ROMANIA 2026

The Romanian act and song was chosen on 4th March through the national final "Selecția Națională". A seven-person jury was used to find a winner. Going to Vienna is Alexandra Căpitănescu singing "Choke me". 

Alexandra is with a drummer and keyboard player (both on plinths and behind bars) and two guitarists . All five are in black leather with metal embellishments. The stage is black with an unusual light green glints of light that are almost macabre. A video of her singing is on the backdrop as well as flashes of numbers and codes. You can easily see her during the wide shots and she can find the camera when singing down the lens. There is no full on choreo but she moves around - including floor work - emotes through her poses and interacts with the band. Alexandra has a clear voice and creates unexpected moments by adding in some operatic twists. The English text talks about a longing desire which can take your breath away but can become something more like a stranglehold. Previous Eurovision entries from Eldrine and Hanna Pakarinen may also put you in mind of this song.

The song gets an enthusiastic response and there was much relief that this song won. The setting is basic however Alexandra's performance elevates this; a 'less is more' approach lets Alexandra's skills shine. The ch-ch-ch earworm is a clever one. The spikey top needs rethinking; it lost its shape and could get in the way of her movements. Some on screen effects during the operatic parts could give it more identity. The song is dated but this simple professional setup and Alexandra's rock vocal could make it qualify.


ARTIST -  Alexandra Căpitănescu
SONG – Choke Me
WRITING/PRODUCTION CREDITS – Alexandra Căpitănescu, Ștefan Condrea, Călin-Alexandru Grăjdan, Elvis Silitră

AUSTRALIA 2026

The song and act representing Australia were both unveiled on 1st March with the premiere of the music video on youtube. Going to Vienna is Delta Goodrem performing "Eclipse".

The video has a very Australian, sandy, summery feel which uses mirrors and reflections to create flashes of light and cause optical illusions. This setting also is reminiscent of Voyager's video from 2023. The song is in an adult contemporary style with a number of different orchestral parts - prominent drum, piano and harp - which adds to the ethereal feel. The song structure shows off Delta's vocal range. The song also has a key change during the last chorus. Delta wears a number of similar floaty gowns in different colours and there is a lot of wind used to show them off. The song is in English and uses the astronomical event of an eclipse as a metaphor for when people make connections and how amazing things can happen when the timing is right. The song feels like "In Too Deep" from 2017 and runner-up "Undo" but with a bit more beat.

Delta's name has been banded about as a possible Eurovision contestant for a while. This in itself will bring people to the contest and pique interest for the live show. My guess would be that she will be on the piano for part of the performance as this is what she is known for. I quite like the sunny desert backdrop of the video but I also think that moving mirrors with some beams of light could also create an interesting atmosphere on stage. It's a very safe song, bound to be lapped up by the juries in particular.

ARTIST -  Delta Goodrem

SONG – Eclipse

WRITING/PRODUCTION CREDITS – Ferras Alqaisi, Michael Fatkin, Delta Goodrem, Jonas Myrin

ITALY 2026

The Italian act and song was confirmed on 1st March. The previous evening saw the completion of The annual Sanremo Festival (76º Festival della canzone Italiana) held from February 24th to 28th. On the final evening, the rankings of the radio jury, press jury and televote created a top 5. All vote segments were re-opened to find an overall winner. During the press conference the next morning, the winner of the festival confirmed they had accepted the invitation to represent Italy at Eurovision. Going to Vienna is Sal Da Vinci with "Per sempre sì" (Forever yes)

During the competition Sal was dressed very smartly in a a range of formal tailored suits. As per the Sanremo stage, he was flanked by the orchestra on both sides and, although he had no dancers, Sal would quite often start dancing with someone sat on the front row. The stage had flashing neon blue pillars to create a disco feeling as well as a good range of camera shots to create movement. Sal commands the stage very well considering he is the only one there. He also utilises a number of poses and arm movements to emphasise the meaning of the song. The entry, entirely in Italian, harks back to the Italian Disco scene of the 70s and is effectively a playful poetic take on wedding vows with a Neapolitan feel. This entry takes me back to the orchestral disco songs of the 70s and 80s such as Krøller eller ej, Telegram and Parlez-vous français? 

The song is already the right length, which helps with the transition from Sanremo to Eurovision. I could easily see the setting having dancers - either on the stage or on the screen - although I could also see him being alone, front and centre, captivating the audience with his personality. The song is a little dated, but that kind of gives it a memorability. This probably won't be rocking up the charts or scoreboard but the Italian public are proud of this song and what it means and doing well will be a bonus.

ARTIST -  Sal Da Vinci

SONG – Per sempre si

WRITING/PRODUCTION CREDITS – F. Abbate, A. La Cava, G. Cremona, E. Maimone, F. Mercuri, F. Sorrentino, S.M. Sorrentino

SERBIA 2026

The Serbian act and song was chosen on 28th February through the national final "Pesma za Evroviziju". A winner was declared after equally weighted jury and televoting points were added together. Getting maximum points and going to Vienna is the band Lavina with the song "Kraj mene" (Next to me) 

The band - comprising of three guitarists, a drummer, keyboard player and singer - are spread out in a triangle formation. They are dressed in different black leather outfits in front of a strobing blue stage. The lead singer stumbles to the front and eventually places his microphone into the top of a long sword. As the song progresses, the singer starts adding in long protracted gravelly screams and the stage colour turns from dark to orange. Fireworks also start to appear and as the song wraps up the stage turns back to blue. This rock ballad is in Serbian and tells the tale of an unbalanced and one-sided relationship that turns into hatred and even self-hatred. Although Eurovision has had a rich history of metal songs, notably Lordi, Blind Channel and AWS, this is a hard rock ballad which is a less tested genre.

The performance is dramatic - I feel like the singer is (over)exaggerating and emoting to try and get the meaning of the song across to those not fluent in Serbian. It may be memorable - but this does not mean it is good. The style of the show is what one recollects as the tune lacks a real hook to place it by. That said, the staging is dark and bleak and possibly too negative for many to vote for positively. The people who like this genre will love it but others may turn their noses up - or turn their volumes down. 

ARTIST -  Lavina

SONG – Kraj mene

WRITING/PRODUCTION CREDITS – L. Aranđelović, P. Aranđelović, A. Cvetanović, B. Ilić, I. Jegdić, N. Petrović, P. Samardžić

GERMANY 2026

The German act and song was chosen on 28th February through the national final "Das Deutsche Final". In the first round, an international jury created a superfinal of three, then voting lines opened for the public to solely decide the winner. Going to Vienna is Sarah Engels with the song "Fire".

The staging is fairly rudimental with no props or extra staging. Sarah is in a red bejewelled leotard with knee high boots while her dancers are in similar black outfits. The staging is primarily black which allows the different 'fire' representations and motifs to stand out behind them. In addition, some of the words in the bridge appear on the backdrop. Although there is a fair amount of conventional commercial choreography throughout, there is one particularly short (and not too taxing) dance break before a final belt out of the chorus. The lyrics, which are in English, depict someone - who has been ignored and not heard for too long - take control as they realise they are stronger than they first believed. This entry comes straight out of the Slomo, Fuego, Solo, My Number One et al. playbook in terms of song style, outfits and dancing.

On a positive note, Sarah handles herself well on stage. The choreo is tight but at the right level for her dance and vocal ability. She sings confidently and with control and has the right tone and personality. Unfortunately the whole entry is old hat, providing no innovation or freshness to the competition. It will feel familiar with its well-trodden tropes but this does not guarantee any votes or post-Eurovision success. If Javine's "Touch My Fire" was a knock-off 21 years ago, then this is downright lazy.

ARTIST -  Sarah Engels

SONG – Fire

WRITING/PRODUCTION CREDITS – Valentin Boes, Sarah Engels, Luisa Heinemann, Raphael Lott, Dario Schürmann 

FINLAND 2026

The Finnish act and song was chosen on 28th February through the national final "Uuden Musiikin Kilpailu". A winner was declared after jury and televoting points were added together with a weighting of 25% and 75% respectively. Going to Vienna is the duet of violinist Linda Lampenius and singer Pete Parkkonen with the song "Liekinheitin" (Flamethrower) 

The focus starts on Pete who is dimly lit and dressed in black. He is sat near a window-cum-confession booth through which Linda can be seen. As the first violin solo comes in, the lighting becomes brighter with reds and oranges. Linda is dressed in a flowing silver dress, knee high boots and is heavy on the wind machine. Pete's sections are filmed with the prop but as Linda move closer, the window is set on fire and finishes in a final tableau with Linda standing over Pete with chairs also on fire. Like many recent entries, this is wholly in Finnish and recounts a dangerous love, switching between hot and cold. Most of the movement is done by the camera work which cuts between the duo and the last 50 seconds is done in one shot. The song has a Nordic, Melodifestivalen feel to the concept and delivery, with a fierce ending a la JJ or Erik Vikman.

The audience takes little time to start clapping and when Linda does her solo the crowd whoops into even more appreciation. The staging is eye-catching but it would be nice to see more of Pete out of the dim lighting. Non-Finnish speakers can feel the tension and drama on stage but there is a sense that the minutiae in the lyrics is going over your head. The backing track is powerful but the sung tune is less memorable.  This is a well put together and professional entry which will go down well with all.

ARTIST -  Linda Lampenius & Pete Parkkonen

SONG – Liekinheitin

WRITING/PRODUCTION CREDITS – Lauri Halavaara, Vilma Alina Lähteenmäki, Linda Lampenius, Pete Parkkonen, Antti Riihimäki

NORWAY 2026

The Norwegian act and song was chosen on 28th February through the national final "Melodi Grand Prix". A winner was declared after adding a jury and teletoving score, with a weighting of 40% and 60% respectively. Winning both parts of the vote and off to Vienna is Jonas Lovv with the song "Ya Ya Ya"

Jonas is with two guitarists and a drummer all dressed in red. Jonas is wears what looks like a tight pair of waders, leaving his top and arms exposed. He struts around the stage with confidence and sings just as well. There is a red carpet across the stage and this horizonal plane helps with the wide and sweeping camera angles. There is also an interesting shot where the camera is directly below the singer and gives an aggressively intimate visual. At the end, Jonas employs the satellite stage nearer the audience. The track has a very prominent driving guitar hook line and drumbeat which keeps the song moving on. Jonas has a soulful rocky voice with a slight gravelly tone when holding onto the long or higher notes. The song has a whiff of Benson Boone but also a Nordic rock feel, almost Hives inspired, and Jonas' outfit comes straight from the Måneskin style book.

Considering the glam/funk rock nature of the song, the audience claps politely at the end and doesn't seem enthusiastic during it. The visual is strong, the song has a great feel but it doesn't really go anywhere. I would love the ending to feel more spectacular - sonically and visually - not just a "20 seconds to go key" change and a lame pose. Maybe some double speed drums, chant of the chorus creating a crescendo or an intensification of guitars or singing to a scream. It's good but it's not quite right.

ARTIST - Jonas Lovv

SONG – Ya Ya Ya

WRITING/PRODUCTION CREDITS – Jonas Lovv Hellesøy, Sondre Skaftun

BULGARIA 2026

The Bulgarian song was selected on 28th February through the their selection process “Natsionalnata Selektsiya”. On January 31st, a jury and televote decided on an artist then four weeks later the three songs up for selection were performed. The song choice selection was made through a combination of jury and televoting. Going to Vienna will be Dora with the song "Bangaranga".

Dora appears with male and female dancers. They are dressed in black while she is in a white dress with fluffy arm details. The colour palette uses orangy tones and the name of the song flashes on the backdrop. The track has a bombastic feel with a mix of urban and Balkan. The chorus, or parts of the chorus, are repeated quite a lot. However, the music also has an unusual hypnotising change of tempo during the instrumentals, slowing down and speeding up again, keeping you on your toes. During these non-singing parts there are ensemble dance routines which Dora confidently gets involved with. Her voice  and pronunciation is quite clear. The song puts me in mind of many Balkan performances such as "Sekret" and "Zari" with obvious similarities to the songs with choreographed sequences such as "SloMo" and "Fuego"

Dora looks and feels very professional on the stage. This said, the show was not as dynamic as it could have been but I put this down to rushed rehearsals due to the short turn around between shows. With better preparation, braver choreography, more interesting outfits & lighting, an enthusiastic audience to bounce off and possibly even a revamp on the track to give it a stronger identity and more power, this could really stand out during Eurovision and easily have a successful life outside of the contest.

ARTIST - DORA

SONG – Bangaranga

WRITING/PRODUCTION CREDITS – Dimitris Kontopoulos, Cristian Tarcea, Anne Judith Wik, Darina Nikolaeva Yotova

LITHUANIA 2026

The Lithuanian act and song was chosen on 27th February through the national final "Eurovizija.LT ". A winner was announced after an equal weighting of jury and public voting points were combined. This combination resulted in a tie and the rules stated that the televote winner took precedence. Going to Vienna is Lion Ceccah with the song "Sólo quiero más" (I just want more)

Lion is wearing an oversized black suit with an emphasis on wide, square shoulders. His head and arms are covered in silver paint. Although the title is in Spanish the song (and is repeated throughout), is in fact predominantly in Lithuanian and English as well as a smattering of lines in French and German. Lion is on  the ethereal stage alone and at the start of the song he is inside a fake suit which mysteriously collapses later in the song. The lighting employs light and shadows - not always in the places you expect - and flashing, strobing lights. His voice is dramatic, with some operatic undertones in the chorus. His movements are slow - sometimes robotic, sometimes flowing. The oeuvre of the concept seems influenced by last year's winner, however as a lot of little parts have changed it feels fresh and intriguing rather than a copy.

The audience look and sound engaged with this production and Lion himself. He comes across as self assured, confident and fills the stage even though he's the only one on it. The show has an accessible avantgarde sheen which will make it stand out. It is a shame they are using Spanish in a year Spain is not participating. I think the team should err on the side of caution an refine what they have rather than making any rash changes although more power in the backing track could be an interesting addition.

ARTIST - Lion Ceccah

SONG – Sólo quiero más

WRITING/PRODUCTION CREDITS – Tomas Alenčikas, Aurimas Galvelis

AUSTRIA 2026

The Austrian act and song was chosen on 20th February through the national final "Vienna Calling". A winner was declared after adding equally weighted jury and public scores. Representing Austria on home turf is Cosmó with "Tanzschein" (Dancing Licence)

Cosmó is wearing a Gina G-esque sequin top, dark trousers and a blue star around his eye. With him is a guitarist dressed in a suit and 3 dancers wearing elaborate animal helmets. There is a lot of movement between the five of them culminating in catchy armography during the chorus. The lyrics use animals as metaphors to describe the type of people at a club and the narrator's wish that you go to a club to dance. The staging is initially plain but the use of flashing panels in the chorus creates a highlight when coupled with the choreography. Later, the animal motifs appear and pink smoke ejects from the stage. The song is sung, sometimes rap/spoken, and Cosmó utilises a range of vocal tones, especially in the lower register, which is rather unexpected. I am unsure if we have seen or heard anything quite like this at Eurovision before however the rap and its tone is reminiscent of Falco.

The audience's' reaction is toned down in the production but in the reprise they are seen joining in with the dance routine. This is has bags of potential; the staging has an interesting identity but needs to be made bigger, more cohesive, slicker. Maybe extra 'dancers' on the backdrop (like Who the hell is Edgar?) could make a bigger impression. The outfits also need refining but if Cosmó can nail the vocal this really will be a fun and oddball host entry. 

ARTIST - Cosmó

SONG – Tanzschein

WRITING/PRODUCTION CREDITS – Benjamin Gedeon, Elias Stejskal, Ella Stern