Review: “Montesong 2025” (Montenegro)

Montenegrin broadcaster RTCG will select a song and an artist for Eurovision 2026 via “Montesong 2025”.
This will be the 2nd year in a row where “Montesong” will be the selection method.
The selection will take place on Sunday, December 21, 2025, at the Grand Studio of the Radio and Television of Montenegro.

In this post, I will review the 15 competing songs:

The Playlist

#1. Andrea Demirović – “I Believe”

It is a bilingual classic ballad, performed in English and Montenegrin.
The song starts with string instruments and light percussion elements.
Andrea opens the singing part in a velvety voice. The first part is the chorus. The melody is based on keyboard playing, while the string and percussion elements resonate.
After a short instrumental part, we get the first verse in Montenegrin. It sounds a bit more modern, but still atmospheric. Thereafter, we get another English part, which let me down with its authenticity. I guess the songs would have been better in Montenegrin. The chorus is initially performed in whispers, and then builds up to feature some high-pitched singing.
The second verse follows; her singing is softer. The song ends with one final chorus in English
The atmosphere is somewhere between a classic symphonic ballad and a Disney ballad. However, I am disappointed with the final result, especially when it comes from Andrea, who delivered “Ja Sam Ti San” in 2019.

#2. Baryak – “Minerva”

It is a rock song.
The song starts with a short intro of pre-recorded vocals, then transitions into bass and electric guitars. Towards the end, we also get the drums.
The first verse suggests a more mysterious direction, with half-smoky vocals. The lead singer sings it in a mid-low register. The first refrain is based on studio effects, fading vocals, and backing vocals led by Gaja Barović and Andrea Siništaj. The post-chorus is less blended and is performed with bold vocals. Later on, we get another instrumental part, featuring production with elements from the 1990s.
The structure of the song is cyclic, and is some sense can be heard as one music unit.
The second half of the song features more effects, and the sound becomes more electronic. We hear additional patterns on the backing vocals. The song closes with powerful singing, along with drums and bass.
Overall, the song suggests a very specific genre and does it quite well. I am not sure whether this style of song will have a sufficient audience to make it win. Having said this, it has a great performance potential.

#3. Dolce Hera – “Casanova 91”

It is an avant-garde Jazz song, performed in the Italian language.
The song starts with bold keyboards playing, the chords are dramatic and sparse, generating an effect of thunder.
The first verse is based on constant keyboard playing, with some Disco influences. The singing is simple, sometimes effortless. However, the color of her voice is unique. In the chorus, we get a sampling of string elements.
The second verse is partly performed in a spoken word style. Quickly after, we get the second chorus, which features some instrumental parts.
The song has cool vibes, and it is fun to listen to. I am not sure about its chances in Eurovision. But the Italian language adds a lot of value. I trust Hera to match it with an iconic performance.

#4. Đurđa – “Dominos”

It is a Scandinavian pop song.
The song starts with a short instrumental part, which is composed of wind instruments and keyboard playing. The first chorus is based on electric keyboards and features a constant beat. The first pre-chorus features some string elements and longer musical boxes.
She performs the first chorus with a higher tone of voice, supported by backing vocals. The atmosphere is more hymnish.
The second verse is a bit faster, emphasizing the string and the chords. The second chorus comes quite fast. It continues with dominant backing vocals. The bridge suggests a more modest production, where Đurđa shows more of her vocal abilities. The song ends with one last chorus with higher tone of singing and post-chorus
I have 2 main concerns here. First of all, the lyrics of the song are generic. We’ve had enough of the self-empowerment songs. Second of all,

#5. Krstinja Manatović – “Oli Oli”

It is a modern mid-tempo Balkan ballad
The song starts with guitar strumming. The first verse builds up slowly, Krstinja performs it with a warm and velvet voice. The first verse’s melody is blended with some studio effects, which sounds like water.
The first chorus starts with piano playing and raw production. It commenced as a lullaby and continues in the ethnic direction with vocal twirling and powerful singing. The post-chorus is an instrumental part, where we mainly hear the violin and beats.
The second verse is similar to the first one, but it is shorter. The studio effects play a major role, as well as backing singing. The second chorus follows, with some vocal decoration. The drama builds up nicely with the backing vocals
Overall, it is a decent Balkan song. It sounds like something we could have received from the Balkans in the past as well. This kind of song may not work effectively in Eurovision. But I do appreciate its authenticity.

#6. Lana Lopičić – “Doline” (Eng: Valleys)

It is a Balkan ballad.
The song starts with a violin playing, and some wind instruments. Lana opens the song with an angelic voice. The first verse is based on guitar strumming and a gentle drum beat. This part is quite slow and features some oriental string elements. The violin takes us to the chorus. The first chorus features rich male backing vocals, and for me it is quite monotonous. The production is mostly acoustic.
The second verse opens with some vocal decoration. Her singing sounds a bit like white voice singing. Drums playing lead us to the second chorus, which stays in the same line as the first one
I have been waiting for its peak point, but I haven’t got one. Ironically, I felt like the verses are more engaging compared to the chorus.

#7. Lana Vukčević & Đorđe Savković – “Temperatura” (Eng: Temperature)

It is an ethnic-pop song.
The song starts with Balkan elements and soulful singing, with Lena twirling. The introduction’s melody is based on resonating keyboards and classic elements.
Thereafter, we get the first verse, and the song shows its upbeat “nature”. The beat is gradually building, and the melody is based on the drum beat and studio effects.
The first chorus is upbeat, but also features classic strings. Lana sings it full of attitude in a mid-tone of voice. The post-chorus features a more electronic production with vocal effects.
The second verse is more upbeat. The beats take over, and the string elements are mostly in the background. She is supported by backing vocals. The dance beat from the post-chorus is sampled here once again.
The second chorus comes with different lyrics, and the singing rate is faster. The third chorus follows; it is quite similar to the first one, but sounds more modern. The bridge is composed of plenty of effects, including cyclic singing. Đorđe is singing some of the lines with a smoky tone of voice. It continues to duet with raw production. The song ends with last chorus.
Overall, it is one of the boldest songs in the race. It sticks to your mind immediately. I loved the fact that it marks many boxes of modern popular Balkan music. It is a direction that Montenegro has never experienced in Eurovision, it might lead them to much better results.

#8. Lara Baltic – “Rhythm Boy”

It is a dance pop song.
The first verse is based on synth elements and keyboards. Lara sings sensually and passionately. Sometimes it sounds like whispering. The second verse is built on faster dance beats.
The pre-chorus is performed with fast singing, and the beats explode. It continues with more impressive singing, as well as backing singing. The production is less danceable.
The first chorus is upbeat, oriental, and playful. The lyrics are quite basic, but it help create the framing of the song over the “boy”.
The transition is performed in a sassy way and in English. It reminded me of “Unicorn”.
The second verse is similar to the first one, but she shows more of her vocal abilities.
The pre-chorus is once again demanding and fast. It continues with more impressive singing, as well as backing singing
The second chorus comes right after, and later on, we have a kind of melody change, which is more festive and danceable. Lara sings this part with longer notes.
Overall, it is a polished pop song, and it has great potential with the right staging (at least 4 dancers, please). This kind of “Bop” can actually pave the way to a much more successful era for Montenegro.

#9. Luka Radović – “Pjevaj vilo” (Eng: Sing, Fairy)

It is a Folk song.
The song opens with bagpipe playing, and later on bass and drums are added.
The first verse’s melody is based on the flute and a slow drum beat. Luka sings it in a quite high tone of voice, supported by some backing vocals. The chorus is more catchy, and even sounds a bit like a stadium hymn. The drums build up gradually until we get the bagpipe again.
The second chorus is similar to the first one, but it is based on a faster rate. The second chorus follows, and the bass effects is more significant.
Towards the end, the tone changes, until we get a kind of modulation and a masculine male choir singing. The song ends with a sharp turn in the melody. The melody becomes more rocky and kicking.
The song has potential, but it is dated and might fail in Eurovision. The change in the end is refreshing. In addition, I am not sure I enjoy Luka’s tone of voice.

#10. Majda Božović – “Ipak smo ljudi” (Eng: We Are Human After All)

It is a piano soul-pop ballad.
The song opens with basic piano playing. Majda starts singing gently with a soft and accurate voice. The first verse is slow and well-structured.
The first chorus is classic, and the production is quite simple. The emphasis is on her voice and interpretation. Along this part, we get to hear more colors of her voice, including some soulful manner.
The second verse comes after; its melody is also based on string elements, while she is supported by backing vocals. The second verse features a slow-tempo beat.
The bridge is another chorus performed is modulation.
Personally, I enjoyed it, and I appreciate her connection to the text. I am not sure it is a competitive ballad; probably it lacks some curves and edges.

#11. Mila Nikić – “Kao varnica” (Eng: Like a Spark)

It is a disco-pop song with influences from the 1980s music.
The song starts with a short instrumental introduction. The first verse is based on electronic keyboards and a constant beat.
Mila sings in a playful attitude and a mid-tone of voice.
The first pre-chorus features some backing vocals, and the tempo in bit faster.
The first chorus follows, as the melody features trumpet and bass guitar. Towards the end, she performs with some vocals decorations.
The second verse is based in greater presence of the bass.
The second pre-chorus features more backing vocals, and then comes the second chorus which is quite memorable.
Thereafter; the bridge comes with some melody changes and more soulful singing.
The song ends with a kind of modulation. She is supported by pre-recorded backing vocals.
To sum up, the song is catchy and really fun to listen to. I can’t say it is one of the most original ones, but definitely well written.

#12. Neno Murić – “Ako čuješ glas” (Eng: If You Hear a Voice)

It is an opera ballad.
The song begins with piano playing. The first verse goes quite slow and classic with piano playing and some wind elements.
The first chorus puts the opera/tenor in focus Neno sings long notes with vibarto, as the melody is more dramatic and epic. The post chorus is based on a more modern production with female backing singing.
The second verse continues in the same direction, but this time the backing vocals are operatic.
The second chorus is performed in Italian, and sounds more like a traditional opera.
The atmosphere is more dramatic.
It ends with powerful vocals and orchestral finale.
While I appreciate the vocals, the song itself didn’t impress me.
I feel it is too heavy and doesn’t collide with modern trends. I would definitely include it in Opera musical lineup, not Eurovision playlist

#13. Stefan Vukotić – “Nedekodirana” (Eng: Undecoded)

It is an urban reggae song. The song opens with an instrumental part, which is composed of percussion instruments.
The first verse is performed simply, and it is long. The percussion beat continues and, at some point, becomes too constant and a bit annoying. In the second half of the first verse, the melody includes additional layers, as it is built on trumpet and backing vocals. The chorus is performed more like spoken word, although it has a very specific rhythm. The trumpet is more dominant. The second verse comes after, and it is pretty similar to the first.
The last part of this verse is based on raw production. It is followed by 2 additional choruses and a refrain between them. The rate becomes a bit fatter towards the end. To sum up, even though it is different from the others, I found the song quite monotonous, not really going anywhere. It was more of a jam session. Vocally, it was too basic.

#14. Tamara Živković – “Nova Zora” (Eng: New Dawn)

It is a techno trap pop song. The song opens with electronic production.
Tamara opens the first verse with her unique voice. The melody is based on a growing beat and electronic keyboards. An electronic trap beat takes us to the pre-chorus.
The first pre-chorus opens with a dramatic choir singing, and the beat is fast and short. Her singing is sampled on a techno track. The first chorus opens with a simple melody, where she sings accurately.
The electronic beats are back, as well as the choir singing, and it closes with trap techno elements.
The second verse is performed as spoken work, with fast singing, and later on with some soul mannerisms. The second pre-chorus features the choir singing. The second chorus is similar to the first one, but it is based on a bolder drum beat. The bridge features a dramatic choir singing, as well as Tamara’s impressive, soulful, and powerful long notes. The last chorus features many vocal layers. The song closes with trap beats.
Overall, one of the strongest songs in the lineup. I love its dramatic elements, and yet it is modern and contemporary. The trap electronic beats are catchy, as well as the “Nova Zora” phrase. Tamara is a great performer and I am sure she will deliver. It could be one of Montenegro’s best results

#15. Tina Džankić – “Shadows”

It is an early 2000s mid-tempo pop song.
The song opens with a mid-tempo dance beat and keyboards playing. Tina opens the first verse with a crystal clear voice. Something in the beats reminds me a bit of Latin pop, for some reason.
The first pre-chorus suggests a bit more dramatic sound. The melody is based solely on the keyboard playing, and Tina sings in a lower register.
The first chorus is based on a bit more festive beat. Tina delivers more colors of her voice. The constant keyboard chords are still the main component of the melody.
The second verse is performed in Montenegrin. The production is a bit more contemporary. It includes more electronic sounds and wind element sampling. She closes this part with a low tone of voice, that afterward converted to long notes.
The second chorus is similar to the first one, but this time Tina is supported by backing vocals. The beat is contagious. Afterward, we get a short instrumental composed of orchestral instruments.
The bridge is more mysterious, and Tina performs in a darker atmosphere and in English. This part ends with soulful singing.
The third chorus is performed in English, and is based on the resonating beat and keyboards playing. The song ends with piano playing and rich vocals.
Tina is one of the most talented performers in the line-up. It is a kind of song that will work better with live performance, and I’m sure she will deliver.
Personally, I like this genre. However, I can’t see it as popular enough to represent Montenegro in Eurovision.