The 10 best performances at the 2026 Eurovision Song Contest

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.

Lavina from Serbia performs the song "Kraj Mene" 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)

Satoshi from Moldova performs the song "Viva, Moldova!" during the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)

Delta Goodrem from Australia performs the song "Eclipse" during the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)

Dara from Bulgaria performs the song "Bangaranga" during the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)

Linda Lampenius and Pete Parkkonen from Finland perform the song "Liekinheitin" during the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)

The final of the Eurovision Song Contest was held Saturday with tight security and rainy weather failing to dent the enthusiasm of the fans — or that of the critics who think Israel should not 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:

Winners are decided by a mix of votes from national juries and the viewing public who vote online, by phone or by text message.

Juries award points to their favorite acts on a scale of 1 to 12. The hosts will go to a spokesperson from each of the 35 countries that competed, who will announce which country will receive the coveted “douze points” — 12 points.

After that, the public vote from each country is added in, and the leader board can change dramatically. It’s a slow process that builds suspense and milks the tension of the competition.

Norway’s Jonas Lovv and his entry “Ya Ya Ya” offered simple, repetitive power chords, silky-smooth vocals and a chant-along chorus that spans nation and language as the crowd cheered along, “Ya Ya Ya.”.

Romania’s entry was a Lady Gaga ’s nu-metal sister, Alexandra Căpitănescu, with her “Choke me.” And for the final entry, Austria's Cosmó with “Tanzschein” was a disco, techno-pop romp — and an ideal way to close the night’s performances.

After all 25 Eurovision finalists performed their songs, the audience is treated to a period of interval entertainment while voting lines remain open a bit longer while votes from across Europe and beyond are tallied.

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)