Russia's Intervision 2025 aims to be Kremlin-backed rival to Eurovision

Intervision Song Contest 2025 opened in Moscow as the Kremlin revives the Soviet-era festival, presenting a Kremlin-aligned alternative to Eurovision and signaling Moscow’s intent to project cultural power beyond Western borders.

Twenty-three countries are competing, spanning Asia, Africa, the Middle East and the Americas. Uzbekistan is represented by Shohruhmirzo Ganiyev, who performs traditional Uzbek melodies to a contemporary beat while accompanying himself on the doira, the Central Asian drum. Other participants include China, India, Brazil, South Africa, Vietnam, Venezuela, Qatar, Saudi Arabia and Madagascar, with the United States taking part as a symbol of a thaw in some aspects of bilateral relations.

Intervision was revived by a presidential decree to promote international cultural and humanitarian cooperation. Moscow frames the event as a platform for ongoing cultural exchanges despite Russia’s invasion of Ukraine, while Kyiv and its allies view it as a political tool to counter Ukraine’s sovereignty. Ukraine’s foreign ministry has characterized Intervision as hostile propaganda and an attempt to whitewash Moscow’s invasion, a claim Russia says reflects political bias.

For entrants, the competition includes the Russian artist Shaman, represented by Yaroslav Dronov, who has previously drawn international attention for pro-Russia messaging. The United States initially sent Brandon Howard, who performs as B.Howard, but he withdrew before the event due to family considerations and was replaced by Australian-Greek singer Vassy, who lives in Los Angeles. The mix signals the contest’s broad geographic aim but also highlights tensions around Russia’s global status.

During the official draw, contestants were treated to a display of Russian hospitality, with cottage cheese pancakes and gingerbread bearing the Intervision logo. The atmosphere emphasized cultural heritage as participants approached a large samovar to reveal their running-order numbers. Vietnam’s entrant Duc Phuc participated in the draw, as did competitors from many other nations, each presenting a brief sense of their country’s musical traditions.

Intervision operates with a jury system rather than a public vote. Each country contributes one jury member who, in theory, assesses performances and determines the score. A Russian television commentator described the voting approach as unique to Intervision and developed with the help of a noted scientist, though the exact mechanics were not publicly detailed. Uzbekistan’s contestant said he would focus on the performance itself, rather than the intricacies of the scoring.

Historically, Intervision traces its roots to a parallel Soviet-era festival that gathered Eastern bloc nations and occasional Western guests. The festival faded with the end of the Cold War, and Russia joined Eurovision as Moscow’s relationship with the West shifted. After the 2014 invasion of Ukraine, Russia moved away from Eurovision’s openly liberal platform, instead resurrecting Intervision as a vehicle for cultural diplomacy and geopolitical signaling.

Many participants said they were welcomed by organizers even as geopolitics lingered in the background. Renee Kruger, from the South African group Mzansi Jikelele, described a mix of nerves about the war and reassurance that the event had been conducted in a respectful, hospitable environment. The broader question remains whether Intervision will attract a global audience, given large time-zone differences and the absence of a public vote, and whether it can translate Russia’s diplomatic aims into lasting cultural influence on music’s world stage.

Some observers view Intervision as a barometer of Moscow’s ability to maintain cultural ties with a constellation of allies in BRICS, the Shanghai Cooperation Organisation and the Commonwealth of Independent States, even as Western capitals scrutinize its motives. The Kremlin’s delegation highlights the festival as a platform for sharing diverse cultural traditions and for cementing partnerships across a broad geopolitical landscape.

For Uzbekistan, the Intervision stage is also a personal spotlight. Ganiyev described the opportunity to present Uzbek culture to a wide audience and indicated that his country views Intervision as a meaningful destination even as it remains outside Eurovision. The contest’s organizers emphasize its aim to celebrate artistic traditions and to foster international dialogue through music, a goal they say remains at the heart of Intervision despite ongoing geopolitical tensions.

As Russia seeks to project soft power through cultural events, Intervision 2025 will be watched for its ability to translate geopolitical reach into broad artistic appeal. Whether the festival secures a lasting audience beyond regional blocs will depend on how effectively it can blend music with diplomacy in a world paying close attention to Russia’s actions on the international stage.