ESC 2025: My Star, Mila, Maman

Eurovision fans! The First Semi-Final is almost upon us! And for the first time, I am not scrambling to publish my reviews. Perhaps this year, we will see something that has never been done before on a Eurovision stage. Are any of the songs in this article going to get my douze points?

Round 4:

• Klavdia — Asteromáta (Greece)
• Miriana Conte — Serving (Malta)
• Louane — maman (France)
• Tommy Cash — Espresso Macchiato (Estonia)
• Klemen — How Much Do We Have Left (Slovenia)
• Princ — Mila (Serbia)
• Shkodra Elektronike — Zjerm (Albania)

Louane – maman

France is looking to secure the Eurovision trophy by bringing in superstar Louane to compete. As a Canadian who took French Immersion, I had already heard good things about Louane and was excited to see what she would submit as her entry. I had listened to her songs, so I could be sure about her stellar vocals. However, I wasn’t sure about the genre since I don’t follow Louane’s career very closely. All I know is that her music firmly resides in the realm of pop, which doesn’t really narrow it down.

“maman” is a powerful and personal pop ballad about embracing motherhood and letting go of childhood. While Louane is grateful for her mother’s love, the song is a declaration to look ahead to the future instead of looking back. Naturally, the composers chose a symphonic arrangement to accompany the lyrics. The highlight of the arrangement is the thunderous percussion reminiscent of a beating heart. Although, the Showcase Performance did raise questions about Louane’s choice of staging. I don’t know if “maman” needs marching bands and pyrotechnics. Without a doubt, France will benefit from a more intimate performance in Basel if they want to have a chance at winning.

Klavdia – Asteromáta

Representing Greece is Klavdia with “Asteromáta.” She sings about carrying on a legacy in the face of hardship. Her voice warbles like a flickering flame. But while Klavdia sounds mournful, she never sounds weak. Again, the percussion leaves a strong impression. It follows the beat of a pair of feet digging into the ground as they trudge froward.

I had trouble ranking this song because I kept forgetting how it went after listening to it. Not that Klavdia’s song is forgettable per se. I just don’t find any part of the song “catchy,” which isn’t necessarily a bad thing. When I’m listening to “Asteromáta,” Klavdia’s voice puts me in a trance, and when it ends, I snap out of it. All I can remember is that I enjoyed myself. With that in mind, I hope Klavdia leaves a lasting impression on the Eurovision stage.

Princ – Mila

Last but certainly not least, we have Serbia’s entry, “Mila,” sung by Princ. I normally don’t check out National Finals, but I hear that this song has had quite the revamp since it was chosen. None other than “Lane Moje” singer Željko Joksimović rearranged the song into the version that will be performed in Basel. This slow-building rock ballad also reminded me of another Serbian entry. “Molitva” by Marija Šerifović, Serbia’s only winner, was also a dramatic ballad with an explosive display of vocals. I find it promising that “Mila” reminds me of two high-scoring Serbian entries (although I am aware that Željko Joksimović was representing Serbia & Montenegro at the time).

The instrumentation starts out sparse, with a sprinkle of guitar and a splash of piano. Most of the focus goes to Princ’s romantic words from the eyes of a scorned lover. The music and Princ’s singing go toe to toe, rising in intensity. An electric guitar and drum kit are brought in on the final chorus, bringing the song to a finish. But Princ will not be overshadowed. He busts out his best vocals for the last half of the chorus, proving why he is the “vocal miracle from Vranje.” It’s unclear whether a song like this could still win Eurovision after 18 years, but I wish Serbia all the best.

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