PORTUGAL 2026

The Portuguese act and song was chosen on 7th March through the national final "Festival da Canção". A winner was selected via a 50-50 mix of regional juries and public televoting. Going to Vienna is the group Bandidos do Cante with "Rosa" (Rose)

We begin with the members of the band singing a capella and the music joins in soon after. The music is gentle, lilting and full of strings. This is a folky ballad in the style of 'Cante Alentejano' a UNESCO protected style of singing from Portugal. The text is in Portuguese and describes the different faces of love - its beauty, its absence, its loss and the hope it gives you. Bandidos do Cante is a group made up of 5 male singers. They are spread out on stage and step forward when it is their turn. They are all dressed in earthy coloured suits. The background starts off like a blue twilight sky then turns red, yellow, green and then all together. Near the end, they are joined on stage by a female violinist, who is all in white. The song ends with one of the singers offering a rose the the camera. The song reminds me of entries from Klapa s Mora, Salvador Sobral and Maro.

The song has a lot of heart, soul and emotion and this comes though in the harmonies, lilting rhythms and vocal trills. However, because this song is quietly confident, controlled, culturally proud and simply staged, this entry will do well with juries but may become memory holed by the non-Portuguese speaking televote. The delegation could attempt to be more ambitious with the staging, maybe with a narrative video behind them. As pleasant as this is, this may falter when it comes to qualification.

ARTIST - Bandidos do Cante
SONG – Rosa
WRITING/PRODUCTION CREDITS – JL. Aleixo, G. Alface, M. Costa, D. Farias, G. Narciso, F. Pereira, F. Pestana, F. Raposo, J.C. Tavares

SWEDEN 2026

The Swedish act and song was chosen on 7th March through the national final "Melodifestivalen". A winner was selected via a 50-50 mix of international juries and public app & phone voting. Going to Vienna is Felicia with "My System"

Felicia starts off alone, but is soon flanked by 6 male dancers. The staging is dark - predominantly red and black - with lots of flashing, strobing and lasers involved. The dancers are all dressed in black and Felicia in a black top, skirt and gloves with red intertwined ribboning. The choreography is enhanced by the lighting as the strobe effect gives it a robotic sheen. This said, the timing for all people on stage has to be impeccable or it does not work. At the end, Felicia removes her face covering and places on intricate glasses. The song, which is in English, describes the feeling of wanting to forget about a past relationship but too many things trigger you to want them back again. The backing track, especially in the instrumental, is hypnotic, electronic and repetitive - all of which influences the dance moves. The song puts me in mind of Europapa, Unbreakable and Shum.

The song is in a Swedish vein but has a harder edge to previous entries. The backing track is intricate but aggressive and this gives it a much needed rawness. The lyrics, however, are awkward and odd, particularly the line including the phrase 'body parts' which feels a little shoved in like the writers couldn't think of anything better for the rhyme. I'd love the lighting to be a touch brighter and I hope Felicia's face covering intrigues people rather than putting them off. This should be a shoo-in for the final.

ARTIST - Felicia
SONG – My system
WRITING/PRODUCTION CREDITS – Julie Bergan, Felicia Eriksson, Audun Agnar Guldbrandsen, Emily Harbakk, Theresa Rex

SAN MARINO 2026

The San Marinese act and song was chosen on 6th March through the national final "San Marino Song Contest". A five-member jury judged the songs. Returning, for the third* time, to Eurovision is Senhit (featuring Boy George) with the song "Superstar".

Senhit starts alone, wearing a silver outfit which is tight at the top, a flared hem, a white baggy hood and fabric along the arms. Later, she is joined by 4 male dancers although at the end of the song you can glimpse extra dancers in the aisles also doing the dance routine. The background has a crystal, kaleidoscopic, glinty, mirrored feel to it. At the two minute mark, a (badly) animated video of Boy George appears on the part he sings. Senhit has a warm, friendly and encouraging rapport with the camera - and audience - and the stage setup works well with close-up and wide shots. The English text celebrates confidence and individuality but also recognising we need to lift ourselves up as much as lifting those around us. The song puts me in mind of modern classics such as "Zorra" and "Because of you" although the stagings are vastly different.

Senhit is a seasoned performer who always brings something sassy and professional This is a catchy 80/90s club banger with a Chic-like repetitive bassline. Senhit sings quite well, although the change from chorus back to verse leaves little time for breathing. This entry brings jeopardy -like in 2021 with Flo Rida - will Boy George turn up? To be honest, his contribution is so small it's almost not worth it - maybe someone else can enjoy the spot or maybe they'll just keep the animation. Am hoping for the best in May!

*4, if you include the cancelled 2020 entry "Freaky"

ARTIST - Senhit ft. Boy George
SONG – Superstar
WRITING/PRODUCTION CREDITS – J Aagaard, J-E Johansson, G O'Dowd, T Stengaard, A Wrethov, S Zadik Zadik

FRANCE 2026

The song and act representing France was formally revealed on 6th March with the unveiling of the offical music video on youtube. Going to Vienna is Monroe performing "Regarde!" (Look!)

The video is very dancer/choreography heavy with a number of different dancing styles in indoor and outdoor settings. Monroe is dressed what I can only describe as a high fashion school uniform with blazer, white shirt, tie and long black skirt. Her hair is in long blonde braids with some metal rings intertwined on one side. The song starts as a bog standard dramatic, orchestral French ballad but soon operatic elements are added and this alternation happens throughout the song, ending on a high note. The text is in French and is full of simple recognisable words that will catch the ears of even the non-fluent speakers. According to the songwriters, this was written to showcase the breadth of France's musical background and heritage. The song has an obviously Gallic flair and takes its cues from last year's winner.

I think the live show will have elements of the video but the juxtaposition between how Monroe looks and the stereotypical view we might have about how she sounds, should be the main sell. I also hope they do not lean into the 'Voila'-ness and give this its own identity. I would say that the juries will appreciate Monroe's talent and score this highly. This song starts with intrigue and promise but doesn't really go anywhere. I wish the beat in the last verse came earlier or had some kind of twist in the build up.

ARTIST -  Monroe

SONG – Regarde!

WRITING/PRODUCTION CREDITS – Christopher Cohen, Fredie Marche, Maxime Morise, Fred Savio

UNITED KINGDOM 2026

The song representing the United Kingdom premiered on 6th March with the song's release on streaming platforms, the video premiere on youtube and the first play on BBC Radio 2. A few weeks before, the BBC announced the name of their act and that the song would also be internally selected. Going to Vienna is Look Mum No Computer performing "Eins, zwei, drei" (One, two, three)

The story arc of the video sees Sam Battle (the man behind the act name) shun office life to turn a Mini Metro into a a plane and attempts to fly it across the English Channel. Also seen are many of Sam's musical inventions and Sam plays the part of 'eccentric English scientist' very well although this describes him in real life quite well. The song is highly electronic and Sam's vocals gives the song a Johnny Rotten/Gorillaz style edge. The text - full of British cultural touchstones, idioms and sayings - talks about escaping the humdrum; making and taking the most out of life and trying to do something you love. Although it has a German title, the rest of the song is in English. Midnight Gold from Georgia is probably the nearest we have had like this at Eurovision although chart acts like Digitalism and Everything Everything are also near the mark.

The response to the song has been warm and welcome; pleased that the UK are sending something with character and a positive British identity. Currently, it is actually 10s too long so I am intrigued to see the solution. "Eins, zwei, drei" is catchy and has a shouty chorus that would go down well with the locals in Austria and other Germanic countries, but I wonder how eclectic it could've been without the added ESC songwriters to 'tame' it. Let's hope the unusual contraptions and embroidered overalls make it Vienna!

ARTIST - Look Mum No Computer

SONG – Eins, zwei, drei

WRITING/PRODUCTION CREDITS – Julie Aagaard, Sam Battle, Lasse Midtsian Nymann, Thomas Stengaard

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

BELGIUM 2026

The song and act representing Belgium was announced on 19th February with a simultaneous reveal of the track on youtube, the Belgian TV channel La Une and radio station Vivacité. Going to Vienna is Essyla performing "Dancing on the ice".

The video is in colour but the lighting and outfits are in black and white with fast cuts and changes of lighting. At the end, the white on the backdrop turns to red. The song uses the title as a metaphor for exploring the jeopardy of connections which can be exciting, confidence building or coercive. Essyla is joined by a group of male and female dancers who do the bulk of the choreography in the video. Essyla spends a lot of time walking and standing, as a solo tight shot or surrounded by her dancers. The song is in English and has a good strong synth-led beat. The lyrics are simplistic, uses a lot of harmony in the pre-chorus and very earwormy repetitive chorus but the main pull of the song is its synthy brassy bassline. This is carries on from many past Belgian entries with a strong synth sound but also seems to borrow commercial ideas from Lorde and Billie Eilish.

 

This is hard to judge because of the stylistic choices and lack of audience reaction. The presentation of Essyla makes it look like she is less comfortable with dancing and movement. Her facial mien is slightly one-note; better gestures and poses could give her a more curious or playful tone, however she may just come to life with a live audience. Although the song has some good earworms, and a catchy title, it will need more than this and effective strobing effects, to make it qualification worthy/certain.

ARTIST - Essyla

SONG – Dancing on the ice

WRITING/PRODUCTION CREDITS – Nicolas d'Avell, Alice Van Eesbeeck, Barbara Petitjean, Emil Stengele

CROATIA 2026

The Croatian act and song was chosen on 15th February through the national final "DORA". A winner was announced after Croat and international juries had 25% each and public voting the other 50%. Going to Vienna is Lelek with the song "Andromeda"

Lelek is a five-piece female group and they are dressed in draped grey skirts, dark tops and ethnic face markings called šicanje. The song's inspiration is the historical struggle of the people of the Balkans against the Ottoman Empire but could be used to describe the fall-out of any conflict at any time. The attitude is serious and the ladies walk with a purposeful poise. They provide harmony in their movement and vocal, as they show a united front,  providing support through anger and grief. Either side of the stage are bare trees, with red ribbon in their branches and candles at their roots. The backdrop shows what looks like a temple lit with candles and later the bricks are thrown through the air like it has been destroyed. In between, the tattoo emblems are repeated. The staging and song genre puts one in mind of Tulia from Poland and Tautumeitas from Lithuania.

There are cheers from the audience after the first chorus, showing that the local crowd understand the storytelling and appreciate the art. The use of the tattoos and repeated imagery on the backdrop is mystic, evoking of magick and rather confronting. The staging is more memorable than the song, especially if you are not clear of the subject matter, and could come across as shouty and fervent. Overall, one may wait for more light and shade throughout the track, but it never really comes.

ARTIST - Lelek

SONG – Andromeda

WRITING/PRODUCTION CREDITS – Filip Lacković, Lazar Pajić, Zorica Pajić

GREECE 2026

The Greek act and song was chosen on 15th February through the national final "Sing for Greece!". A winner was announced after national and international juries offered 1/4 of the points each and the remaining half from public voting. Winning all three parts of the vote and going to Vienna is Akylas with "Ferto" (Bring it)

Akylas is on stage with 4 dancers dressed in back while he is dressed in matching black and orange jacket, shorts and hat with bright orange furry boots. The song is a satirical dig at the materialistic nature of people who want it all. The song is in Greek apart from a couple of lines in Spanish. The lyrics come quick and fast during the main part of the track although there is a fun traditional-style instrumental halfway through and a false ballad ending which keeps you on your toes. Although the lyrics create a negative statement, the chorus is fast and repetitive almost cajoling your body to join in with the infectious beat. The backdrop is very fun; a retro video game full of 8-bit caricatures of Akylas and other things mentioned in the lyrics. There are hints of Baby Lasagne and Let 3 in the staging as well as musical vibes from Joost Klein.

The audience is visibly and audibly enjoying the track and Akylas feeds off this. The package works on a small stage but may need extra direction when scaling up to a Eurovision stage. I feel like Akylas could go even bigger and more outrageous with his stage persona as long as it does not effect his vocal, which although not technical, is still very quick. Although not everyone's cup of tea, it is memorable nonetheless. There will be a lot of buzz around this and I would expect this to be a front runner for televotes.

ARTIST - Akylas

SONG – Ferto

WRITING/PRODUCTION CREDITS – Akylas Mytilinaios, Orfeas Nonis, Thomas Papathanasis, Theofilos Pouzbouris

LATVIA 2026

The Latvian act and song was chosen on 14st February through the national final "Supernova". A winner was declared after adding equally weighted jury and public ranking scores. Going to Vienna is Atvara with the song "Ēnā" (In the shadow)

Atvara is alone but the staging utilises a range of trickery to make the performance more active. The lyrics reveal a sense of relationships looking normal on the outside but being cold and isolating in other ways. The song is wholly in Latvian and employs some operatic tones. The tone is dark and isolating; mirrored in the haunting environment. The backdrop is black apart from a sliver of light mimicking an open door however the shadow shown is that of a child. Halfway through, a motif of flying glass appears on the backdrop and as an overlay. Atvara's dress even reflects this with a stripe of crystals across her black dress. The variety of camera shots reinforces the intimate yet lonely sentiment of the track. The song's structure is very simple, repeating the same refrains each time. The black and white colour scheme is similar to that of JJ, Barbra Pravi and Sanna Nielsen.

The audience is shut out of this performance with the camera ensuring the meaning is clear whether or not you speak Latvian. Atvara sings with control and clarity and is visibly moved by the end of the 3 minutes. This is a stylised performance - nailing the minimalism visually and in the songwriting. I wonder if, during the end vocalisations, the camera could spin round to show the crowd with their flashing bands on? This entry will be memorable, and something the artistic section of the jury will appreciate.

ARTIST - Atvara

SONG – Ēnā

WRITING/PRODUCTION CREDITS – Jānis Jačmenkins, Liene Stūrmane

DENMARK 2026

The Danish act and song was chosen on 14th February through the national final "Dansk Melodi Grand Prix". After all acts had sung, voting opened (50/50 jury and public vote) and a top 3 was selected. After a second round of voting (50/50 once again) a winner was declared. Going to Vienna is Søren Torpegaard Lund singing "Før vi går hjem" (Before we go home)

Søren shares the stage with five dancers and a large perspex box which is used to film from the outside but also from the inside. The colours are dark with hues of blue and pink. The lyrics describe an encounter with someone when you know it will end with regret and hurt. The song is completely in Danish which suits the song and singer and it comes across as authentic. The dancers are dressed in individual clubbing outfits while Søren is wearing a white t-shirt over a sheer spangly top. Søren starts outside the box, climbs over it, drops into it then comes out again. During the final part, Søren enthusiastically joins in with the dancing. There is a good mix of full stage shots and more intimate moments. The song has a feel of Nemo and JJ with the falsetto but also Red Sebastian and Olly Alexander with the clubbing vibe.

Although the audience is not seen much, they were vocal and enjoying the entry. The whole act on stage comes across fluid, effortless, tight and professional. The song has layers and differing earworms which could feel like a hot mess but the pared down backing seems to tame the busyness. Søren has amazing charisma and understands how to sell the song at the right points. The show currently works as a whole package and would hold off any rash changes which DR are weighing up.

ARTIST - Søren Torpegaard Lund

SONG – Før vi går hjem

WRITING/PRODUCTION CREDITS – Clara Sofie Fabricius, Valdemar Littauer Bendixen, Thomas Meilstrup,  Søren Torpegaard Lund

ESTONIA 2026

The Estonian act and song was chosen on 14th February through the national final "Eesti Laul". Firstly an international jury and public televote selected a top 3 then a winner was selected solely by public voting. Returning to Eurovision  - 21 years after their first appearance - is the group Vanilla Ninja with the song "Too epic to be true".

The three-piece band spread themselves around the large stage throughout the song. The lyrics go through someone describing their relationship and how lucky they feel to be with their partner. The outlook of the piece is upbeat and positive with bright lighting and all-white outfits. At the start, there is a lot of striped camera work so you can see all three of the band even when they are not stood near each other. About halfway through a large black plinth appears, along with a drummer, which then moves up off the stage accompanied by fireworks. Then just before the final chorus there is a 'kiss cam' segment involving the audience and those in the green room. The song has that modern nostalgic 80s feel with a strong driving synth beat and has a slick, video-esque, polished feel like something you would expect in Melodifestivalen.

They get a warm response from the audience but nothing overly active during the show. The girls' sound tight and should step things up during Eurovision itself. The song is a little route one and, in the current realm of Eurovision, rather non-descript. Not sure if the 'kiss cam' element was added because of St Valentine's Day or is an actual gimmick but felt slightly cringy. This will do fine because of who they are and due the commercial nature of the song might actually have better life outside of the contest.

ARTIST - Vanilla Ninja

SONG – Too epic to be true

WRITING/PRODUCTION CREDITS – Sven Lõhmus

CYPRUS 2026

The song representing Cyprus premiered on 8th February with the first play on TV during a news broadcast as well as its release online. Back in November, CyBC announced the name of their act and that the song would also be internally selected. Going to Vienna is Antigoni performing "Jalla" (More) 

The video mirrors the encapsulation of the music - modern production values with traditional rhythms, instruments and heritage. The music and lyrics take inspiration from 'tsifteteli' -  a popular style of dance which incorporates Middle Eastern rhythms and movements which appears in the choreography. Antigoni and friends are dressed in a contemporary fashion while around them many of the village folk are dressed more conservatively and traditionally. The song is in a mix of English and Greek. A few days later she performed the show live during the Greek selection. She sang live, was accompanied by 4 dancers and the word "Jalla" was prominent on the backdrop for a lot of the performance.  The song seems to be trying to carry on from where "Zari" left off while also incorporating the "Fuego" vibe in the dancing and outfits. 

During the live show, the audience seemed to be enjoying the act and clapping along. The song is not breaking new ground, the chorus is overly repetitive and the performance itself needs tightening and polish. That said, enjoyed the live show much more than I expected based on the vagueness of the video clip. Antigoni's live outfit did not really work, especially while dancing, but I feel cohesion between her, the dancers, the backdrop and the addition of some traditional themes could strengthen the package. 

ARTIST - Antigoni

SONG – Jalla

WRITING/PRODUCTION CREDITS – A Buxton, C Kallona, P Kalpos, K Lupa, C Mullally-Knight, D Nikolaou, T Qua

UKRAINE 2026

The act and song to represent Ukraine was chosen on 7th February through their national final selection "Vidbir". A winner was declared after adding a 50-50 mix of jury and televoting points. Winning both parts of the vote and therefore off to Vienna in May is Leléka performing "Ridnym" (Native) 

Leléka is on stage alone for the whole three minutes, however the use of video screens - for the viewers at home in particular - creates an interesting ever-moving palette which is much more exciting than the staging first suggests. The song seems to evoke a sense of strength and resilience through working together as a family/team/country during hard times and is sung in English and Ukrainian. Leléka wears a layered white dress, partnered with some chunky statement black jewellery. Leléka's movements, although mostly small and gestural, are made bigger by the jerky camerawork and echoed in the backdrop and floor screen. The lighting is minimal, almost monochrome, for the most part. To my ears, it sounds like a "Festivali i Këngës" ballad, the camerawork is very "Voilà" or "Voyage" coded while the staging feels very much in the Ukrainian oeuvre.

The end product is an atmospheric - bordering on avant garde - ballad which is more about conveying emotion and art, rather than a vehicle to bop along to. The chorus has a memorable lilt but nothing overly earwormy. The construction of the song utilises Leléka's impressive vocal dexterity and outstanding breath control whilst the backdrop gives the end of the song a warm optimistic glow. This is certainly one the technicians in the jury will appreciate as well as uniting the votes of the Ukrainian diaspora.

ARTIST - Leléka

SONG – Ridnym

WRITING/PRODUCTION CREDITS – Adama Cefalu, Yaroslav Dzhus, Jakob Hegner, Viktoriia Leleka

LUXEMBOURG 2026

The act and song to represent Luxembourg was chosen on 24th January through the show "Luxembourg Song Contest". After all entries were performed live, televoting created a super final of three. A winner was then declared after adding a 50-50 mix of jury and televoting points. Off to Vienna in May is Eva Marija with the song "Mother Nature".

Eva Marija spends her 3 minutes on stage alone but is aided skilfully by some interesting video graphics and a wind machine. Her song uses the metaphor of nature as a way to encourage personal growth, strength, hope and grounding. For the first time ever, their entry is also wholly in English. Eva Marija wears a beige floaty outfit which exaggerates the choreography but also reinforces the earthy, natural themes. She starts on the floor, stands up before the chorus with large contemporary body movements. Below and behind her is tree/forest imagery as well as bright orange light indicating sunshine. There are lots of very wide, sweeping shots which tap into the expansive feel of the song. Visually this reminds you of Eurovision performances from Jamala and Emmelie de Forest but the song style leans more into Lorde, Birdy and Florence and the Machine.

The song gets a good response in the hall but this isn't a performance to clap, cheer or sing along to. Eva Marija's voice is clear especially in the higher register and the addition of the violin, although slightly superfluous, gives the song an extra identifiable string to its bow - quite literally! The song and performance work well together and I hope the essence of this is kept and not overloaded. However after the final, plagiarism concerns were forwarded which the delegation are currently looking into.

ARTIST - Eva Marija

SONG – Mother Nature

WRITING/PRODUCTION CREDITS – Julie Aagaard, Maria Broberg, Eva Marija Kavaš Puc, Thomas Stengaard

MALTA 2026

The Maltese act and song was chosen on 17th January through the show "Malta Eurovision Song Contest". A winner was declared after adding a 50-50 mix of jury and televoting points. Off to Vienna in May is Aidan with the song "Bella" .

The performance sees Aidan alone on stage albeit with the use of some clever stage trickery around him. The lyrics recall a lost love and the singer’s hope/wish to requite with them. For the first time in decades, the song contains lines in the Maltese language, which are noticeable but not out of place. The whole piece feels dark and moody - he is dressed in black, the background is mostly black with only the odd spotlight. Part way through, Aidan is in darkness and focus switches to faux shadows on the floor then as the song builds there is the use of a "rose tornado”. The tightness of the camera on Aidan feels very intimate and creates a lot of connection between the viewer and the performer without excluding the many thousands in the arena. The song is somewhat visually reminiscent of “Voila” although the song style feels more like a Sanremo-esque crooner's ballad from way back when.

Although no audience is seen during the performance, there is audible support for Aidan. The song's simplicity puts the tune and Aidan's feelings at the centre rather than any vocal prowess. Overall, I appreciate the different aspects of the show but am not convinced they are cohesive. Aidan's outfit feels ambivalent and the on-stage darkness suggests a much more sinister implication to the lyrics. The current package may raise critical commentary but might also pique some wider interest and create a buzz.

ARTIST - Aidan

SONG – Bella

WRITING/PRODUCTION CREDITS – Sarah Bonnici,Joen van den Boom, Aidan Cassar

 

MOLDOVA 2026

The Moldovan act and song was chosen on 17th January through the show "Selecția Națională". A winner was declared after adding equally weighted Moldovan jury, international jury and national televoting points. Winning all three sections of the vote and therefore going to Vienna is Satoshi with the song "Viva Moldova!" 

This effervescent and dynamic song is backed up by a just as energetic stage performance. The lyrics, which dip into many languages, extol the country of Moldova and its people - a well-trodden trope in some the country’s previous entries. All 6 members on stage are dressed in a range of maroon outfits which gives a touch of unity and balance between the vibrancy and energy. Apart from the drummer, the others move around a lot. The movement is blocked for the camera so that they each have a time to shine and not get in the way of each other. That said, the movement feels immediate, interactive and reactive with the audience rather than something obviously rehearsed. The background picks out key words from the song as well traditional icons and colours from the flag of Moldova. The song marries together rap, rock and folk in a way reminiscent of Kalush Orchestra and Zdob și Zdub.

The stadium goes in hard for this and the band bounces off the audience as much as the audience is bouncing off them. Although not a vehicle to show vocal dexterity, the song creates little doubt that this is the Moldovan entry! The shifts in language do not jar and opens the song up to non-Romanian speakers. This live performance is a good starting point but needs to funnel the spirit of the song with some sharpening up the camera direction to make this something that will stand out to jury and televoters in May.

ARTIST - Satochi
SONG – Viva, Moldova!
WRITING/PRODUCTION CREDITS - Boris Subotić

MONTENEGRO 2026

The Montenegrin act and song was chosen on 21st December through the national final "Montesong". A winner was declared after adding equally weighted jury and public points. Going to Vienna is Tamara Živković with the song "Nova zora" (New Dawn)

This entry exercises a good mix of modern pop tropes, Balkan spirit and choral chanting. Tamara's song relays the idea of turning over a new leaf, starting over again or putting a full stop after bad times. Tamara, and her backing dancers, are dressed in black outfits with bondage buckle overlays. The choreography is rather repetitive - mirroring the stuttering beats - and mostly quite gestural. This keeps the visual energetic but also keeps Tamara's breath in check when she needs to sing. The background, albeit very simple, turns during the span of the song black to red then ending in blue. Added to this this are the occasional overlay of symbols and the name of the song.  Her ensemble also mimes along with the chanting and creates more drama and emotion on the screen through their facial expressions. It seems to be leaning into the some of the themes from entries such as "Wasted Love", "Poison Cake" and "Gaia".

The lack of atmosphere in the room doesn't help nor hinder the live performance although Tamara & Co. work well to create enough theatrics to keep the viewer interested. Her voice carries well but will be under much more scrutiny during the contest. I enjoy the sound of the language which seems to lend itself to the theatrical essence. This entry has a good starting point but I feel a lot needs to be worked on to make this something that will stand out and be worthy of votes in May.

ARTIST - Tamara Živković

SONG - Nova zora

WRITING/PRODUCTION CREDITS - Boris Subotić

ALBANIA 2026

The Albanian act and song was chosen on 21st December through the 64th edition of their annual song contest "Festivali i Këngës". The selection of their Eurovision representative was made through a combination of jury and televoting. Going to Vienna will be Alis with the song "Nân" (Mother)

The song, staging and camera work leans into the dramatic; balancing somewhere between a melancholic Balkan ballad and a dark operatic aria. The song’s theme relays the conflicting emotions of a mother who is saying goodbye to her child(ren) leaving the family home. Alis’ outfit gives off a “steampunk pallbearer” vibe yet the addition of dark sunglasses seems not to stop his charisma and emotion coming through the screen. Throughout the song he holds a pocket watch on a chain which he nudges towards the audience at times. The spiralling not-so-steadycam work emphasises the themes of abandonment, desertion and loneliness but this also makes Alis the centre of the song allowing his strength - and the songs power - to shine. As a negative, the dark aura on screen makes Alis hard to pick out but changes can easily be made to rectify this. Alis has a powerhouse of a vocal and this song brings to the fore his dexterity to show strength and fragility simultaneously without an exaggerated physicality.

The local crowd is audibly and visibly gung-ho for this song, which was the pre-show favourite before the festival began. Something this dramatic and artistic is bound to do well with the Albanian diaspora at home and with any vocal technicians in the jury. There will need to be some editing to the song length – but not too much – and to the visual notes of the production. This is a very competent entry, encompassing an ethnic energy and anthemic chorus, and should do well when May comes. 

ARTIST - Alis
SONG - Nân
WRITING/PRODUCTION CREDITS - Erjet Barbullushi, Desara Gjini, Alis Kallaçi