's participation, with protestors arguing for the country's dismissal over its military action in Gaza. Pro-Palestinian protests took place on the streets of Basel in the hours before the contest. Later, a man and a woman people were prevented from invading the stage during Israel's performance. "One of the two agitators threw paint and a crew member was hit," said Swiss broadcaster SRG SSR in a statement to the BBC. "The crew member is fine and nobody was injured. "The man and the woman were taken out of the venue and handed over to the police." The performance, by young singer Yuval Raphael, was unaffected. The 25-year-old is a survivor of the Hamas attacks of 7 October, 2023, an experience which coloured her delicate ballad, New Day Will Rise. The Israeli delegation said Raphael was left "shaken and upset" by the incident, but that it was "extremely proud" of her performance "which represented Israel in a respectful manner". Elsewhere, Eurovision was its usual explosion of high camp, sexual innuendo and dresses being removed to reveal smaller, tighter dresses. Malta's Mariana Conte was forced to rewrite her disco anthem Serving Kant to remove what sounded like a swear word - but performed the censored version with a knowing wink, safe in the knowledge the audience would fill in the blanks. Although it was a fan favourite, Conte could only manage 17th. Estonia's Tommy Cash, who came third, also kept the innuendo train running, with Espresso Macchiato, a caffeinated disco anthem featuring the unforgettable phrase: "Life is like spaghetti, it's hard until you make it." Another highlight was Finland's Erika Vikman, who dispensed with double entendres entirely on Ich Komme, a vibrant hymn to sexual pleasure. The singer ended her performance by taking flight on a giant phallic microphone that shot sparks into the air. It thrust her into 11th position, and a permanent place in the Eurovision pantheon. The contest also dealt with more weighty subjects like economic migration (Portuguese rock band Napa) and environmental catastrophe (Latvia's Tautumeitas, who scored 12 points from the UK jury). Dutch singer Claude delivered a heartfelt tribute to his mother in C'est La Vie - an upbeat anthem that reflected on her positivity as she uprooted the family from their home country of the Democratic Republic of Congo as a child. In a touching climax, the 21-year-old danced with an image of his childhood self in a mirror on the stage. Also reflecting on their childhood was French singer Louane, whose tearjerking ballad was dedicated to her mother, who died of cancer when she was 17. In one of the night's most striking performances, she was surrounded by a whirlwind of sand as she hollered the word "mother" over and over again. One of the favourites to win, it ended the night in seventhplace, after receiving a disappointing 50 points from the public. JJ's performance was similarly dramatic. Shot entirely in black and white, it saw him being tossed around on a rickety boat, as waves (of emotion) threatened to consume him. An honourable mention also goes to Italy's Lucio Corsi, whose harmonica solo in Volevo Essere Un Duro marked the first time a live instrument has been played at Eurovision since 1998. The UK spent a third year in the bottom half of the leaderboard, despite a spirited performance from girl group Remember Monday. A group of friends who met at high school, their inventive pop song What The Hell Just Happened? drew on their many years of experience in West End theatre. The girls pulled off their tricky three-part harmonies while dancing around a fallen chandelier, but the performance didn't connect with voters. Despite earning a healthy 88 points from juries - including 12 from Italy - it bombed with viewers. They ended in 19th place, one below last year's entrant Olly Alexander. The group laughed off their "nul points" score from the public, holding up peace signs and hugging each other as the score was announced. The voting was chaotic overall. Thirteen of the 26 finalists received the maximum of 12 points from at least one jury, leaving the competition completely open before the public vote was counted. Israel, who had been languishing in the bottom half of the table, then received 297 points from the public (out of a possible maximum of 444). Twelve of those points came from the UK. For a while, it looked like Yuval Raphael's lead might be unassailable - but Austria's tally of 178 was the last to be announced, leaving the singer empty-handed. There was disappointment, too, for fans of Canadian singer Céline Dion, who had been rumoured to appear at the contest. The singer won Eurovision for Switzerland in 1988, and had appeared in a video wishing the contestants good luck at Tuesday's semi-final. Despite hopes from Eurovision organisers that she might turn up, the moment never came to pass.
Eurovision 2025: Austria wins with last-minute vote, as the UK comes 19th
TruthLens AI Suggested Headline:
"Austria's JJ Wins Eurovision 2025 Amid Last-Minute Voting Drama"
TruthLens AI Summary
The Eurovision Song Contest 2025 concluded in Basel, Switzerland, with Austrian singer JJ emerging as the winner after a dramatic final vote. JJ, a 24-year-old counter-tenor from the Vienna State Opera, captured the title with his emotive electro-ballad 'Wasted Love,' which explores the theme of unrequited love. His performance resonated with both the jury and the public, earning him a total of 436 points, which allowed him to surpass Israel's Yuval Raphael, who finished in second place with 357 points, and Estonia's entry in third with 356 points. The UK, represented by the girl group Remember Monday, faced another disappointing result, placing 19th with only 88 points, and receiving no votes from the public for the second consecutive year. The atmosphere was electric as JJ expressed his gratitude during the trophy presentation, emphasizing the power of love and the importance of spreading positivity through music. He was supported by family members, including his grandfather and his young niece, who celebrated his victory with heartfelt joy.
The contest also featured several noteworthy performances and moments that highlighted a mix of entertainment and serious themes. While the event is known for its high camp and playful innuendos, such as Malta's Mariana Conte's cleverly censored disco anthem, it also addressed more poignant issues. Performers like Claude from the Netherlands and Louane from France delivered emotional tributes reflecting on their childhoods and personal losses. Additionally, the evening was marred by protests against Israel's participation, which resulted in a brief disruption during their performance. Despite the controversies, the show retained its vibrant spirit, showcasing a range of talents and styles. The voting process proved to be unpredictable, with many contenders receiving maximum points from juries, but ultimately it was Austria that triumphed in a thrilling finish, marking the country's third victory in Eurovision history. Fans had also hoped for a surprise appearance from Céline Dion, a past winner, but she did not attend the event, leaving many disappointed.
TruthLens AI Analysis
The article highlights the recent victory of Austria in the Eurovision Song Contest, showcasing the emotional aspect of the event and the personal triumph of the artist involved. It emphasizes themes of love and connection, which are central to the narrative of the contest.
Media Strategy and Public Perception
This news is strategically crafted to evoke feelings of joy and celebration surrounding the Eurovision event, aiming to boost community spirit and national pride, especially for Austria. By focusing on the artist's personal story and family support, it creates an emotional appeal that resonates with readers. Furthermore, the contrasting position of the UK, which finished 19th and received zero public votes for the second consecutive year, may be an attempt to foster a sense of competitiveness and engagement among viewers from different countries.
Concealed Narratives
While the article celebrates Austria's win, it subtly glosses over the controversies surrounding Israel's participation, which might have broader implications related to geopolitical tensions. This could indicate an intention to divert attention from contentious issues while promoting a more palatable narrative focused on love and unity.
Trustworthiness and Manipulation
The article appears to be reliable in its reporting of the events and results of the contest. However, the emotional framing and selective focus on certain outcomes may suggest a degree of manipulation. The language used is uplifting and supportive, which can create a biased perception of the events. The intent seems to be to foster a positive image of the Eurovision experience, potentially sidelining more complex discussions about political contexts.
Comparative Analysis
In the landscape of Eurovision coverage, similar narratives often emerge, emphasizing personal stories and emotional connections while downplaying political controversies. This article aligns with that trend, aiming to maintain a celebratory tone that fits the event's branding as a unifying cultural experience.
Potential Societal Impact
The aftermath of this win could influence Austria’s national identity and its cultural exports. The emotional connection to the song may foster further interest in the arts and music within Austria. For the UK, the ongoing poor performance could lead to a reevaluation of its approach to the competition.
Target Audience
This news likely appeals to fans of music and culture, particularly those invested in Eurovision. By highlighting personal stories, it aims to connect with individuals who value emotional narratives and artistic expression.
Economic Considerations
While the immediate economic impact on the stock market may be minimal, the success of Austria could lead to increased tourism and cultural engagement, which could positively affect local economies in the long term. The music industry may also benefit from renewed interest in Eurovision-related content.
Geopolitical Context
The article touches on broader themes of community and love, relevant in today’s global climate of division. However, it avoids delving into the more complex geopolitical implications of the contest, particularly regarding Israel's participation.
AI Influence
There is a possibility that AI was used in drafting or editing this article, especially in terms of generating concise summaries or emotional language. Models could have influenced the tone to ensure it resonates positively with the audience, steering the narrative towards a celebratory focus.
In conclusion, while the article is largely factual, its emotional framing and selective focus on certain elements suggest a manipulation of public perception. It effectively conveys a message of joy and connection while potentially downplaying more controversial aspects of the event.