Music events drive travel, this much we know after the worldwide economic phenomenon that was Taylor Swift’s Eras tour. Swift’s 2024 global run of shows broke records as the first to gross $2 billion (€1.7 billion). Fans sought to find available tickets and combine the gig of a lifetime with a bucket list trip, in line with documented travel and leisure trends that show a growing consumer taste for experiencing a live show in a special place.

Celine Dion’s 16-date run in Paris’ La Défense Arena in September and October 2026 looks set to be no exception. Since it was announced in March, accommodation providers in the City of Lights have reported a surge in interest. Hotel brand Adagio, which boasts 10 hotels in the La Défense district alone, has seen a 400% rise in bookings, and Booking.com reports a 49% spike in “Paris” searches.

Overall, it could add up to a whopping injection of revenues. The president of business and destination agency, Choose Paris Region, Alexandra Dublanche told AFP stakeholders are anticipating a Dion-shaped uplift to the regional economy of between €300 and €500 million, while MKG analyst Vanguelis Panayotis, said “the Dion effect” could be worth more than a billion. “The economic benefits could reach €1.2 billion if taking into account transportation, and all the associated expenses and logistics of Dion’s support team as well as fans,” Panayotis explained.

By demand, six shows have been added to CELINE DION PARIS 2026 this September and October at Paris La Défense Arena.

Pre-sale is happening now through April 9. If you pre-registered for the pre-sale keep checking your email for access.

For details visit… pic.twitter.com/JTZ9SBpmZM

— Celine Dion (@celinedion) April 7, 2026

Paris is not usually short on visitors. The city (and country) is consistently one of the most-touristed in Europe and the world, and even as a destination accustomed to the limelight and designed with wide Haussmanian avenues, it has suffered its own problems with overtourism, including an emergency shutdown by overwhelmed staff at the Louvre art museum. But that popularity has not stopped it promoting the prospect of Celine Dion making it the home of what is being billed as her comeback tour. Even the Eiffel Tower was illuminated to celebrate and signal the beloved singer’s return.

As a bilingual francophone and anglophone, Dion enjoys a special relationship with France, Paris and, indeed, the Eiffel Tower. The opening ceremony of 2024’s Paris Olympic Games culminated in her performance of the Edith Piaf anthem, Hymne à l’Amour from the tower’s balcony. Now, with the fall tour drawing closer, as the song declares, those who love each other shall be reunited, much to the joy of the travel sector.

L’article Céline Dion’s 16-date tour to drive millions in Paris tourism revenue est apparu en premier sur Travel Tomorrow.

The latest “K-craze” in Australia is partly driven by the runaway success of the animated film K-Pop Demon Hunters, which is now Netflix’s most-watched film of all time, but its appeal goes far beyond a single blockbuster. Australians say they are being won over by the country’s creativity, kindness, and cuisine.

Travel insurer PassportCard Australia has seen this trend reflected in its sales figures, with travel insurance purchases for South Korea rising by 47% between October 2024 and March 2025 compared to the previous six months. September also saw a sharp uptick.

The scale is remarkable. By August 2025, K-Pop Demon Hunters had become Netflix’s most popular film ever, with more than 236 million views.

THEIR #1 ERA

With 236 million views, KPOP DEMON HUNTERS is OFFICIALLY the most popular Netflix film OF ALL TIME. pic.twitter.com/A6yEiXzbHd

— Netflix (@netflix) August 26, 2025

And as Michael Storozhev, PassportCard’s chief underwriting officer, told Explore, “Australians aren’t just watching Korean culture anymore, they’re booking flights to experience it firsthand.”

Storozhev also noted that, “while Japan, Vietnam and Thailand have historically been popular, we have not seen the same growth there – and in fact, we saw a 30 per cent decline in the number of travellers to Japan, and growth in Vietnam and Thailand was less than 20 per cent over the same time period.”

The cultural driver goes beyond just music. Justin Hong, general manager of Trip.com Korea, noted that “Korean pop culture has captivated hearts worldwide, and this is driving travel to South Korea, as well as a global demand for local cultural experiences. Our latest data shows that the travel surge is largely driven by Millennials and Gen Zs, highlighting the massive appeal and influence of Korean pop culture among young travellers worldwide.”

K-pop’s global popularity can be traced back to the viral success of Gangnam Style, which introduced a generation to Korean pop culture and paved the way for the current explosion of interest. This influence continues to grow. In 2025, Apple TV+ launched K-Popped, starring Psy alongside Megan Thee Stallion. The show blends Western and Korean music cultures for a global audience.

K-pop is about to get savage.#KPOPPED — August 29 pic.twitter.com/2bPl2OOw6E

— Apple TV (@AppleTV) August 29, 2025

According to Trip.com data, three in five Millennial and Gen Z Australians say that films and TV shows influence their choice of travel destination. This includes K-drama tourism, where fans visit the filming locations of their favourite series and films.

Cosmetics are another major draw. One in three Gen Z travellers says the K-beauty industry motivates their trips. South Korean skincare, celebrated for its quality and affordability, has become a global benchmark.

Peter Klemt, CEO of PassportCard Australia, has noticed a clear shift: “We’re seeing a generational change where online content drives offline travel. For many younger travellers, inspiration comes from culture first – whether via TikTok, K-pop or films. The K-wave is setting the pace.”

Then there is the food – K-food, to use the inevitable shorthand. While Korean BBQ remains popular, Australian travellers are increasingly seeking out street food staples such as tteokbokki and hotteok, which are heavily featured on TikTok and Instagram.

From K-pop to K-beauty and K-drama to K-food, Korean culture is not just trending in Australia – it is influencing travel decisions and has become a major driver of tourism.

L’article South Korea becomes Australia’s hottest travel fix est apparu en premier sur Travel Tomorrow.

Where music is born

There’s something about music in Xinjiang that feels different. It’s not just what you hear — it’s where it comes from, not from fancy studios or big-name artists, but from dusty courtyards, handmade instruments, and centuries of passed-down legends and motives.

If you’ve ever wondered what it really means to hold onto tradition, there’s no better place to experience it than the Ethnic Musical Instrument Village in Shufu County, where all instruments are still made by hand. 

It’s a living example of how tradition can shape a community’s future. With over 150 years of history, this village has become a centre for the preservation and production of traditional Uyghur musical instruments. About 68% of the villagers are involved in the craft, producing over 50 different kinds of instruments across 27 categories — from the dutar and chewawa to the sattar. 

Each piece is handmade, often using mulberry wood and cow bone, and can take more than a week to complete. Recognised as a national intangible cultural heritage site and the first batch of productive protection demonstration bases in 2012, the village continues its legacy through a master-apprentice system, training more than 150 young artisans.

The pulse of Uyghur music begins not with a melody but with hands that carve. Stepping into the village, visitors are greeted by the scent of mulberry wood, the rhythmic tapping of chisels, and the gentle hum of strings being tightened. The instruments made here — dutar, rawab, ghijek, sunay, naghar, among many others — each one is a living artefact, shaped by generations of inherited skill and deep cultural knowledge. 

Alongside the crafting process, visitors also have the chance to hear the instruments played, filling the air with the distinctive sounds of traditional Uyghur music, offering a full sensory experience of the region’s musical heritage.

In the workshop, tourists also have the opportunity to meet and talk to real artisans – masters of their craft. One of them, Imin Khushur, now in his eighties, has been making instruments since he was a kid, guided by the legacy of previous generations who passed down the craftsmanship traditions. “A deep love for music makes me continue my work for 75 years,” he says, “It’s not easy work, but it’s good work. You get to make something with your hands, and when you hear that the instrument sounds right, it feels right.” 

“Sometimes it takes days just to get one part right,” he says with a smile. “But when someone plays it and it sounds good, you forget how tired you were.” 

The village received the status of a National Demonstration Base for Intangible Cultural Heritage in 2012, which has brought more attention to the business. With support from local government and the growing appeal of cultural tourism, the workshops have welcomed more than 70,000 tourists, according to data collected by May 2025.

Tradition lives, breathes, and flourishes at Shufu County’s village, which is more than just a place where instruments are made. In order to respect the past while constructing a future, generations of Uyghurs managed to combine traditional skills with contemporary equipment and tourism. It stands as a powerful example of how culture, when nurtured with care and shared with others, can become both a source of pride and a path to prosperity.

Where music lives — the Xinjiang Regional Museum and the Muqam Art Troupe

Uyghur music, deeply rooted in the region’s ancient history and shaped by centuries of cultural exchange along the Silk Road, reflects the rich and complex heritage of the Uyghur people. Central to this tradition is the Muqam — a unique blend of poetry, storytelling, dance, and instrumental performance — recognised by UNESCO as an Intangible Cultural Heritage. A complex and deeply revered art form, the Twelve Muqam comprises over 300 pieces and spans more than 20 hours, offering a powerful emotional and narrative experience.

To begin understanding Muqam, tourists might visit the Xinjiang Regional Museum in Urumqi. With over 40,000 cultural relics — ranging from prehistoric mummies and Silk Road maps to musical instruments and traditional costumes — the museum provides a comprehensive overview of Xinjiang’s past and ethnic diversity. Their expositions trace the evolution of regional music while also providing an in-depth experience of the Muqam tradition. And the museum doesn’t just inform — it prepares, because next, visitors can see the real thing, at Xinjiang Art Theatre, home of the Muqam Art Troupe.

Founded in 1949, the troupe is more than just a performance group — it’s a keeper of history. Here, Uyghur artists carry forward the Twelve Muqam, a centuries-old musical tradition recognised by UNESCO in 2005 as part of the world’s Intangible Cultural Heritage. It represents a rich synthesis of music, dance, poetry, and storytelling, reflecting the history, culture, and social values of the Uyghur people.

What makes Muqam so powerful isn’t just its beauty — it’s its humanity. These songs once told stories of love, war, grief, and faith, and when you watch them performed on stage by people who have studied not just the music but the feeling behind it, you realise you’re witnessing something rare. Not just a performance, but a living link to the past.

Each Muqam suite is a journey in itself, comprising three main parts: naghma (melody), dastan (epic narrative), and meshrep (folk dance and celebration). A complete cycle can take several hours, shifting in mood and rhythm, drawing on centuries of oral poetry and musical structure.

Performers with the Muqam Art Troupe undergo rigorous training, not only mastering vocal and instrumental techniques but also absorbing the cultural and historical weight of the tradition. Their stage presence is captivating — women wear elegant, brightly colored dresses made of flowing silk or velvet, often decorated with intricate embroidery and beadwork. Outfits usually include long skirts and fitted bodices, with sheer sleeves or scarves that move gracefully as they dance. Some complete their look with traditional headpieces ornamented with beads, coins, or feathers, adding a touch of sparkle and tradition to their performance. Men wear traditional outfits made of silk or cotton, often in deep, rich colours. Their clothing typically includes long tunics or coats with embroidered patterns, paired with wide trousers and soft boots. Many also wear doppa — the square-shaped Uyghur hat — adding a distinct cultural touch to their appearance on stage.

Right now, the troupe is preparing The Soul of the Silk Road show, a two-and-a-half-hour performance that blends traditional Muqam music with modern elements like piano and electronic instruments, creating a unique, contemporary fusion. Featuring acoustic regional sounds, it showcases the rich musical heritage of Muqam art, shared by over 90 countries and rooted in Arabic and Central Asian culture. The show has already aired on local TV, and now, the troupe is preparing to take the performance abroad, with international shows planned for next year. 

Even glimpsing small parts of the show reveals a Muqam performance as a deeply emotional experience, a bridge connecting past and present, rooting personal identity in collective memory that continues to unfold. When asked to describe this art in a single word, one of the performers responded without hesitation: “Significant.”

Alongside Muqam, the Uyghur musical landscape includes epic tales, folk songs, and spiritual genres. These forms, shaped by both nomadic and settled lifestyles, express themes of love and life’s hardships, carried through melodies that mirror the vast and varied landscapes of Xinjiang.

A journey through sound and spirit

The journey from Shufu to Urumqi reveals more than music. It is a journey into the heart of Xinjiang’s intangible heritage, where craft and creativity come together in remarkable harmony. In the village workshops, music is carefully born, shaped by wood, hands, and patience. On the theatre stage, it comes alive — voiced in poetry, breath, and motion.

Together, these experiences offer a rare opportunity: to witness the full life cycle of a cultural tradition, from raw material to refined performance. And along this journey, we hear people speaking across time, in rhythm, and spirit. The sounds of Xinjiang continue, not only in recordings or memory but in the living hands and voices that still carry them forward.

L’article Sounds of Xinjiang: From traditional instruments to Muqam performances est apparu en premier sur Travel Tomorrow.

Between 11 July and 14 September 2025, singer Bad Bunny will be hosting a series of 30 concerts in Puerto Rico. The residency, known under the name ‘No Me Quiero Ir de Aquí’ (I Don’t Want to Leave Here), will take place at the Coliseo de Puerto Rico is expected to boost the country’s tourism sector far beyond the concerts alone.

The impact of the residency became clear from the start. Bad Bunny announced the events on 13 January 2025 (with tickets selling out a few days later) and according to data gathered by ForwardKeys, international flight searches to Puerto Rico reached 510,000 the next week – about seven times as many as the week before. Especially flights departing from Los Angeles, Mexico City, and San Francisco proved to be popular.

Since then, hotel bookings and other holiday rentals have reached all-time highs, and according to Glorianna Yamín, vice president of marketing at Discover Puerto Rico, people are clearly extending their stay beyond the actual concert date.

“It’s definitely a change for the industry. The entire tourism industry is getting ready. We are making sure that we’re educating those visitors; first, so they behave as they should, but also so they’re intrigued about our culture, our music, our history, our gastronomy… things Bad Bunny touches on in his album and already has momentum with,” Glorianna Yamín told USA Travel Today.

Indeed, on his latest album ‘Debí Tirar Más Fotos’, Bad Bunny makes a case for Puerto Rico and against the consequences of mass tourism. His song ‘LO QUE LE PASÓ A HAWAii’ directly addresses the issues at stake, such as protecting the local culture and being aware of the possibly negative impact of overtourism.

“Don’t let go of the flag … I don’t want them to do to you what they did to Hawaii,” he sings.

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Tourism but do it sustainably

In order to ensure a positive outcome for Puerto Rico, the tourism board has launched several initiatives to educate tourists and to try and limit the ecological impact of the growing visitor numbers. For example, the campaign ‘Return the Love: A Call to Celebrate Puerto Rico’ is an invitation to explore Puerto Rico responsibly and to leave both natural and cultural sites better then they found .

“Whether it’s supporting local businesses, protecting natural resources, or embracing our culture with gratitude, these are simple ways to travel mindfully. Through short videos and tips from local experts, you’ll learn how to enjoy Puerto Rico in a way that respects the destination and preserves its magic for generations to come.”

Another campaign launched by Discover Puerto Rico is called ‘The Green Path’. By completing four learning modules about sustainable tourism, travellers can obtain a certificate proving they’re ‘responsible travellers’, which in turn unlocks exclusive discounts from participating businesses.

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According to Alejandro Pabón, the Move Concerts promoter behind the residency, about 200.000 international concert goers are expected, which is a milestone in itself. The period of the concerts isn’t a coincidence either, as the month of July is traditionally the least popular to visit the country.

Moreover, the global number of international visitors might be even higher than the 200.000 concertgoers from abroad who bought a ticket, and the ‘No Me Quiero Ir de Aquí’ residency might even start a trend. In an interview with Billboard, travel and concierge expert Rob Dellibovi, CEO of RDB Hospitality, states other artists might very well follow in Bad Bunny’s footsteps by opting to host a residency in their native country instead of organising an international tour, thus effectively boosting the tourism industry.

L’article How Bad Bunny’s residency is boosting tourism in Puerto Rico est apparu en premier sur Travel Tomorrow.

The first ever World Music and Tourism Festival in Kinshasa, Democratic Republic of Congo, is set to take place from 16-18 July 2025, in a collaboration between President Félix Tshisekedi’s government and UN Tourism. It represents, according to a press release, “a unique opportunity to promote the DRC destination,” and will showcase the Congolese Rumba, which was recognised on UNESCO’s Intangible Cultural Heritage List in December 2021.

Programme and venues

Traditional, urban, folk will also feature at the event, through “rhythmic and immersive performances from around the world” as well as a series of roundtables, addressing music as a unifying art form, issues related to copyright and intellectual property, the dynamization of destinations, the digital revolution, and the role that young people play in innovation and the promotion of musical heritage.

Venues include the newly inaugurated Centre Culturel des Arts – a 93,000m² complex financed through millions of Chinese and US dollars – as well as the Palais du Peuple, inspired by the architecture of the Great Hall of the People in Beijing, and the  recently transformed Gare Centrale area.

In addition to the gigs and panel events, the itinerary also offers a major food fair presenting cultural and gastronomic “treasures”;  an exhibition park with arts, crafts, and fashion stands; guided tours of the city of Kinshasa; and excursions on the iconic Congo River.

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Promoting Brand Africa and South-South ties

The DRC is launching the festival at a key moment for music and the travel and tourism sector, in the wake of a new report by Grand View Research that projects 18.8% growth in music travel worldwide over the next five years, amid increasing fan engagement with their favourite artists and iconic events, as well as surging investment in festivals and gigs by governments and tourism authorities.

Organisers emphasise that the initiative is “fully in line” with the priorities of the UN Tourism Agenda for Africa and the goal of Tourism for Inclusive Growth. A vision document sets out how the festival is designed to advocate for Brand Africa, promote cultural heritage and innovation, and empower young people.

Through its exploration of rumba, it also aims to strengthen so-called “South-South” ties, presenting different forms of artistic expression and cooperation between Africa and the Americas, and consolidating links between Latin America, the Caribbean, Africa, and beyond. Registrations for the event close on 27 June 2025.

L’article Kinshasa to host first ever World Music and Tourism Festival est apparu en premier sur Travel Tomorrow.

Providing a 110-page analysis of events companies such as AEG Presents, Glastonbury Festivals Ltd, Live Nation, Lollapalooza, Ticketmaster, and Tomorrowland, the findings by Grand View Research, put the current value of worldwide music tourism at $96.78 billion (around €86 billion).

The impact of music events on local economies was illustrated recently by US megastar Taylor Swift, whose global Eras tour prompted the coining of the phrase “Swiftonomics” to describe the significant uplift in tourism and the hospitality sector in cities where she performs. Fans travelling to attend her concerts spend money not only on travel and gig tickets, but on accommodation, food, and other entertainment.

18-34 age bracket

Though the economic alchemy of music is not restricted to the arrival of the American Girl, the report finds that consumers in the 18-34 age bracket are particularly likely to take part in “experience-driven consumption, wherein cultural, emotional, and social experiences are prioritised over material possessions.”

Performers such as Beyoncé, Blur, and Harry Styles contributed to a 33% surge in UK tourism in 2023. In fact, some events are worth so much that destinations are increasingly prepared to pay out to support festivals and attract high-profile performers, the report points out. The Western Australian government shelled out $8 million to help secure two Coldplay gigs in 2024, causing an anticipated Rush of Blood to fans’ heads and, according to official estimates, generating a financial return in the tens of millions.

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Festivals franchising worldwide

As well as the effect of individual groups or performers, the report highlights the economic power of festivals, some of which have become popular enough to support international franchising. Miami’s Ultra Music Festival, for instance, has now taken place as far and wide as Australia, Brazil, Croatia, South Africa, and South Korea.

Paying to attract multimillionaire performers and expanding local music festivals on a global scale might seem cynical, however, the report’s authors note that the growth of music tourism “is largely driven by a desire to engage with local culture in deeper ways. Rather than merely visiting landmarks, travelers seek activities that foster personal connections, emotional engagement, and cultural enrichment.”

Music tourism offers tourists “a chance to connect with local culture through music, often in authentic and memorable settings,” they say, adding that this “fosters a deeper emotional bond between the destination and the tourist, encouraging repeat visits.”

If their estimates are correct, the sector could reach USD $267.85 billion (€248 billion) by 2030.

L’article Music tourism set to exceed €248 billion by 2030 est apparu en premier sur Travel Tomorrow.

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1. Sweden: KAJ – “Bara bada bastu”

Right now, Sweden has the leading position to take home the trophy with their Finnish-Swedish trio KAJ and their catchy song “Bara bada bastu”. The track is a quirky, upbeat celebration of Finnish sauna culture, performed in the Vörå dialect of Finnish-Swedish, which gives it a unique and local flavour. The playful energy and folk rhythms of KAJ have received great approval from the audience, putting Sweden at the top of the betting list with a winning probability of a whopping 41%. 

2. Austria: JJ – “Wasted Love”

Hot on Sweden’s heels is Austria’s JJ with his emotional ballad “Wasted Love”. JJ’s impressive countertenor voice brings a classical touch to a modern pop sound. The song’s heartfelt lyrics and powerful melody have made it a favourite among fans and critics and even secured a leading position for the Travel Tomorrow editorial team. Austria currently has around a 19% chance of victory, so this one is definitely not to miss on and maybe even the one to bet on.

3. France: Louane – “Maman”

France’s Louane enters with “Maman,” a soulful tribute to her mother that has touched the hearts of many fans. The song’s emotive lyrics reflect on the pain of losing her mother and express gratitude for the love and lessons she learned. Louane’s compelling performance has positioned France as a strong contender, with a 6% winning probability. 

4. Israel: Yuval Raphael – “New Day Will Rise”

Yuval Raphael’s “New Day Will Rise” is a song of pure hope and determination. It’s an emotional ballad that has been garnering a lot of attention — both for the music and the message behind it. Despite some political buzz around the song, Yuval’s incredible vocals and inspirational lyrics plus performing in three languages, English, French and Hebrew, have put it in the hearts of thousands across the globe. Betting odds are giving Israel around a 5% chance, but as with every Eurovision contest, anything can happen on the show night.

5. Belgium: Red Sebastian – “Strobe Lights”

Last but not least, we have Belgium with Red Sebastian’s upbeat song “Strobe Lights”. The song gives Eurodance rhythm, with electronic-techno vibes that can bring anyone on the dance floor straight away. Although not as high in the odds as Sweden or Austria, Belgium’s catchy track has earned it a spot among the frontrunners, with chances at around 4%. However, each performance has its unique sound on the night of the show, so it’s for sure the artist to keep an eye out for. 

Countdown to the first semi-final

As we gear up for the first semi-final tonight, the excitement reaches the highest point. While Sweden remains the top favourite, Austria’s captivating ballad and France’s heartfelt lyrics are not lagging. Adding to the suspense, Israel and Belgium are also all set to bring their unique voices to the stage.

Eurovision is known for surprises, and a standout performance tonight could completely shake up the odds. One thing’s for sure — fans around the world will be glued to their screens to see who secures a spot in the grand final. With rehearsals wrapping up and final touches being made, the show is all set to kick off. Get ready for an unforgettable night! 

L’article Who will win Eurovision 2025? Betting odds favour these countries est apparu en premier sur Travel Tomorrow.

St. Jakobshalle will be the site of the main venue of the competition, starting with the First Semi-Final on 13 May, the Second Semi-Final on 15 May, and finishing up with the highly anticipated Grand Final on 17 May. This year 37 countries are taking part in the contest, with 31 competing to secure a spot in the semi-finals in a bid to get into the final. As ever, the “Big Five” of France, Germany, Italy, Spain, and the UK, along with the host country, Switzerland, are already qualified for the Grand Final.

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Getting to Basel

It is easy to reach Basel, as the EuroAirport Basel-Mulhouse-Freiburg is connected with various international flights, and the central train station facilitates arrivals from other large European cities. Once in Basel, it is easy to move around, thanks to Basel’s efficient public transport system. On top of that, ticket owners for Eurovision events at St. Jakobshalle, the main venue, the Arena plus, a large outdoor fan area, or the EuroClub, an official after-hours party venue, can travel on local transport for free throughout their stay.

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Immersing in Eurovision spirit

Basel will be buzzing with Eurovision fever, and visitors don’t even need a ticket to become swept up in the atmosphere. Messe Basel opens its doors to the Eurovision Village from 10 to 17 May with live performances, food stalls, and official fan gear. If you’re in the mood for a night out, visit the EuroClub at Messe Basel, where parties every day keep the energy high. For a more relaxed setting, the EuroCafé is a perfect spot for chilling out before the show and chatting with fellow fans, it’s accessible for everyone as no tickets are required, plus open daily from 4 p.m. Alternatively, travellers can see the performances live in Eurovision Square at Barfüsserplatz, where each day artists will play different music genres, ranging from jazz and classical to hip-hop and, of course, Eurovision hits, or stroll down Eurovision Street at Steinenvorstadt to see the boulevard performers and grab a snack from the food trucks.

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One of the most exciting highlights of the Eurovision week in Basel is the Turquoise Carpet event on 11 May, where 37 competing artists make their grand entrance along the longest turquoise carpet in Eurovision history, as it will stretch from the town hall across the River Rhine to the exhibition centre.

Practical tips for visitors

Finding a place to stay during such big events might be a challenge, so it’s better to book in advance as rooms are grabbed quickly. Desire a luxury hotel or a budget hostel? Basel has you covered. Some even include a BaselCard, which offers free public transport as well as discounts on the surrounding area’s attractions. Those who are on a budget may also consider nearby towns like Liestal, Rheinfelden, Olten, or Mulhouse, all easily accessible by train. When it comes to staying connected, consider purchasing an eSIM, since Switzerland is outside the EU, the usual free roaming rules don’t cover it.

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Exploring Basel beyond Eurovision

Beyond Eurovision celebrations, take time to explore Basel itself. The Old Town is a must-see, with its charming medieval architecture and cosy cafes. Be sure to check out the Basel Minster, where you can take in spectacular city and Rhine River views. Art lovers will appreciate visiting Kunstmuseum Basel, which houses a vast collection of paintings. For another perspective, take a Rhine river cruise and look out over the city from the river.

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Eurovision 2025 in Basel promises to be an unforgettable experience, bringing together music, culture, and fans from around the world. Whether you’re a long-time Eurovision lover or just curious about the event, Basel’s unique atmosphere is sure to make your visit memorable. Be sure to check out the official city page for more details and updates.

L’article What to know before travelling to Basel for Eurovision 2025 est apparu en premier sur Travel Tomorrow.

While audience rules have been relaxed – fans will now be allowed to wave a range of banners, from Pride to Palestine, as long as they comply with Swiss law – the performers are now restricted to displaying only the official national flag of the country they represent.

Eurovision has increasingly struggled to present itself as apolitical.

The 2024 edition was marred by the war in Gaza and calls for Israel to be banned (reiterated this year). The Israeli contestant was forced to remain in her hotel room except for official Eurovision events due to threats to her safety, while her performances on stage were met with boos from the public that were only muffled by noise-reducing technology. That same year, the contest’s winner, Nemo, smuggled a non-binary flag onstage after officials refused it, while Sweden’s Eric Saade wore a keffiyeh during his performance in support of Palestinians.

Eden Golan – Israel’s Eurovision entry – breaks down in tears after her highly emotional performance tonight.
Imagine being only 20 and having thousands of extremists targeting you simply for representing your country by singing.#Eurovision2024 pic.twitter.com/TLa0E03yrE

— Dan Wootton (@danwootton) May 11, 2024

In an attempt to rein in disruption, or, as the statement read out by the Danish delegation put it, for ‘visual clarity and neutrality’, the EBU has issued new rules on flags. In a statement to Metro, the EBU said it ‘wanted to strike a balance to ensure that our audiences and artists can express their enthusiasm and identities, whilst at the same time provide more clarity for the delegations when it comes to official spaces’.

Under the updated policy, developed jointly by the EBU and Swiss host broadcaster SRG SSR, performers and delegations in official Eurovision spaces are only allowed to display their country’s official flag during all official Eurovision events. These areas include the main stage, the Green Room, the Eurovision Village stage and the Turquoise Carpet at the Opening Ceremony. In a departure from previous years, the new rule now explicitly bans LGBTQ and Palestinian flags, among others.

DR has revealed the flag policy for #Eurovision 2025:

The audience can bring any flag as long as they do not violate Swiss law.
Delegations may only participate with their country's official flag, disallowing other flags like pride flags. pic.twitter.com/EmqyJjmOi7

— ESC Discord (@ESCdiscord) April 25, 2025

Watched by 160 million people worldwide, making it one of the largest televised events in the world – and an effective stage for soft power, examples abound of artists, audiences and nations using Eurovision as a platform for political messaging.

In 2009, Georgia withdrew from the contest after its entry We Don’t Wanna Put In was deemed too political. Russia was disqualified in 2022 after its invasion of Ukraine. Flags have also played a role: in 2016, Armenia’s Iveta Mukuchyan was sanctioned for waving the flag of the unrecognised republic of Artsakh; in 2019, Icelandic act Hatari was fined for displaying a Palestinian flag.

The new regulations do not, however, prohibit viewers from bringing any flag that is allowed under Swiss law into the official Eurovision space. This includes pride, Palestinian and other non-national flags. Banners will be banned if they promote racism or discrimination, incite hatred or violence, contain symbols of banned terrorist organisations, or are considered offensive or defamatory.

LGBTQ+ pride flags in Eurovision flag parades are quite rare.

2014 to 2021 – no artists
2022 – S10 (rainbow), Systur (transgender), Sheldon Riley (rainbow)
2023 – Marco Mengoni (progress)
2024 – Nemo (non-binary) pic.twitter.com/xhaVUjxcHA

— Principe (@Pri_Letterman) May 26, 2024

The new policy has been criticised by LGBTIQ+ organisations and several broadcasters, who accuse Eurovision organisers of hiding bias and identity erasure behind a veil of neutrality.

Non-compliance carries varying risks; artists risk sanctions under EBU rules, audience members can be ejected from the venue or have materials confiscated if they break Swiss law.

As Betsy Ross once said, behind every stitch lies a story to be told, and this year, Eurovision’s fabric is more political than ever.

L’article Swiss and EBU rules are shaping the most political Eurovision yet est apparu en premier sur Travel Tomorrow.

This was a deeply poetic, spiritual and melodic hour of being transported by the dialogue of the instruments, while making a statement of commonality and unity, knowing no borders. This concert went far beyond making an obvious statement on the importance of intercultural dialogue. The concert was a living co-creation, a majestic, evolving new thing in itself, fundamentally more than a combination of instruments. Each instrument sounded not just as itself, but its meaning fed on the contrast and resonance with the other instruments. A new instrument was alive on stage with seven voices.

It is, of course, best to experience the musical magic live on stage when Mostafa Taleb’s About That Magic Circle gets together, but I hope these words manage to whet your appetite for immersing yourself in the real thing.

Some of the first notes felt very modern, with a minimalistic, atmospheric feel, but this evolved rapidly into something far richer, more than intriguing music-for-musicians-and-the-afficionado, but a rich narrative, an exchange, a creation, a musical poem and a journey.

Mostafa’s composition was inspired by the Persian poet, mystic, and philosopher Attar of Nishapur (c. 1145–1221), author of The Conference of the Birds (Mantiq al-Tayr) and The Book of Suffering (Musibat-Nama), with its themes of water, air, earth, and fire. 

In Attar’s Book of Suffering, a person seeking wisdom turns to the elements for answers. Each in turn says that they cannot help. Air says, ‘I am too weak, as soon as I stop moving, I cease to be’. Water says, ‘ How can I help, I who cannot do anything without the wind and the support of the sky?’ The Fire of Anger cries and through the tears turns to water. ‘See when I stop, all is destroyed; only dust is left. How can I help you?’ Earth concludes, ‘While all comes from me and returns to me… I am nothing without water, wind, fire. So how can I help you?’ 

Each element on its own cannot help, but working together, they can be creative forces. The fifth element, the soul, allows the emergence of life, the ultimate mystery. So, Mostafa Taleb asks, how can I use the positive element? “Establishing the unity of the five elements can perhaps make the world a little bit more beautiful.” This he achieves by bringing together six musicians, seven instruments, their song of the four elements and the voyage of the soul seeking wisdom.

The Magic Circle represents the sacred space where transformation occurs. The CD booklet says that in mystical traditions, a magic circle is a boundary between the ordinary and the spiritual, a place of deep introspection and self-purification. Through this music, listeners step into their own “magic circle,” embarking on a journey mirroring the seeker’s path in The Book of Suffering, even though the concert is quite the opposite of suffering.

The concert kicked off with Sussurus Winds where each instrument plays short melodies in parallel (though with slightly deferred starting points), like little gusts of wind that dance – first separate, here and there, as if to say, yes there are many winds and they each whisper to those near, but everywhere is local, separate. The volume rises, and the winds grow and dance, first apart, but note after note they approach each other, test each other out, then converge and dance together, their voice stronger together, profound, powerful. 

After the air comes water, fire, and earth. Water (Near, Yet Far) started with the slow drip drip drip of rain of the tar, then flowing water, that, extracted from the info pamphlet, represents a cleansing and purifying energy. Fire adopts faster tempos, more aggressive rhythms, and intense harmonic clashes, communicating passion, transformation, conflict, and even destruction, the burning away of impurities to find wisdom, for spiritual awakening. 

Earth (Astral Passage) adopts more stable, grounded, and deliberate musical structures, symbolizing a return to balance. The Earth absorbs and cools the heat of fire, providing stability and support.  Mostafa Taleb’s fifth element – the Soul (Fallen Verse) moves away from the dance of six instruments and is a solo performance, the individual’s journey toward enlightenment, portrayed with softer, more reflective melodies, inviting introspection and connection. 

In the final section (The Endower), a 7/8 rhythm is used, symbolising the uneven, lopsided journey of the human soul toward perfection (we all zig-zag in life). The irregularity of the rhythm reflects the struggles, the hesitation, and the slow progress of the seeker on their path to personal growth, higher knowledge and enlightenment.

It was a magnificent exploration of each element, a movement, a dance, a development, growth, communication, and the elements are brought together to an ever more sophisticated dance, but not into a classical crescendo, but more an organic, growing evolution into a breathing soundscape. It becomes almost a living creature of notes. Even though the acts are sequential, in the end, it is as if the whole concert of notes and feelings still floats as a whole, time-forgotten, independent of space and time. It lives on in us.

It was a truly mesmerising and beautiful hour telling us what we all can help make happen and enjoy if we let it, if we nourish it. It takes the breath of the soul. It is our opportunity, indeed perhaps even responsibility, to be a conductor of the elements in our small worlds and join others already conducting their elements into an ever-growing dance. We are far more than the sum of the parts, doubly so if voices work in resonance, we engage in harmony.

In these times, where the world order seems to be heading toward chaos and confusion, where hate is infecting language, it is all the more important to listen to music that is a fusion of instruments, a dialogue between us, a joint creation, not an inevitable destruction. We have a choice – there is a narrative of hope. Go, listen to Mostafa Taleb’s About That Magic Circle – on Spotify and all other music platforms, but much better on stage. There you can see the musicians inspire each other, and wow, when you see the infectious pleasure that one instrument gives another, one culture gives another, it brings a calming hope. I particularly loved the mutual appreciation of the tar for the double bass and vice versa. Rain can be impressed by the earth, by thunder. And the earth welcomes the rain that dances down.

Which instrument dance touches you most will be personal. Let yourself be invited in and mesmerized by the kamancheh, drawn in to hear and feel the dance of elements and the creation of something new, driven by the breath of Mostafa Taleb’s soul, and wrapping together the cello, violin, double bass, percussion, and tar. Something new and special was created. It lives on even after the instruments stopped. 

Keep an eye and ear out for Mostafa Taleb and his About That Magic Circle. 

L’article Magical notes about that Magic Circle  est apparu en premier sur Travel Tomorrow.