Review: “MESC 2026” (Malta)

Malta will select its Eurovision 2026 entry via “MESC 2026″.
18 artists will compete in the selection.
The final will be held on Thursday, January 15th, 2026. The final will be held on Saturday, January 17th, 2026.
The results will be based on public votes and jury votes.

In this post, I will review the 18 competing songs:

#1. Aidan – “Bella”

It’s a high-gloss cinematic ballad with Mediterranean pop production and Latin influences.
The song starts with an orchestral string melody.
In the first verse, Aidan uses a breathy, staccato vocal delivery. The atmosphere is romantic. The melody is based on simple guitar and strings.
The first pre-chorus introduces pulsing side-chained strings, which create a “sucking” effect, building immense tension.
The first chorus involves different languages: Italian, Maltese, and English. The musical boxes are longer, allowing him to lengthen some of the syllables. The production draws a Waltz dimension. The melody is classical, relying on the violin, cello, and piano. The out-chorus is more laid-back, calm, and simpler. It relies on reciting.
The second verse adds shimmering “watery” synth textures. It’s mostly about his vocals.
The bridge is a cinematic breakdown with hushed vocals before a final, high-octane chorus.
The last chorus starts with bigger vocals; it is more rhythmic and intense, but it is still rooted in orchestral melody.
On paper, I should have been a big fan of such a cinematic ballad. However, something about this feels artificial and a bit too much effort. Having said this, it is one of the favorites of the selection.

#2. Adria Twins – “Nerġà nqum” (Eng I will rise again)

It is a mid-tempo power-pop ballad performed in Maltese.
The song starts with a simple piano playing and basic production. One of them opens the first verse in a mid-tone of voice. Thereafter, the other twin starts singing. The melody is pretty unified and progresses very predictably.
They sing the first chorus together with synchronized vocal harmonies that feel almost ritualistic. The melody is based on acoustic guitar and keyboards. This part is more of a hymn.
The second half of the song is based on a constant percussion beat. They sing the second verse together. One of them sings in a bit higher pitch. It ends with harmonies.
The second chorus is quite simple, more of a vocal powerhouse.
The bridge features a high-drama climax with heavy vocal processing and digital distortion.
The final chorus melody is based on the violin and additional orchestral elements. It concludes with one last chorus, accompanied by minimal production.
Overall, the entry isn’t memorable enough. They can probably sell it with their vocals, but that’s where it ends

#3. Chess Galea – “Shout it Out”

It is a gritty, blues-infused pop-rock anthem.
The song starts with keyboards playing, and then drums and trumpet are added.
The first verse melody is based on fast, cyclic keyboard playing, guitar riffs, and a growing beat. Chess sings this part with heavy breaths and much “I am in a hurry” mode. By this, she increases the drama.
The first pre-chorus is a percussive climb, adding layers of tambourine and driving drum fills. It continues with a very fragile singing, alongside laid-back piano playing.
The first chorus is a powerful, “shouty” hook designed for crowd participation, supported by a heavy rock-organ synth. It is more rocky and is easy to sing along to.
The second verse is quite similar to the first one, but the singing is denser. The second pre-chorus is more sassy. It is faster, and part of the singing is kind of rap. The production relies on more electronic effects. The second chorus is quite similar to the first one.
The bridge is a highlight, featuring an impressive electric guitar solo that transitions into a vocal power-moment. The last chorus starts like a lullaby and then is empowered into a modulation with strings and synth elements.
Overall, it brings a refreshing organic energy, but something about this feels a bit “dated”. The verses might be too “theatrical” for some listeners.

#4. Denise – “Trophy“

It is a sleek, contemporary electro-pop track with a mid-tempo groove.
The song starts with a muffled, lo-fi electronic beat and a confident, soulful vocal ad-lib. The intro is mostly based on synth and electric guitar riffs.
The first verse is dreamy, based on electronic keyboards. Denise sings it emotionally and gently, giving us more of her vocal quality.
The second verse is rhythmically complex, with Denise using “talk-singing” techniques that match the syncopated bassline. The production is more powerful with some sophisticated “madness”. Vocally, she controls and excels.
The first pre-chorus introduces lush, multi-layered vocal harmonies that prepare us for the chorus.
The first chorus is smooth, sophisticated, with a very high production value, reminiscent of modern American pop. The synth and electronic production wraps it over.
The third verse is based on electronic keyboards with a “xylophone”-like melody, and pre-recorded backing vocals. The second chorus is similar to the first one. The bridge offers a soulful, melodic peak where Denise showcases her upper register and long notes.
Overall, it is the most “radio-ready” track of the 18, showing a level of vocal and production maturity that is hard to ignore. The song is very catchy, and it feels like it can do well, yet regularly popular. It was easy for me to remember it fully after the first time. Well done!

#5. EMA – “Achikuku” (Don’t Think About It)

It is a bright, disco-pop influenced track with a high-energy “feel-good” vibe and African beats.
The song starts immediately with a playful kalimba melody and a fast, driving percussion loop.
The first verse is light and breezy, with Ema delivering the lyrics in a conversational, cheerful tone.
The first pre-chorus is a rhythmic chant that invites the listener to clap along. The first chorus is a colorful explosion of sound: catchy, repetitive, and very danceable.
The bridge features a playful instrumental breakdown with a prominent woodwind synth.
Overall, it’s a brilliant “palette cleanser” for the show. It’s simple but incredibly effective at getting an audience on their feet. It has the potential to do as well as “What’s The Pressure” by Laura (Belgium, Eurovision 2016).

#6. Franklin Calleja – “Guide You Home”

It is a classic, soaring power ballad.
The song starts with a delicate, echoing piano melody and a soft synth pad.
Franklin’s first verse is sung in a breathy, intimate mid-range. The first pre-chorus introduces a steady, heartbeat drum and orchestral strings that swell towards the hook.
The first chorus is an anthemic, stadium-ready moment where Franklin’s high tenor range is the main focus.
The bridge features a dramatic, expected key change and a sustained high note.
Overall, it’s a very “safe” Maltese entry. It relies heavily on Franklin’s vocals. However, for me, it is full of patos and doesn’t go anywhere.

#7. Janice Mangion – “Univers” (Universe)

It is a grand, cinematic orchestral ballad performed in the Maltese language.
The song starts with a melancholic piano and a weeping cello solo that immediately sets a somber tone.
The first verse is delivered with a grounded, earthy power. The first pre-chorus is a slow, methodical build, adding layers of orchestral brass and cinematic percussion (taiko drums).
The first chorus is a massive, emotional one, with Janice’s vocals cutting through a dense orchestral arrangement.
The bridge is a vocal tour-de-force, ending in a haunting, quiet piano outro.
Overall, it is impressive vocally. But there’s something heavy and too technical about this one.

#8. Kelsie Borg – “Let a Girl Breathe“

It is a sassy, mid-tempo pop track with elements of funk and 90s R&B.
The song starts with a sharp finger-snapping beat and a “don’t-care” spoken-word intro.
The first verse is rhythmic and punchy, focusing on female empowerment themes.
The first pre-chorus adds a funky, slap-bass groove that changes the song’s energy.
The first chorus is a melodic, catchy hook with a very prominent rhythmic “breath” sample. It is a blending of techno and pop with plenty of effects and multi-layered backing vocals. Kelsie sings it in long phrasing and twirling.
The bridge is a breakdown where the music drops out, leaving only Kelsie’s vocals and a drum beat.
Overall, it’s full of personality and attitude. It’s the kind of song that depends entirely on the staging and Kelsie’s “star power.” But overall, it is bold and catchy, well done!

#9. Kelsy Attard – “Perfectly Broken“

It is a high-drama pop ballad with a dark, melancholic edge.
The song starts with a lone, minor-key piano and a vulnerable, almost whispery vocal.
The first verse builds slowly, introducing a subtle electronic “glitch” sound in the background.
The first pre-chorus is a big vocal climb, supported by a heavy, cinematic drum beat.
The first chorus is a powerful, belting moment that feels very “theatrical.”
The second verse adds synthesized strings. The bridge is the emotional peak, featuring several impressive high notes and a sudden silence before the final chorus.
Overall, it’s a classic MESC powerhouse ballad. While it follows a familiar formula, the vocal delivery is top-tier. It is a solid one, but not the best one.

#10. Kurt Anthony – “On The Borderline”

It is a contemporary pop-rock track with a radio-friendly hook.
The song starts with a driving, rhythmic electric guitar and a confident, mid-range vocal.
The first verse is fast-paced and builds momentum quickly.
The first pre-chorus is a classic rock “ramp up” with crashing cymbals.
The first chorus is an anthemic, sing-along moment that feels very “summer festival.”
The bridge features a melodic guitar solo and a rhythmic breakdown.
Overall, it is a very solid, professional radio track. It’s likable and easy to digest, though it might struggle to stand out against the more “extreme” entries.

#11. Liston Bongailas – “Mela”

It is a quirky, alternative entry that blends modern hip-hop and rap with traditional Maltese “għana” influences.
The song starts with a folk-style string instrument and a playful, rhythmic vocal delivery.
The first verse is fast and conversational. The first pre-chorus is a build-up of traditional and modern percussion.
The first chorus is a repetitive, insanely catchy earworm based on the ubiquitous Maltese word “Mela.”
The bridge is a chaotic, fun instrumental breakdown with a heavy dance beat.
Overall, it is the “cultural wild card.” It’s incredibly local and will likely be a massive televote hit in Malta. I am not sure about its chances, but it might be a very unpredictable choice from Malta, one that we have never received.

#12. Mark Anthony Bartolo – “Mumenti sbieħ” (Beautiful moments)

It is a warm, acoustic-leaning pop ballad in Maltese.
The song starts with a gentle, finger-picked acoustic guitar and a soft, nostalgic vocal tone.
The first verse is intimate, feeling like a personal letter.
The first pre-chorus builds with a light, airy string section and a soft shaker rhythm.
The first chorus is a melodic, heartwarming hook that feels very “middle of the road.” The bridge is an emotional climax where the instrumentation becomes more orchestral.
For me personally, it is one of the weakest and most forgotten entries of the selection.

#13. Matt BLXCK – “Ejja Lejja Ħdejja ‘l Hawn”/ “The Flute” (Eng: (Come to me, come here)

It is a maximalist, high-energy ethno-dance track.
The song starts immediately with a piercing, high-pitched flute hook and a thunderous tribal drum beat. Matt delivers the first verse with rapid-fire, charismatic delivery.
The first pre-chorus is a frantic rise in tempo with “shouty” backing vocals.
The first chorus is a massive, club-ready anthem where the flute hook becomes the primary “vocal” of the track.
The bridge features a choreographed dance-break section with heavy bass drops.
Overall, it’s “The Matt Blxck Show.” It’s designed for the televote and relies on high-impact staging. However, I feel like I’ve heard this kind of song in the past, which makes it less exciting for me. It resembles Jone – “Ekko inni meg“

#14. Matthew Cilia feat. The AfterParty – “Brutality Mentality“

It is a heavy, electronic-rock hybrid with industrial influences.
The song starts with a heavily distorted guitar riff and a gritty, aggressive vocal intro.
The first verse is intense, with a low-frequency synth growl underneath the vocals.
The first pre-chorus builds up and feels very claustrophobic before the release.
The first chorus is a high-energy, shouted hook designed to be jarring. The bridge is a heavy metal-inspired breakdown with a double-kick drum beat.
Overall, it is the “loudest” song of the year. It will be polarizing, but it certainly won’t be forgotten. I would like it to be more lyrical in some parts (and less growling).

#15. Mychael Bartolo Chircop – “My Sweet Angel”

It is a tender, piano-led ballad with a Disney-esque quality.
The song starts with a soft piano melody and a very pure, clear vocal performance.
The first verse is innocent and storytelling-focused. The first pre-chorus builds with lush strings and a light chime sound.
The first chorus is a melodic, sentimental hook that feels very “Broadway.”
The bridge is an emotional crescendo with a dramatic vocal peak.
Overall, it is a very classic, “pure” entry. While it might lack the modern edge of its competitors, and there it stays and doesn’t elevate

#16.Nathan Psaila – “Ganador” (Eng: Winner)

It is a high-energy, Latin-pop anthem with reggaeton beats.
The song starts with a fast-paced synth riff and a “shout-out” intro that sets a party tone.
The first verse is rhythmic and fast-paced.
The first pre-chorus uses a rising trumpet section and a “clap” beat to build energy.
The first chorus is an explosive, reggaeton-lite hook that is very radio-friendly. The bridge features a high-speed vocal section (almost a rap) and a big percussive finish.
Overall, Nathan has mastered the “commercial pop” sound. It’s fun, energetic, and very modern. I think that “Pose” and “Ganador” might somehow compete for votes from the same fan base as 2 leading traditional male-pop of “MESC 2026″.

#17. Rhiannon Micallef – “Hold Myself Up“

It is an atmospheric, mid-tempo soul-synth-pop track.
The song starts with a soft, “cloudy” synth pulse and a dreamy, ethereal vocal.
The first verse is delicate, focusing on a mood rather than a melody. The first pre-chorus introduces a steady, 80s-inspired electronic beat. The first chorus is a soaring, melodic hook that feels very wide and spacious. The bridge features a vocal ad-lib section over a shimmering synth landscape.
Overall, it’s a “vibe” song. It’s very artistic and well-produced, though it may require very clever lighting to translate to the screen. Rhiannon Micallef is definitely one of the strongest vocalists and a performer who knows how to excite the listener. I could easily see one of the biggest American divas performing this one.

#18. Stefan Galea – “Pose“

It’s a high-fashion, high-energy synth-pop track inspired by ballroom culture and Middle-Eastern music.
The song starts with a heavy, rhythmic “Vogue”-style house beat and a snapping sound.
The first verse is delivered with a lot of theatrical attitude and stylized vocals.
The first pre-chorus is a rhythmic transition that builds to a “drop.”
The first chorus is a club-ready hook with a prominent, deep synth bass and a catchy “Pose” refrain.
The bridge is an instrumental “pose-off” intended for a high-concept dance break.
Overall, it is the most “visual” entry. It’s built for a performance and could be a dark horse if the choreography is world-class. However, in some parts it feels too “ornate”.
. I think that “Pose” and “Ganador” might somehow compete for votes from the same fan base as 2 leading traditional male-pop of “MESC 2026″.

My Personal Ranking

Denise – “Trophy“
Rhiannon Micallef – “Hold Myself Up“
EMA – “Achikuku” (Don’t Think About It)
Kelsie Borg – “Let a Girl Breathe“
Kurt Anthony – “On The Borderline”
Stefan Galea – “Pose“
Nathan Psaila – “Ganador” (Eng: Winner)
Kelsy Attard – “Perfectly Broken“
Matt BLXCK – “Ejja Lejja Ħdejja ‘l Hawn”/ “The Flute” (Eng: (Come to me, come here)
Aidan – “Bella“
Chess Galea – “Shout it Out”
Janice Mangion – “Univers” (Universe)
Matthew Cilia feat. The AfterParty – “Brutality Mentality”
Liston Bongailas – “Mela”
Franklin Calleja – “Guide You Home”
Mychael Bartolo Chircop – “My Sweet Angel”
Adria Twins – “Nerġà nqum” (Eng I will rise again)
Mark Anthony Bartolo – “Mumenti sbieħ” (Beautiful moments)

My Prediction

It seems like Aidan is most likely to win.
However, I can see Denise and Matt doing quite well.

Who is your favorite song to win “MESC 2026″?

Eurovision 2026 will be held in Vienna, Austria, on May 12th, 14th, and 16th, 2026.