Who is Luxembourg's Eurovision 2025 act Laura Thorn and what are the lyrics of her song La Poupée Monte Le Son
Luxembourg returned to the Eurovision stage for the first time in three decades in 2024, and they are back again in 2025
Laura Thorn representing Luxembourg performing at the Semi Final Round 2 of the 69th Eurovision Song Contest Opening Ceremony at Messe Basel
(Image: Getty Images )
After returning to the Eurovision Song Contest in 2024 following more than three decades away, Luxembourg is back once again in 2025, this time represented by rising artist Laura Thorn, who will take the stage in the Grand Final in Basel, Switzerland.
Luxembourg took part in the very first Eurovision Song Contest in 1956 and has won the competition on five occasions, making its recent comeback a celebrated revival for long-time fans.
Her entry, La Poupée Monte Le Son, is both a debut and a tribute. The song, which marks her first commercial release, was written by a team of French producers and is a direct homage to the 1965 Eurovision-winning hit Poupée de Cire, Poupée de Son, originally performed by France Gall.
Like France Gall, Laura brings a youthful energy and playful charm to the stage, updating the spirit of the original with a modern pop twist.
Laura's performance embraces the spirit of Eurovision with a generous dose of camp and charm. Complete with pink lighting and a risqué costume change, it leans fully into its cute, girly pop identity that will absolutely resonate with fans of Sabrina Carpenter.
Laura earned her spot in the final through the semi-finals, where her polished delivery and confident stage presence helped reintroduce Luxembourg to the Eurovision stage after a 31-year absence.
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Who is Laura Thorne?
According to the Eurovision website, the 25-year-old is a classically trained musician with a strong background in both performance and teaching. She holds Masters degrees in solfeggio, pedagogy, as well as pop singing — a rare combination that brings both skill and creativity to the stage.
Laura's journey in music began early. She started dancing at five, then took up solfeggio at eight, while also learning to play the piano and cello. For the latest TV and showbiz gossip sign up to our newsletter
Over the years, she added chamber music, harmony, counterpoint, and choral conducting to her training, building a broad foundation that shapes her approach to pop music today.
Outside of performing, Laura works as a music teacher at the Conservatoire de Musique in Esch/Alzette, in southern Luxembourg. She speaks Luxembourgish and French as her native languages and is also fluent in English and German.
Lyrics of La Poupée Monte Le Son
The English translation of this song according to Wiwibloggs:
If all you see in me is a perfect doll Who smiles and then shuts up when you want her to Forget me, I'm not your puppet That's the way it is, that's the way it is Your little game is over
If you think a man like you can manipulate me Go back to mummy, you'd better give up Or else, I'm the one who will dismantle you Beware, beware, Because I'm taking the controls
New instruction manual I can do everything without you It's another setup Another era I make my voice heard So, above all, don't play The ventriloquist
The doll turns up the sound Na na na na na na Remember the lesson Na na na na na na The doll turns up the sound Na na na na na na Watch out, boy Na na na na na na The doll turns up the…
If you thought I was fragile like porcelain Or more malleable, like polyethylene I'm not like that, I need oxygen Don't blame me, don't blame me, A new world is calling me If you were intending to display me in your showcase With your complete collection of figurines, Sorry for you but I alone determine Where my heart goes, my heart goes Yes, I am pulling the strings
New instruction manual I'm relying on myself alone now You see, that's the sign Of another era I make my voice heard To trigger in you The electroshock
The doll turns up the sound Na na na na na na Remember the lesson Na na na na na na The doll turns up the sound Na na na na na na Watch out, boy Na na na na na na The doll turns up the sound
Your doll, as you call her, Turns up the decibels She is the echo of a new generation Without rags or plastic In her specifications, Your doll conducts the music She turns up the… She turns up the… She turns up the sound
The doll turns up the sound Na na na na na na Remember the lesson Na na na na na na The doll turns up the sound Na na na na na na Watch out, boy Na na na na na na The doll turns up the sound Na na na na na na Remember the lesson Na na na na na na The doll turns up the sound
The Eurovision Song Contest grand final will be available to watch on BBC and BBC iPlayer from 8pm on tonight, May 17.
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Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. 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However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
