Review: “Melodifestivalen 2025” (Sweden)

Sweden will select its Eurovision 2025 entry via “Melodifestivalen 2025″.
The national final will be held on March 8th, 2025.
The results will be based on the jury and a public vote.

In this article, I will review the 12 competing songs in the national selection.
The songs will be covered by the running order:

#1. John Lundvik – “Voice of The Silent”

• It’s a mid-tempo pop song.
• The song starts with a moderate electronic sound. The first verse’s melody is based on the playing of keyboards and a light electro-synth sound. He sings this part quite slowly, with vibrato in his singing. The pre-chorus is a bit more upbeat. John uses some manners, while his singing is wrapped with many effects like reverb and echo. The chorus is more pompous. Something about the production feels wrong, as he struggles to stay on. It features some beats from time to time.
• Before the second verse, we get a short electronic transition. The second verse features a constant accompanying beat, and it is quite similar to the first pre-chorus. We hear some prerecorded backing vocals supporting him. The second chorus is more of a hymn with more powerful singing. The beats get stronger. Some of the backing vocals are performed by children.
• The overall impression is too much effort in trying to elevate generic text and a weak Disney song. Sadly, the song doesn’t do any good for John. It feels like an attempt to blow up a balloon that for sure will explode.

#2. Dolly Style – “YIHAA”

• It is a country-pop song.
• The song opens with typical cowboy music, which relies on fast guitar stringing and additional string elements. The first verse begins with guitar and percussion sounds, which continue the intro. The first pre-chorus is performed by all of them together, and it sounds like a cheering song. The first chorus is performed in a higher tone of voice. The melody reminds me of the intro, and the lyrics are childish. The post-chorus is more poppy and includes some vocal improvisation.
• The second verse is quite short. The melody relies on string elements, and some of them sing the backing vocals. The second chorus is similar to the first one. The post-chorus is more instrumental and then continues with some harmonies. The last chorus is performed in modulation, which challenges their vocals.
• To sum up, I found this song infantile and not appealing. The lyrics are poor, and the vocal delivery isn’t that good. Besides the colorful stage and customers, the girls gave us nothing.

#3. Greczula – “Believe Me”

• It is a musical theatre glam rock song.
• The song opens with the first verse, which is based on simple piano playing. Greczula sings in a mid-low tone of a husky voice. The first verse is very short. Right after, we move to the pre-chorus, where he is accompanied by a choir. He sings this part more powerfully. The first chorus is based on piano and classic guitar, and later on, beat and electric guitar are added. He sings it with longer notes. The transition part is composed of bass, electric guitar, and piano.
• The second half of the song is more upbeat. The guitar and the beat have a greater presence in the melody. The second verse is short. The second pre-chorus develops as the first one. The second chorus is served with more rocky vibes. The bridge suggests a change in the melody. The song ends with one last chorus, where he sings in a smokey voice.
• Overall, it feels like the song remains in a very specific style from the first pre-chorus to the end. Something about this felt like an imitation of Queen. That’s why I don’t find it authentic.

#4. Klara Hammarström – “On and On and On”

• It is a dance-pop song.
• The song opens with pre-recorded backing vocals. The first verse opens like a ballad, as the melody is based on keyboards playing. Klara sings it in a mid-tone voice. The first pre-chorus is performed in a more airy singing. The melody features a faster rate and shorter musical boxes. The beat explodes as the chorus starts. As for the first chorus, the melody is based on the keyboard playing. The word “beating” is the main element in the lyrics. As this part progresses, the beats get stronger, and we hear some backing vocals. The outro is based on “oh oh oh”.
• The second verse is similar to the first one. The melody is based on a unified tempo beat and keyboards. The second pre-chorus is more upbeat. She sings it in a higher tone of voice, as the melody features drums and tends to a more electronic direction. The second chorus is catchy as it is based on a changing beat. The drop is based on processed, pre-recorded backing vocals, generated in a loop.
• The bridge is based on string elements, keyboards, and the sound of a ticking clock. The last chorus is slowed down while Klara is supported by backing vocals. The beats are gradually brought back. The song ends with longer notes guiding the last chorus.
• Overall, it is one of the most memorable songs in the line-up. I feel like the vocal gap between the studio cut and the live performance should be improved. But overall, this is a polished pop song by the book. and everything feels right about it.

#5. Scarlet – “Sweet N’ Psyco“

• It is a glam rock-pop song.
• The song starts with a mysterious intro, which is based on keyboards and synth elements. After some whispers, we get to the first chorus. One of them opens the first verse with singing, which is closer to whispering. The melody is based on light techno beats, synth, and bass. The first pre-chorus is quite short; they sing it together, and while the beats are more hidden, the melody is based on piano and electronic guitar. The first chorus immediately captivates the listener’s attention. They sing it powerfully with a notable raspy voice. The melody is based on fast piano chords, and later on, bass and drums are added. The drum beats finalize the first chorus with a bit more electronic sound.
• The second verse continues the electronic line with some fast singing. They sing the second pre-chorus together, this time with slightly higher and longer notes. The second chorus is based on drums and bass. They sing it powerfully and accurately. The bridge is based on a tense atmosphere. It reminds me a bit of horror movies or Halloween. They sing it gently and more calmly until it explodes into an impressive long note. The song ends with one last epic chorus, which encapsulates it in a more stadium rock style.
• It has been a while since we have had a female rock song in Eurovision. While the genre is mostly rooted in the 1990s and 2000s, for me, the official refresher of “Melodifestivalen 2025“. Scarlet combines different genres while maintaining the excitement and vocals on the highest level. It is a genre that Sweden hasn’t experienced for years (the last time was 2007), and it is about time. I love it!

#6.Erik Segerstedt – “Show Me What Love Is“

• It is a pop song with soft rock elements.
• The song opens with a short instrumental intro, composed of piano, drums, bass, and electric guitar. Erik opens the first verse with a mid-high tone of voice. The melody is mainly based on piano playing. He sings softly and emotionally. The first pre-chorus is based on acoustic guitar and piano, Erik sings it in a higher tone of voice and vibrato. The first chorus is catchy, the melody is based on guitars and piano. He is supported by backing vocals. The flow of the chorus is quite predictable and yet memorable.
• The second verse is based more on the guitar (rather than the piano). The second pre-chorus is more rocky in the singing aspect. The second chorus comes after, and it is served by powerful singing. Thereafter, he gets off the piano and the production is more raw, relying mainly on instruments.
• What I like about it is the sincerity and authenticity. Erik is a good vocalist and a singer who knows how to convey emotions. I can’t say that there’s anything innovative about the song, but at least it isn’t another plastic pop

#7. Maja Ivarsson – “Kamikaze Life“

• It is a pop-rock song with electronic elements.
• The song opens with a short instrumental part, composed of electric guitar and melodica playing. The first verse is based on a constant beat and electric guitar. Maja sings it in a mid-tone, raspy voice. We hear some backing vocals. The first pre-chorus is faster, the production is simpler, and she sings it with more attitude, as the melody is based on the electric guitar. The first chorus is based on keyboards, melodica, and electric guitar. She tries to “pad” it with some rock singing, while the melody is quite basic. The first chorus ends with “oh oh oh”.
• The second verse is a bit faster and shorter. The second pre-chorus sounds more like communicating with the audience while improvising. The second chorus is quite similar to the first, but the sounds are more electronic. This part is easy to sing along with. The bridge is rockier and features a long note. Thereafter, we get the melodica instrument back. The song ends with unessential modulation.
• Overall, it feels like an attempt to make a non-rock song a rock song. In other words, Maja is a rock singer who was matched with a song that isn’t her style. Not a lot is happening here sonically. I think the chorus should be stronger, and the modulation should be cut out.

#8. Meira Omar- “Hush Hush“

• It is an ethnic pop song.
• The song opens with oriental strings and electronic sounds. The first verse is based on a constant mid beat and clapping sounds. Meira sings it effortlessly. The first pre-chorus is based on a faster tempo, while the lyrics go to a more “nonsense” place with “boom” and other words. The first chorus sounds more oriental. The lyrics repeat, and it is mostly around the “hush-hush” phrase. She sings this part with a slightly higher tone of voice, and it sounds like she is struggling. The post-chorus is a short instrumental part , which is based on oriental string elements.
• The second verse is quite short and features some backing vocals. The second pre-chorus develops as expected. The second chorus is oriental and performed in a higher pitch, not always accurate. It seems like the main emphasis here is on the dancing and atmosphere, less on singing and lyrics.
• The bridge is based on oriental and electronic sound, she performs it with a lower tone of voice. Thereafter, we get an additional chorus which is based on acoustic guitar playing. The song ends with one final chorus in the familiar way.
• Overall, I find this song as a missed opportunity. The oriental style is a good basis, but it feels it was carefully limited. Not enough effort was invested in the lyrics themselves. Meira has to work more on her charisma. I think that it would be more convincing with a better vocalist. This song would have been elevated.

#9. Måns Zelmerlöw – “Revolution”

• It is a power-pop song with some country influences.
• The intro is based on a mysterious fading sound. Måns opens the first verse, singing in a crystal clear voice. The melody is based on keyboard and whistle effects. The first pre-chorus is based on bass and a growing beat as he sings more warmly (but not always accurately). The first chorus starts with bold singing; the whistles are brought back. Synth sound leads us to the main part, where he sings much more powerfully. The last part of the chorus is based on fast country guitar playing, until it explodes to a continuous beat. Towards the end of the chorus, he sings in a higher pitch. The chorus is much longer than the other parts, and it is clear the song was built around it.
• The second verse is based on pre-recorded backing vocals and tense, heavy-breathing singing. The structure resembles the first pre-chorus. Quickly after, we move to the second chorus, where the melody has a more classic dimension, as it is also based on piano playing. He sings this part powerfully. The bridge is more laid-back, the production is raw, his voice isn’t stable and a bit hesitated. The melody is based on string instruments and piano. The bridge is finalized with ‘flickering’ electronic sound which converts to one last chorus. The last half minute of the song is the most powerful. The last chorus opens with roars. The melody is based on intense piano and orchestral elements. It ends with exploding strong beat and raspy voice singing.
• Overall, it is a radio-friendly song. But I feel like it was made to deliver impressive staging and not necessarily an incredible song. You can easily see that Måns is eager to come back. It sounds somewhat related to “Heroes“, and also has some similarities to David Guetta’s songs. For me, the song isn’t strong enough, and my main disappointment is the wide use of backing singing, instead of live singing.

#10. Saga Ludvigsson – “Hate You So Much“

• It is a country-teen pop song.
• The song opens with whistles and guitar stringing, taking us immediately to American cowboy music. She sings effortlessly, and the rate is very specific, while we can hear some backing vocals. The first pre-chorus is based on shorter musical boxes; the melody features a clapping beat. The first chorus starts with the title of the song, while Saga lengthens some of the syllables. The chorus is quite monotonous, both on the melodic side and the lyric side (where there’s only one sentence that repeats). The backing singing are also part of the chorus.
• The second verse is shaped as a “Q&A”, where Saga sings the main part, and the backing vocalists complete it. The second pre-chorus is more rhythmic. The second chorus is similar to the first one but shorter. The post-chorus is more dynamic but still faithful to the main frame. The bridge is similar to the first verse, with the general cowboy country vibes. She closes it with long notes. The song ends with one last chorus.
• Overall, nothing interesting happens here. This is the classic case where the singer is worth much more than the song. I am not a big fan of this genre, but even within this genre there are better opportunities

#11. Annika Wickihalder – “Life Again”

• It is an Indie-pop song with some Gospel elements.
• The song opens with fading humming (made of backing vocals). The first verse starts in a very intimate way. Annika opens the singing part in an angelic, soft voice. The first verse has a “fragmented” structure, as half of it is performed by backing singing. As this part progresses, Annika sings more powerfully with her warm, velvet song. The first pre-chorus is more classic, as it relies on piano playing with some orchestral elements, and she sings it more soulfully. The first chorus is catchy, the melody is based on keyboards and drums. The post-chorus is based on humming, and it is more rhythmic. The bridge relies on a much simpler melody, based on continuous drums playing, backing vocals, and vocal twirling. It closes with long note, which proceeds one last chorus.
• The second verse is based on an acoustic guitar and drums. The melody is sparser, and she uses some manners. The second pre-chorus is quite short and orchestral. The second chorus is based on drums, bowed string elements, and piano. It sounds more empowering for some reason
• The general arrangement reminds me of Florence and the Machine’s song. This is one of the few songs in “Melodifestivalen” where the emotions are well conveyed. Annika is an excellent vocalist who gives new life and meaning to the song. It is one of the underrated songs in the lineup.

#12. KAJ – ”Bara bada bastu”

• It is an entertaining folk song.
• The song opens with accordion playing. The first verse’s melody is based on accordion and drum beat. The lead singer serves this part by reciting or soft rapping. The first bridge is more folky; the other band members sing the backing part, “Oh, oh, oh.” The bridge ends with a thick, low voice reciting about “sauna.” The first chorus is catchy. They start by singing together, and their voices combine well. The melody is based on keyboards, accordion and a moderated beat, which grows as the chorus goes on. The second part invites the listener to sing along.
• The second half of the song opens with the same accordion chords from the intro. The second verse is performed by another vocalist with a slightly lower tone of voice. The melody is based on curvy accordion playing. The second chorus follows. They sing it together, and the melody is memorable. However, this time, the chorus is shorter. Instead, we get a kind of post-chorus, which includes the name of the song again and again. The melody is based on intense keyboards and accordion while later on a danceable beat break it. The last chorus is performed in modulation and it is faster in general. The song ends with a more traditional folk emphasis.
• It is a humorous song, and yet it has its own musical identity and existence. I appreciate the fact that they didn’t offer any discounts on the musical aspects. For sure, they aren’t the biggest vocalists you could ask for, but in this kind of song, it is fine. Nevertheless, they create an appeal for different demographic audiences (age groups, countries) while still not singing in English.
• It might be the most unexpected choice for Sweden, and therefore might do better than expected (at least with the public).

Prediction

Unfortunately, it seems like the winner is already known, and it will be Måns Zelmerlöw. However, I can see KAJ doing very well. I can see Annika and Erik doing well with the jury.

My Personal Ranking

1. Scarlet – “Sweet N’ Psyco“
2. Klara Hammarström – “On and On and On”
3. Erik Segerstedt – “Show Me What Love Is“
4. Annika Wickihalder – “Life Again”
5. KAJ – ”Bara bada bastu”
6. Meira Omar- “Hush Hush“
7. Måns Zelmerlöw – “Revolution”
8. Maja Ivarsson – “Kamikaze Life“
9. Saga Ludvigsson – “Hate You So Much“
10. Greczula – “Believe Me”
11. Dolly Style – “YIHAA”
12. John Lundvik – “Voice of The Silent”

Who is your “Melodifestivalen 2025″ winner?
Who will win the selection?

Sweden was allocated to perform in the first half of semi-final 1.
Eurovision 2025 will be held in Basel, Switzerland, on the 13th, 15th, and 17th of May 2025