Finland has revealed its new music video for the Eurovision 2025 contest featuring singer Erika Vikman and her performance of "Ich Komme." The clip, which showcases energetic choreography and bold visuals, has drawn criticism from the Eurovision organizers, the European Broadcasting Union (UER), who deemed it too daring for the event.
According to Vikman, she received notification from UER on March 14, 2025, stating adjustments are necessary prior to the competition slated for May. "They think it'll be 'too much,'" she shared during an interview with the Swedish newspaper Expressen. The singer emphasized she faces pressure not only to change her attire but also to modify the overall theme and gestures of her presentation.
"The UER believes my performance is too sexual. They also want me to cover my buttocks," Vikman explained, indicating her frustration with the request. Despite feeling constrained by the guidelines, she expressed her willingness to adjust her performance to comply with UER's expectations.
Vikman's upbeat attitude shone through as she lightheartedly addressed the controversy on social media. Just hours after receiving word from UER, she posted a joking image of herself dressed as a nun with the caption, "I found my new outfit for Eurovision." This tongue-in-cheek response suggests her resilience and commitment to upholding her artistic vision, albeit within the confines of contest rules.
Finland is not alone in facing scrutiny from the Eurovision organizers. Malta has recently come under fire as well for the performance of singer Miriana Conte, whose song "Kant" contains lyrics deemed potentially offensive. Although "kant" translates to "sing" in Maltese, its pronunciation closely resembles the English vulgarity "cunt"—a term considered derogatory and misogynistic.
Adding to the controversy, Conte includes the phrase "serving kant" within her song, which evokes the English expression "serving cunt," historically reappropriated by queer culture. Concerns over these similarities have prompted UER to intervene, urging adjustments to the performance to avoid misunderstandings or backlash.
This latest decision surrounding the 2025 Eurovision highlights the delicate balance organizers must strike between artistic expression and public sensibilities. The event, renowned for its celebration of diverse musical styles and unabashed theatricality, has increasingly found itself at the intersection of creativity and cultural expectations.
Vikman's predicament serves as a particularly poignant illustration of this tension. While she aims to deliver a performance reflective of her unique style, the UER's feedback indicates concerns over maintaining the festival's family-friendly image. The critique of her performance may resonate with broader discussions about the nature of artistic freedom within competitive frameworks, where rules can often be subjective.
Both Vikman and Conte's situations bring to the forefront the question of how far performers can push boundaries at events like Eurovision, which have evolved dramatically over the years. Once primarily focused on catchy tunes and group performances, the festival has now embraced elaborate staging, provocative dancing, and deeply personal themes—leaving performers with the challenge of adhering to regulations without stifling their creative impulses.
To this end, the UER's intervention has also sparked dialogue among fans and artists alike. Reactionaries argue against sacrificing artistic integrity for the sake of conformity, emphasizing the need for artists to express themselves freely. Meanwhile, others maintain the necessity of reigning in content to maintain inclusivity and universal appeal.
While the outcome of Vikman's and Conte's adjustments remains uncertain, the timeline leading to Eurovision 2025 promises to be laden with anticipation. Though both artists are facing critiques, they also embody the spirit of the festival—boldly innovated yet challenged by the very rules meant to safeguard it.
Erika Vikman’s dedication to her craft and unique vision, coupled with her playful responses to the feedback, reveal the artist's resilience amid the pressures of both artistic expression and institutional regulations. This dynamic continues to shape the narrative as Finland and Malta prepare for their performances at one of Europe’s most watched cultural events.