This year’s Eurovision Song Contest delivered its biggest impact yet—across TV, digital platforms, and streaming charts – cementing its place as one of the world’s most powerful cultural events.

The 69th Contest, staged in Basel, Switzerland, reached 166 million people across 37 public service media markets* – 3 million more viewers compared to 2024, reports the European Broadcasting Union (EBU).

Hundreds of millions more saw content from 2025’s artists and from the 3 Live Shows online with nearly 2 billion views of posts, videos and stories from this year’s Contest on the event’s digital channels.

Swiss public broadcaster SRG SSR hosted three live shows on May 13th, 15th and 17th producing over 9 hours of television enjoyed across the world.

The viewing share of the 2025 Grand Final was 47.7 per cent, the highest since 2004, and more than double the average for the same group of broadcast channels (19.9 per cent).

Among Youth viewers (15–24 years old), the Grand Final achieved a viewing share of 60.4 per cent – the highest on record, and nearly 4 times these channels’ average (16 per cent).

GRAND FINAL

The Grand Final delivered viewing shares above 50 per cent in 19 of the 37 markets, led by Iceland (97.8 per cent), Finland (90.5 per cent), Sweden (89.6 per cent), Norway (85.4 per cent), and Denmark (75.1 per cent).

Other huge shares included the Netherlands (75.1 per cent) and German-speaking Switzerland (74.2 per cent).

In the host nation, an average audience of 1.1 million viewers watched the Grand Final – a 57 per cent year-on-year increase, with record viewership and share in all linguistic regions.

Key markets also saw historic highs:

• Germany: Highest average audience of all countries – 9.1 million viewers – best since 2016
• Poland: 4 million viewers – triple last year’s total
• France: 40 per cent viewing share – highest ever
• Finland: 90.5 per cent viewing share – all-time record
• Greece: 2.8 million viewers and 70.8 per cent share – highest since 2010

In the 7 days following the broadcast, the Grand Final attracted 12.1 million views on the Official Eurovision Song Contest YouTube channel – an 8 per cent increase compared to Malmö 2024. Peak concurrent viewership on the night reached 1.58 million, up from 1.51 million in 2024.

The Semi-Finals also performed strongly, drawing 4.4 million and 3.4 million views respectively during their equivalent 7-day periods.

Across the entire Contest period (May 3rd – May 24th), total views of all content on the Eurovision YouTube channel reached 369.5 million, representing a 9.3 per cent increase on last year.

The platform saw 60.7 million unique viewers from 232 countries and territories.

2025 SONGS DOMINATE GLOBAL CHARTS

The musical impact of the Eurovision Song Contest 2025 has also resonated beyond TV screens, with this year’s entries attracting listeners on streaming platforms, airplay charts, and digital discovery tools around the world.

In May alone, 35 Eurovision songs reached the Apple Music Daily Top 100 in over 40 countries and Eurovision entries topped genre-specific charts in 78 countries. This year’s winner Wasted Love hit the chart in 38 countries, reaching the Top 10 in 20, and #1 in 5. Germany’s Baller charted in 35 countries, with Top 10 spots in 17, including Norway, Austria, and Sweden. Sweden’s Bara Bada Bastu also reached the charts of 32 countries, with KAJ’s sauna track reaching the Top 10 in 16 of them. In total, Eurovision songs achieved over 3,000 chart placements on Apple Music throughout May.

The official Eurovision Song Contest 2025 playlist on Spotify was once again the most-streamed Spotify playlist globally on the day after the Grand Final. Eurovision entries lit up the Spotify Global Top 50 in the week following the Grand Final—three songs made the chart, one more than in 2024. They were Wasted Love, Espresso Macchiato and Bara Bada Bastu —the first-ever Swedish-language song to enter the Global Top 50. Wasted Love charted in 29 countries, hitting #1 in Austria, Switzerland, and Luxembourg, and landing in the Top 10 in 12 other nations, including Germany, Belgium, Sweden, Greece, and the Netherlands.

During the Grand Final on May 17th, Iceland’s VÆB led Shazam activity with RÓA—garnering 51 per cent  more Shazams than last year’s top track. According to Shazam Radio Spin data, it received more global radio airplay than any other Eurovision 2025 entry, followed by Louane’s Maman and Lucio Corsi’s Volevo essere un duro.

In the week following the ESC Grand Final, 4 of this year’s entries were ranked in the ESNS Radar Radio Airplay Chart Top 50.

Martin Green CBE, Director of the Eurovision Song Contest, commented: “This year’s Eurovision Song Contest has once again demonstrated its extraordinary power to unite millions across continents through the joy of music and shared celebration. In a fragmented media landscape, the ESC stands out as a unique global moment—bringing viewers back to live television, while simultaneously thriving across digital platforms and reaching new generations in new ways. The Contest’s growing musical impact is undeniable, with songs resonating on global streaming charts and inspiring fans worldwide. From living rooms to livestreams, and from national pride to international connection, the Eurovision Song Contest continues to be one of the most vibrant and unifying cultural experiences on the planet.”

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Categories: Articles, Content, Research

Tags: Apple Music, BBC, EBU, eurovision, Switzerland