NEW YORK (AP) — The 2026 Eurovision Song Contest final brought acts from 25 countries to the Wiener Stadthalle arena in Vienna on Saturday night in a spirited battle for the continent’s pop crown. There was no shortage of talent, but not all songs are created equal.
If you're a dedicated follower of Eurovision or simply curious to learn more about the contest's best bangers, we've got you covered.
Here's a list of the 10 best songs from the final, presented in no particular order.
If you’ve ever wondered what a Lady Gaga nu-metal pop song would sound like, look no further than Romania’s Eurovision entry, “Choke Me,” by Alexandra Căpitănescu. And it’s not just in her spoken-word interludes or that her delivery of “All I need is your love” is eerily reminiscent of Gaga’s “I Want Your Love.” But the track’s heaviness transforms it — and its performance is undeniable.
It began with piano and built from there: To unexpectedly groovy production, with the classist vocalist Sal Da Vinci singing his heart out to a new love. “Per Sempre Sì,” Italy’s entry, is a fun vintage romp for those who miss the Eurovision of yore. It works. And onstage Saturday, Da Vinci brought an effortless Italian charm.
If Cyprus’ Antigoni looks familiar to you, it’s likely because she was previously a bombshell on “Love Island UK.” She might’ve come and went on the super popular dating show, but her joyous “Jalla” is here to stay in 2026. It’s a summery pop song that weaves in traditional Cypriot instrumentation, including çifteli and lute, making it the perfect soundtrack to the beach vacation in your brain.
Finland’s entry electrified, as they were expected to do: They’ve been an early favorite in the competition. Linda Lampenius and Pete Parkkonen’s “Liekinheitin,” or “Flamethrower,” is an animated mashup of pop singer Parkkonen’s anguished vocals and violinist Lampenius’ fiery fiddling. He’s an “Idol” finalist; she’s a globally recognized classical musicians. It’s a winning combination.
What is there to say about Moldova’s Eurovision entry? Rapper Satoshi performs the cheekily patriotic “Viva, Moldova!” with his full heart, in several languages, in a chorus so addictive it almost recalls the anthemic work of anthemic Irish hip-hop trio Kneecap. Atop relentless flute, breakbeats, electronic production that doesn’t quit, it’s impossible not to root for them. Or, at the very least, to leave without “Welcome to Moldova!” stuck in your head.
In another universe, she’s Zara Larsson. Bulgaria’s Dara is a veteran pop performer at this stage — whose credits include “The Voice,” “The X Factor” and “Dancing with the Stars” — but global super fame has so far passed her by. Here’s hoping that changes soon, because her up-tempo pop banger “Bangaranga,” with its Nicki Minaj-inflections, is easily one of the most animated tracks of the bunch this year. And on stage, it was a mood elevator.
No Eurovision Song Contest is complete without a pop metal entry — it’s not etched into law, but it might as well be. Serbia delivered just that at the final Saturday night with the easy-listening, spooky “Kraj Mene” by Lavina. Heavy guitars are made airy with gospel harmonies. Screaming is limited and so is the breakdown. But they brought a welcomed intensity, and that’s worth celebrating.
One of the most internationally recognizable performers of the 2026 Eurovision Song Contest is Australia’s Delta Goodrem. She was a judge on Australia’s hit TV talent show “The Voice,” a former star of Australian soap “Neighbours,” and an artist mentored by Olivia Newton-John who once wrote a track called “Eyes on Me” for Celine Dion. (Dion, some might recall, won Eurovision representing Switzerland in 1988.) Goodrem’s full-throated singing style reaches new heights on her power ballad “Eclipse.” With stacked harmonies, virtuosic piano riffing and strong synth-y coda with a note that doesn’t quit, it’s a classic “Eurovision”-type tune. A wise choice from the woman from Down Under -- and one that certainly resonated on Saturday night.
It opens with a cinematic chant, a churchlike choir amplifying the theatrics. Dramatic, to say the least! Then, Alis, the vocalist behind “Nân,” takes over. It plays out like the soundtrack to an emotive transitional scene in a blockbuster — and on stage at the final, it continued to hold weight: He wore what appeared to be sequined chain mail in front of a screen as a woman, depicting a mother, circled him.
What is there to say about Belgium’s Essyla? Her song “Dancing on the Ice” is a cool ride: with its chilly vocal performance and Billie Eilish-informed production, the track is a decent pop tune in and outside of Eurovision. (Think of her as in the tradition of Ava Max.) It almost makes it seem unfair that she was a runner-up on “The Voice Belgique” instead of its winner. At any rate, it seemed like she wanted to use her performance at the final as a call for justice, or at least, recognition.
