In contrast with previous years, I came into the Eurovision 2026 Grand Final (the competition’s 70th year) feeling somewhat less prepared than usual. Returning from holiday only days before the live shows meant I had to quickly absorb the semi-final performances in a hurried catch-up session last week. Thankfully, Eurovision has a funny way of pulling you straight back into its orbit, and before long, I was once again fully immersed in the annual spectacle of sequins, smoke machines, emotional key changes and unapologetic pop drama.
Even so, my excitement levels for this year’s contest never quite reached their usual fever pitch. While Eurovision 2026 certainly had its moments, it did not strike me as one of the competition’s strongest years overall. There was perhaps a noticeable shortage of instantly explosive pop entries, and several songs that arrived with heavy hype somehow failed to truly ignite on the big night.
Yet Eurovision always finds a way to reward patience. Beneath the surface of the contest were a handful of genuinely brilliant performances that absolutely deserve their flowers. From dramatic dark-pop moments to euphoric dance chaos and soaring power ballads, these were the entries that made Eurovision 2026 memorable for me.
“Før Vi Går Hjem” Søren Torpegaard Lund (Denmark)
It is well documented on this blog that I frequently lament Denmark’s Eurovision choices. Which makes this year’s entry all the more refreshing. As someone who genuinely adores Danish pop music and who considers Copenhagen one of my favourite cities in the world, I am always rooting for Denmark to get it right. Thankfully, in 2026, they absolutely did.
Sending Søren Torpegaard Lund to Eurovision was an inspired decision. His entry, “Før Vi Går Hjem,” delivered moody synth-pop drama wrapped in stylish alt-pop textures that immediately stood apart from the crowd. It felt contemporary, theatrical and emotionally intelligent all at once.
Many commentators suggested Denmark’s opening slot in the Grand Final would damage its chances, and unfortunately, there is often truth to that Eurovision curse. Still, regardless of scoreboard positioning, this felt like a significant creative breakthrough for Denmark.
More of this please, Denmark. Consider me fully back on side.
“Eclipse” by Delta Goodrem (Australia)
Eleven years into Australia’s Eurovision participation, people are somehow still questioning why they are here. Yet the reality is that Australia has consistently embraced the spirit of Eurovision with sincerity, ambition and professionalism. Often delivering stronger entries than many European nations themselves.
This year, Australia played perhaps its safest, but smartest card yet by sending household-name superstar Delta Goodrem.
“Eclipse” arrived during the Eurovision pre-season as an immediate contender, and hearing it live on the Grand Final stage only strengthened its reputation. This was classic Eurovision power-ballad excellence: emotionally grand, vocally immaculate and visually stunning.
Delta looked every inch the celestial goddess during the performance, gliding through the song with effortless elegance while delivering some of the night’s strongest vocals. For large stretches of the evening, it genuinely felt as though Australia might finally secure that elusive Eurovision victory.
Sadly, the fairytale ending never materialised.
Still, “Eclipse” stands as Australia’s strongest Eurovision entry since Dami Im’s “Sound of Silence” a decade ago. And considering how beloved that performance remains among Eurovision fans, that is no small achievement.
“Liekinheitin” by Linda Lampenius x Pete Pakkonen (Finland)
Photo by Nelli kentta
I genuinely cannot recall previously connecting this strongly with a Finnish Eurovision entry. But Finland came to Eurovision 2026 with serious intent — and what a statement they made.
Pairing soulful vocalist Pete Pakkonen with internationally renowned violinist Linda Lampenius proved to be a masterstroke. “Liekinheitin” was powerful, cinematic and emotionally overwhelming in all the best ways.
The performance moved seamlessly between tenderness and intensity, balancing vulnerability with towering dramatic flourishes. Linda’s violin work added a layer of sophistication and emotional depth that elevated the entire production into something truly unforgettable.
As one of the bookmakers’ favourites throughout Eurovision week, Finland always felt within touching distance of victory. And honestly, had they won, few would have complained.
Most importantly, “Liekinheitin” once again proved an essential Eurovision truth: emotional connection matters far more than language barriers. Sung entirely in Finnish, the song transcended literal understanding because its passion and sincerity communicated everything audiences needed to feel.
That is Eurovision magic at its purest.
“Crossroads” by Daniel Zizka (Czechia)
I will always have a soft spot for theatrical alternative pop at Eurovision, and Czechia delivered exactly that with Daniel Zizka’s “Crossroads“. Dark, brooding and emotionally charged, this was a ballad that still carried genuine fire within it. There was something intoxicating about its slow-building tension and dramatic atmosphere that completely drew me in.
Of course, comparisons were inevitable. After Austria’s victory in 2025 with JJ’s “Wasted Love,” there was understandable speculation about whether Europe would embrace another similarly dark and emotionally heavy entry so soon afterwards.
Unfortunately, the wider Eurovision audience never fully connected with “Crossroads” in the way I had hoped. Technical staging issues during the Grand Final also appeared to disrupt some of the performance’s momentum — which was genuinely disappointing because the artistic ambition here deserved recognition.
Still, even with those setbacks, Daniel Zizka delivered one of the contest’s most poignant performances. It may not have quite reached the heights of Austria’s previous winner, but for me personally, “Crossroads” remained one of Eurovision 2026’s most compelling artistic moments.
“Bangaranga” Dara (Bulgaria)
If there was one thing Eurovision 2026 desperately needed, it was an unapologetic pop banger. Thankfully, Bulgaria answered the call.
Dara’s “Bangaranga” exploded onto the scene during the semi-finals and quickly became one of the contest’s most talked-about entries. Chaotic, energetic and irresistibly catchy, it injected a huge burst of life into a year that often felt strangely restrained.
Europe absolutely fell head over heels for it.
From the gloriously ridiculous chair choreography to the hypnotic dance production, “Bangaranga” embraced every ounce of Eurovision absurdity while still remaining an expertly crafted pop song. And honestly, Eurovision audiences adore nothing more than a wildly infectious hook paired with lyrics that make little to no sense.
The fact that “Bangaranga” is already threatening to enter everyday vocabulary says everything about its cultural impact. Expect people casually declaring they are “feeling very bangaranga today” for months to come.
A deserved winner? Honestly, yes. Bulgaria 2027 suddenly sounds very exciting indeed.
Final Thoughts
Eurovision 2026 may not go down as one of the contest’s strongest years overall, but even in quieter editions, Eurovision always finds ways to remind us why we keep returning to it year after year. Beneath the glitter and spectacle lies something genuinely special: a celebration of creativity, individuality and emotional connection that transcends borders, languages and musical genres.
And perhaps that is the true beauty of Eurovision. Not every year needs to be legendary to matter. Sometimes all it takes are a few unforgettable performances, a handful of brilliant artists and one wildly chaotic pop anthem called “Bangaranga” to remind us why this contest continues to capture hearts across the world.
As ABBA once famously sang, “Thank you for the music.” Eurovision, once again, delivered exactly that.