The introduction of the new Code of Conduct for the Eurovision Song Contest reminds us that the Song Contest is “a space to show the world as it could be… where everyone involved shares a common desire to respect one another…” The reaction to the Grand Final of Melodifestivalen 2025 shows just how far away from that ideal the community can be.
Melodifestivalen’s Surprise Victory
Going into Saturday night’s show, Måns Zelmerlow’s ‘Revolution’ was the favourite, a status earned in December and never let go. This was Zelmerlow’s return to the competitive stage following ‘Heroes’ winning Melfest in 2015 and going on in 2015 winning Melfest and then Eurovision. Many talked about ‘Revolution’ sweeping the board and heading to Basel 2025 as the favourite to lift the Eurovision crown.
As we now know, KAJ and the colourfully fun ‘Bara Badu Basta’ sprinted through the field in the final moments of the near three-month Melfest season to snatch victory by a handful of points. It should be impossible not to empathise with Måns in the moment. Yet many in the Eurovision community managed to do just that.
The Community’s Reaction
The vitriol against Zelmerlow that has been present since his return to Melodifestivalen only increased as the Grand Final approached.
In the run-up to Melfest he received unjustified criticism online because of; his love of the Contest and his willingness to appear on stage for sketches and interval acts since his victory in 2015; how he was selfishly taking a space away from another act, he was only there because he was glory hunting, knowing that he would “win by default” because of some misguided loyalty to Sweden in the fabric of the Contest; and more that we’re not publishing here.
Following the loss, a still visibly shocked Zelmerlow felt obliged to speak to the press. It doesn’t come as a surprise that the pressure of the moment led to an emotional outburst, one that he acknowledged afterwards would come over as being “a sore loser.” But that response on Saturday night was too late for many, as voices glorified their viewpoints and decided to finish Melfest by gloating over a loss rather than celebrate ‘Badu Bara Basta’s‘ fairytale win.
Lessons For Everyone
There is much to discuss around the pressure on artists in competition, pressure that will only rise as we approach the Semi Finals and Grand Final in May. We’ll look at this area in the coming weeks and months. It does have a bearing on Zelmerlow’s reaction to defeat in the immediate aftermath and the following days, but the community is not under that pressure. The community must look at itself and take responsibility for its own reaction and what we put out in the public realm and direct at the artist.
In a year when many assumed that established acts would skip the Song Contest given the controversies of Malmö 2024, in Zelmerlow, we have a long-established friend of the Contest. His history of engaging with the community since ‘Heroes’ won in Vienna 2015 emphasises the common desire to “respect one another and look out for each other” that we want to see in the Contest.
Not only was he ready to come back competitively, but he also made a significant personal investment to make the best song and show possible. This wasn’t a ‘rock up and collect the ticket money’ approach; it was a long and detailed financial commitment.
Of course, there will be discussions over ‘Revolution’ as a song, the staging choices, and the ‘get the vote out’ campaign. Singling him out personally is one of the darker aspects of our community that needs to be recognised and addressed.
As the entry list for Basel 2025 fills up, we all look forward to discussing, reviewing, and comparing this year’s songs. We’ll look at preview party performances and read the interviews. Critiquing art is what we should be doing as a community. Not every artist—especially women and artists of colour—is in a position where they can talk openly and safely about the levels of abuse they will receive over the next few months.
If we never see that level of venom directed at Måns again, it will be too soon.
Spot on Ewan. It has been an awful “fan” season…seeds sown in the vitriol from last year’s debacle. Yes, Mans came back, and I will say this, the strongest entry this year, which would have had Sweden close if not getting it’s 8th title. With Kaj – they are scrapping for the novelty votes and the bits of jury.
If they tried something different and fail spectacularly – watch Christer Bjorkmann explode. But Melfest was stale, the fans could see it – everyone hates an always winner, sadly Mans took the brunt – despite the loads of other contestants being frequent fliers, Klara, Lundjvik. Loreen was worshipped – what’s the difference?
The pile ons have been shocking giving abuse to Remember Monday on the anti BBC vibe following the change of Kant. Malta knows what it is doing and stirred up the vibes against the Beeb who have denied it was them (hello RTE), and with what happened with Israel, Bambi and Joost meant the slightest bit of tinder would catch alight.
Mans has been a friend of Eurovision since his win, hosting the contest, parting about with Mel on UK selection shows, with punditry and commentary – he loves the show. So for him and any competitor to be treated like this when there’s anti EBU Ukraine stuff from Tommy Cash and the Slovene entry doing black face!!!
Eurovision…. It’s a bit toxic at the moment and it’s not a pleasant vibe…
Totally agree with this. It’s been totally disgusting reading the hate. He’s done nothing to warrant the reaction from keyboard warriors labelling themselves as Eurovision fans.
Absolutely love Måns, play his music frequently. Deserved the win with Revolution and I’ve been so excited since December when it was announced he was coming to Melfest.
He absolutely has the right to be disappointed
He doesn’t deserve the hate and I wish him well. And to enter again in future but I think this will likely put him off which is a shame. Revolution is the song he promised in December. Great job Måns!
Well said, Ewan. Thank you.
And thanks for your podcasts.
Anyone spewing hate against Måns is obviously in the wrong, but I do feel criticism against the comments of a number of contestants is valid, as they questioned the merits of the winner, and even suggested they could only compete against them by doing something similar which was beneath them. I think here lies the real problem: all the bland Loreen copies follows a script they hope will increase their chances of a win.
I saw several professional productions that just didn’t have any soul or anything to make you remember them past the next entry. Regardless of whether an act contains humour or not, a winner needs to capture the voters attention and have something that sets them apart from the competition. You can argue that Måns provided a safe choice and already had votes secured because of his large fanbase. Kaj was virtually unknown, and still managed to challenge Måns even for the votes of the international jury groups.
I had given up on the thought of an entry sung in Swedish would ever win again, and in happy this joyous entry won. It may not do very well in the finals, but it’s bound to become an anthem for less glorious occasions on the sauna world (Sweden and Finland).In the end, I think Bara bada bastu is the reset the melodifestivalen needed.