Which songs referenced aspects of the Christian faith this Eurovision?

Tuning in on Saturday night viewers were welcomed with typical ebullience to Eurovision’s curious feast of musical talent, big performances, imaginative staging and outlandish costumes. Not to mention any number of the perplexing moments we’ve come to expect.

This year’s Eurovision proved itself once again, and without apology - to be a gloriously nonsensical melting pot of all things European. Its undeniable kitsch had me conjuring images likening it to a monumental aspic jelly created in the kitchens of some grand European palace in preparation for a festive banquet. Carefully released from its mould, and with an improbable combination of ingredients held within, it quivers joyously. You can’t help but be mesmerised by it.  

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From Basel in Switzerland, the Grand Final was the culmination of two semi-finals last week and countless other competitions over the preceding year for the 37 countries participating. Most of whom take Eurovision very seriously indeed. During the final stages of the competition in Basel viewers were taken on a magical mystery tour of Europe’s many corners and subcultures - represented in an array of wildly diverse and entertaining performances. 

While Eurovision has a religious following from its fans, it’s not a religious programme by any means. 

While Eurovision has a religious following from its fans, it’s not a religious programme by any means. A few performances referenced aspects of the Christian faith - an undeniable foundation influencing history and culture throughout Europe. But many showed the inevitable influence of other belief systems too, including secularism. Poland’s song ‘Gaia’ used religious imagery to highlight the earth and her pain, represented by the goddess Gaia. It’s lyrics mixing folk, pagan and Christian ideas with references to sin and holy water too.  

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In the semi-finals Cyprus’s song tackled ideas about the afterlife, heaven and hell with an unmistakably gothic performance and Montenegro’s song asked if our consciences are clean before God? While Ireland sang about a dead dog’s party in the sky. Australia were back and (narrowly) missed qualifying for the Grand Final as well. Their disco pop song ‘The Milkshake Man’ had their lead singer channelling Benson Boone in his plunging blue 70s jumpsuit.  

Other countries who did make it through to Saturday’s Grand Final also leaned into retro style. Ukraine’s performance evoked David Bowie, glam rock and to my mind even Star Trek whilst singing poignantly about a ‘Bird of Pray’ leading them home. Meanwhile France’s Louane sang a moving tribute to her mother who died ten years ago; her performance speaking of the ‘sands of time’.  

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There was something for everyone, and other performances were variously earnest, heartfelt, comedic, quirky and outrageous. Estonia sang about ordering an ‘Espresso Macchiato’ (which DJ Scott Mills in the semi-finals described as “textbook Eurovision”) and Sweden’s song - performed by a Finnish band, extolled the benefits of de-stressing in saunas. Appraised by a jury of music professionals and by the public, suspending judgement altogether might be the best approach. 

So from the sublime to the ridiculous, Eurovision is nothing if not entertaining, 

So from the sublime to the ridiculous, Eurovision is nothing if not entertaining, merrily eased along by Graham Norton’s wry commentary. In terms of my favourite song, I’m with Sophie Ellis-Bextor who announced on Saturday night that the UK’s 12 points would go to Latvia for their ethereal and folk-inspired song about oak trees and copper (I think) performed by group Tautumeitas. Anyone who can successfully combine Pan’s People with the Fleet Foxes to such stunning effect gets my vote. Even so it was Austria in the end who won with their soaring song ‘Wasted Love’.  

And while Eurovision’s notoriously political voting still echoes real-world geopolitics, even as it attempts to iron them out through the power of music and eye-popping theatrics. It remains a testament to its original mission, an idea conceived nearly 70 years ago to foster inclusivity across Europe post-WWII by celebrating diversity through music.

And which continues to unite countries through this idea, who despite their proximity have disparate cultures and complicated histories. It also provides us as Christians with an object lesson in unity - that differences are to be celebrated and don’t need to be an obstacle to us coming together. Under a uniting mission especially, we can produce something incredible despite what we might disagree on. So while Eurovision’s very diversity makes it the extraordinary spectacle it is, accomplishing everything it stands for is a case in point for why the Bible states that “where there is unity, God commands a blessing”.