SAN FRANCISCO--(BUSINESS WIRE)--Mar 26, 2026--
Wells Fargo today announced significant milestones in its digital transformation, underscoring growing customer adoption of its mobile banking platform and AI‑powered virtual assistant, Fargo®. Fargo has now supported customers through more than 1 billion interactions – achieved in less than three years since its launch. Additionally, the company surpassed 33 million mobile active users last month.
This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20260326542274/en/
These milestones reflect scale and trust as millions of customers increasingly rely on Wells Fargo’s digital tools to manage everyday financial needs quickly, securely, and with greater personalization.
“Reaching one billion Fargo interactions is a meaningful milestone because it represents how customers are choosing to engage with us every day,” said Michelle Moore, head of Digital Data and Artificial Intelligence at Wells Fargo. “It reflects our disciplined approach to responsibly scaling AI and delivering experiences that make banking easier, smarter, and more personal.”
By combining intuitive design with responsible use of artificial intelligence, Fargo allows customers to accomplish more through natural, conversational interactions—reducing friction and saving time.
The Wells Fargo Mobile® app continues to receive strong customer feedback, earning a 4.9‑star rating in the App Store from more than 10 million reviews. Since its debut in 2023, Fargo has become a central part of that experience, helping customers complete common banking tasks such as sending money with Zelle®, paying bills, locating routing numbers, and gaining insights into spending and account balances.
Wells Fargo’s digital tools are also helping expand access to banking services. More than 3 million Spanish‑speaking customers have used Fargo, engaging with the virtual assistant over 160 million times, reinforcing the company’s focus on building inclusive, easy‑to‑use experiences for a broad range of customers.
Zelle ® and the Zelle ® related marks are wholly owned by Early Warning Services, LLC and are used herein under license.
About Wells Fargo
Wells Fargo & Company (NYSE: WFC) is a leading financial services company that has approximately $2.1 trillion in assets. We provide a diversified set of banking, investment and mortgage products and services, as well as consumer and commercial finance, through our four reportable operating segments: Consumer Banking and Lending, Commercial Banking, Corporate and Investment Banking, and Wealth & Investment Management. Wells Fargo ranked No. 33 on Fortune’s 2025 rankings of America’s largest corporations. News, insights, and perspectives from Wells Fargo are also available at Wells Fargo Stories.
Additional information may be found at www.wellsfargo.com
LinkedIn: https://www.linkedin.com/company/wellsfargo
News Release Category: WF-(IT)
Wells Fargo
The final of the Eurovision Song Contest got underway Saturday with tight security and rainy weather failing to dent the enthusiasm of the fans — or that of the critics who think Israel shouldn’t have been invited to the party.
After a week’s buildup, acts from 25 countries took the stage at the Wiener Stadthalle arena in Vienna to battle for the continent’s pop crown. Millions of viewers around the world will cast judgment on a fiery Finnish violinist, a Moldovan folk rapper, a Serbian metal band and many more at Eurovision’s 70th anniversary event.
The contest has been clouded for a third year by calls for Israel to be excluded over its conflicts in Gaza and elsewhere, with five longtime participants — Spain, the Netherlands, Ireland, Iceland and Slovenia — boycotting in protest.
Here is the latest:
Finland’s entry electrified, an early favorite in the competition with “Liekinheitin,” or “Flamethrower,” an animated mashup of pop singer Pete Parkkonen’s anguished vocals and violinist Linda Lampenius’ fiery fiddling.
Alicja, the entry for Poland, was betting on voters awarding big points to big vocals with her song “Pray” bringing up images of gospel music. Lion Ceccah, a prominent figure in Lithuania’s drag scene,iwas responsible for one of the more interesting entries with his trilingual “Sólo Quiero Más” (“I Just Want More”), an emotive synth-pop that plays out like a film noir.
Sweden’s Felicia wore a facemask as she rendered her “My System,” which wasn’t for the faint of heart. Cyprus’ Antigoni delivered a joyous “Jalla,” 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.
Italy's classist vocalist Sal Da Vinci sand his heart out to a new love with “Per Sempre Sì,” a fun vintage romp for those who miss the Eurovision of yore.
Croatia’s Lelek channeled something ancient and powerful with their goth-y folk “Andromeda.” Their stacked harmonies were only emboldened by their physical appearance: The women wore marks on their face and body meant to look like the same used to repel the Ottoman Empire.
The U.K.’s Look Mum No Computer with its “Eins, Zwei, Drei” was a thoughtful critique of the mundanity of labor but also catchy, synth-pop and goofy. Their stage design was also one of the most fun: soulless rectangular desks became imaginative platforms, like an alternative universe nightclub in space.
From France, Monroe’s “Regarde!” was strong on classism over all and judging by the cheers in the room – an effective one.
After the halfway mark, with just 10 performances remaining, Moldova’s rapper Satoshi performed 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.
Ukrainian singer Leléka offered the ethereal, beautiful “Ridnym,” and Australian star Delta Goodrem showed what a diva should be like with her slick midtempo ballad “Eclipse” — and a bravura performance that saw her raised into the air above a glittery piano. Id she wins, a European country would likely host for Australia next year.
Serbian metal band Lavina provided a dramatic change of pace with the angst “Kraj Mene.”
Aidan’s big-feelings “Bella,” Malta’s Eurovision entry, was all about romance: strings, big belts, swooning instrumentation. It was also one of few Eurovision entries from Malta to feature the Maltese language.
The Czech Republic put their hopes in Daniel Žižka’s “Crossroads,” a restrained pop ballad that builds to a triumphant chorus. Bulgaria’s Dara, a veteran pop performer at this stage, delivered an up-tempo pop banger “Bangaranga,” easily one of the most animated tracks of the bunch this year. And on stage, it was a mood elevator.
Even before the show’s halfway mark, there was already fire, smoke, animal prints and lots of sunglasses worn inside. Lavina, a metal band from Serbia, performed in a digital rainfall as well as burst of flames in studded leather, “Mad Max”-looking costumes.
Albania’s Alis used a smoke-filled stage with digital wings and a clock, inviting a woman depicting a mother onto the stage in a traditional folk dress for his driving, gloomy track, “Nân.” Sarah Engels of Germany added pyrotechnics to her “Fire,” naturally, and Delta Goodrem of Australia added a shimmering golden piano, fire and enough wind machines to power a small town.
Greece’s Akylas was playful with his pounding house track “Ferto,” dressed in tiger-striped shorts and a knit hat and using a scooter to glide along the stage, adding human statues. Ukraine needed only beams of light, a blowing curtain effect and Leleka’s powerhouse vocals as she delivered “Ridnym.”
Denmark’s all-Danish-language Eurovision entry was first with Søren Torpegaard’s “Før Vi Går Hjem,” which he delivered with the specific skillset of someone who has starred as Tony in “West Side Story,” Angel in “Kinky Boots” and Romeo in “Romeo & Juliet.”
Sarah Engels followed, representing her home country of Germany with “Fire.” As the second performer of the night, she took the opportunity to bring pyrotechnics to the stage.
Then came Noam Bettan’s “Michelle” — Israel’s inclusion in Eurovision, which has drawn criticisms. Spain, Ireland, the Netherlands, Slovenia and Iceland withdrew from the competition this year, choosing not to participate to protest Israel’s inclusion.
Most recently, Bettan’s performance was disrupted by protesters during the first semifinal on Tuesday; chants of “Stop the genocide!” were heard in the crowd. At the final, it wasn’t immediately clear if that continued.
Belgium’s Essyla took the stage with “Dancing on the Ice” — a cool ride with its chilly vocal performance and Billie Eilish-informed production, followed by Albania’s Alis.
Protesters called for Israel to be excluded from Eurovision demonstrated near the contest arena ahead of the final. Several hundred marched, with chants of “all of Vienna hates the ESC,” a reference to the Eurovision Song Contest.
They were kept well away from the venue which lies behind a police security cordon.
Demonstrator Echo Vinasha Lex said it was “important to protest against that idea that the song contest is not political. The song contest is a very political event.”
At the start, a filmed opening montage showcased Austria’s majestic scenery as a paper boat made its way to Vienna — a reference to 2025 Eurovision winner JJ’s storm-tossed performance of “Wasted Love.”
The show opened with a performance by last year’s winner, the operatically trained Austrian singer JJ, and an Olympic-style flag parade of the 25 finalists. Then it was on to performances by the musicians, who have just 3 minutes to win over millions of viewers who, along with national juries of music professionals, pick the winner.
The hosts for the extravaganza on Saturday are Michael Ostrowski, an Austrian actor best known for German-language comedy films, and Victoria Swarovski, a model, singer, TV presenter and heir to the Swarovski crystal and luxury goods business.
The head of the Eurovision Song Contest has urged viewers to put politics aside and enjoy the “brilliant, wonderful, heartfelt show” that is the competition’s grand final.
As the contest turns 70 with calls for Israel to be kicked out over the conduct of its war in Gaza and a five-country boycott, Eurovision director Martin Green said the contest is a chance for a few hours to “close the curtains to the outside world and dream that something else is possible.”
He told a news conference that for 70 years Eurovision has given “voice to the voiceless” and celebrated marginalized communities.
“Here’s to the next 70 years,” he said.
Demonstrators protest against Israel ahead of the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)
Satoshi from Moldova performs the song "Viva, Moldova!" during the dress rehearsal for the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Friday, May 15, 2026. (AP Photo/Martin Meissner)
Delta Goodrem from Australia performs the song "Eclipse" during the dress rehearsal for the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Friday, May 15, 2026. (AP Photo/Martin Meissner)
Linda Lampenius and Pete Parkkonen from Finland perform the song "Liekinheitin" during the first semifinal of the 70th Eurovision Song Contest in Vienna, Austria, Tuesday, May 12, 2026. (AP Photo/Martin Meissner)
Demonstrators protest against Israel ahead of the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)
