Review: “Eesti Laul 2026” (Estonia)

Estonia will select its Eurovision 2026 entry via “Eesti Laul 2026″.
12 artists will compete in the selection. The final will be held on Saturday, February 14th, 2026.

The results will be based on public votes and jury votes.

The top 3 acts will progress to the super-final, where the winner will be selected solely by the public vote.
In the first round, the results will be based on a 50% public vote and a 50% international jury vote.

In this post, I will review the 12 competing songs:

#1. Clicherik & Mäx – Jolly Roger

It is a high-energy, rap and hip-hop song with strong “pirate-core” and some ethnic and electronic influences.
The song starts with the sound of a creaking ship and a deep, distorted accordion sample, setting a playful, nautical tone. The sound is more like heavy electronic.
The first verse features rapid-fire, rhythmic Estonian rap delivered over a heavy, synthesized kicking beat. Mäx is the first performer who sings in a considerably low voice.
The first pre-chorus introduces a rising siren-like synth that builds tension.
The first chorus is a rowdy, anthemic “shout-along” with a heavy sub-bass drop that is pure club energy. The beat is digging deeper. Clicherik
The second verse adds more trap-inspired percussion. Sonically, it has more layers.
Overall, it’s a disruptive entry that relies on charisma and humor. It’s highly memorable, though it might be a bit too “novelty” for a serious jury. Personally, I feel it is trying too much. This is not the kind of sound I enjoy listening to. Vocally, it is pretty weak, even for rap. The reciting/rapping is too careless. Will Estonia send another novelty act, just like in 2024?

#2. Robert Linna – Metsik Roos

It is a retro-inspired, blues-rock song in Estonian.
The song starts with an electric guitar riff and a classic, swinging drum groove.
Robert’s first verse is full of soul and character, delivered with a vintage vocal tone. It progresses slowly, almost unaware of the engagement it should create.
The first pre-chorus adds a brass section and a rhythmic organ. This adds more layers to the production.
The first chorus is a catchy, “old-school” rock-and-roll hook that feels very live and organic.
The bridge features a bluesy guitar solo that highlights Robert’s musical roots.
Overall, it feels authentic, but fails to elevate. It is pretty forgettable and goes almost nowhere.

#3. Grete Paia – Taevas jäi üles

It is a high-drama, electronic dance track performed in Estonian.
The song starts with a shimmering, ethereal synth and Grete’s velvety vocals.
The first verse is atmospheric, building slowly with a soft electronic pulse. Greta sings it is mid-low tone of voice.
The first pre-chorus is memorable, danceable, and dark, with a tense, aggressive build-up with sharp synth stabs.
The first chorus is a massive, bass-heavy explosion that combines club beats with a soaring pop melody. Greta sings it with a softer interpretation, which blends well with the beats. The chorus is based on two parts, with the second relying on a bolder production.
In the second verse, the production is more laid back, the melody is based on synth elements, and we get to hear more of her.
The bridge features a stripped-back section with an electric guitar before the final, energetic climax.
The last chorus hits hard, straight to the point, and ends with delicate vocals.
Overall, it is a powerful “club-pop” anthem. It’s polished, energetic, and culturally resonant. Greta has delivered once again. In my opinion, she deserves to claim the stage in Vienna, especially with this banger in the Estonian language. Well done!

#4. Laura Prits – Warrior

t is a punchy, glam-rock-inspired pop song.
The song starts with a distorted electric guitar riff and a heavy, stomping drum beat reminiscent of 80s arena rock.
The first verse is delivered with a gritty, rock-and-roll attitude and high energy. Laura sings with tons of attitude and a distinctive voice.
The first pre-chorus uses a rising vocal melody and crashing cymbals to build to the hook. The melody is based on guitar and keyboards.
The first chorus is a loud, empowering anthem with a simple, catchy title hook. The melody is based on drums and bass, and she sings it with a raspier voice.
The second verse is more demanding and intense. It features more vocal effects, including vocal duplication.
The bridge features a classic rock guitar solo. Her singing is a secondary element. It continues to an
a cappella part, with soft keyboards playing. The song ends with one final chorus.
Overall, it’s a song that can feed rock lovers quite well. However, she isn’t the only one to compete with a rock entry this year.

#5. Uliana Olhyna – Rhythm of Nature

It is an ethno-pop track that blends Ukrainian and Estonian folkloric musical traditions.
The song starts with a haunting, “white voice” vocal chant and a deep, pulsing drum.
The first verse is atmospheric and nature-focused, using traditional woodwind samples. The melody basis is piano playing,
The first pre-chorus adds modern electronic elements, like a pulsing synth bass.
The first chorus is a soaring, melodic height that celebrates the connection to the land. It is cyclic, short and festive.
The second verse is more rhythmic, as it features a continuous beat.
The second chorus is similar to the first one, repeating on specific words, which makes it easier to chant.
The bridge features a traditional folk-dance breakdown. It brings the folklore to the center of attention, as in the introduction. The song ends with the final chorus, with a semi-electronic production.
Overall, it is the “cultural heart” of the selection. It feels ancient and modern at the same time, offering a very unique soundscape. However, I can’t see the Estonian public standing behind this. I am happy to get to know Uliana and this song in particular.

#6. Ollie – Slave

It is an aggressive, alternative rock song with “nu-metal” influences.
The song starts with a heavy, distorted bass riff and a sharp, metallic drum kit sound.
The first verse is tense, featuring Ollie’s raspy, emotive vocals over a brooding instrumental.
The first pre-chorus is a frantic, high-speed build that slams into the hook.
The first chorus is a massive, screaming rock anthem with a “wall of guitars” and a stadium-ready melody. It features bass and drums, which build more layers.
The second verse is built with plenty of effects and is very radio-friendly.
The bridge is a heavy breakdown with a rhythmic “chant” before a final, explosive chorus.
The final chorus goes more aggressively with heavy guitar distortion and growling. At the beginning, the bass is more dominant. The gorwling appears again in the end.
Overall, it’s Ollie’s most intense entry yet. It feels raw and authentic, likely to win the rock-loving Estonian public again. However, I feel that the song isn’t “accessible” enough for the general public (or even the jury). At some point, it becomes just too aggressive to follow.

#7. Marta Pikani – kell kuus

It is an intimate, indie-country pop ballad with a nostalgic lo-fi aesthetic.
The song starts with a delicate, muffled piano melody that sounds like it’s coming from an old radio.
Marta’s first verse is very soft and vulnerable, focusing on a relatable, storytelling lyric style. The melody is based on classical guitar and percussion elements.
The first pre-chorus introduces a subtle “heartbeat” bass drum and light acoustic guitar strumming.
The first chorus is a melodic, sweet hook that doesn’t scream for attention but lingers in the ear. It is quite repetitive and features some “wild west” music elements.
The second verse adds a light synth layer. But keeps the country base in the center. Towards the end, she gives us a thin high tone of voice.
The bridge feels more magical, but it is too short to impress.
Overall, it’s a “sleeper hit.” Its simplicity is its strength, but I am afraid it is too specific to be notable and to do well. Sadly, I think it is one of the forgettable entries in the selection.

#8. NOËP – Days Like This

It is a sleek, upbeat electropop track with a “feel-good” summer vibe.
The song starts with a sunny, sampled vocal loop and a dry, rhythmic percussion track. The song opens with choir backing vocals, which creates a vocal framing.
The first verse is delivered in NOËP’s signature casual, husky mid-tone. He sings emotionally and calmly.
The first pre-chorus clears the frequencies, creating a “vacuum” before the drop. The beats are well-planned.
The first chorus is a minimalist, groovy “drop” with a catchy synth lead rather than a big vocal belt. It is based on some backing vocals as well. Slowly, it grows to a dance-pop with club motives.
The second verse adds more organic sounds, like a soft guitar pluck. The transition is smooth, and the arrangement is much beyond expectations.
In the second pre-chorus, we get a different color of voice from him. It is followed by another chorus, which elevates the party.
Overall, it is incredibly “cool.” It doesn’t try too hard, which is exactly why it’s so infectious. It’s radio-perfection. It hits the sweet spot of creating an emotional atmosphere, and also stands out as an electro-pop piece. Well Done

#9. Getter Jaani – The Game

It is a sophisticated, mid-tempo dark-pop track, marking a significant departure from her “Rockefeller Street” days.
The song starts with a cold, minimalist electronic pulse and a ticking clock sound.
The first verse is sung in a low, breathy register, showcasing a more mature vocal texture. The beats are very specific and wrap her singing effectively.
The first pre-chorus adds layers of vocal harmonies and a sweeping synth pad. She sings it in a higher tone of voice. The dark atmosphere continues through the backing track.
The first chorus is a cinematic, minor-key hook with a heavy “drum-machine” kick that drives the rhythm. She sings with full attitude and bold vocals. It ends with some vocal decorations and more denser beats.
The second verse steps more into the modern sound. It is slightly faster, the general flow is stable, and contemporary. The second pre-chorus continues as planned.
The second chorus is catchy, full of backing vocals.
The bridge features a dramatic vocal ad-lib over a sparse instrumental. The backing vocals sound like children singing. The final chorus continues directly from there.
Overall, the Sven Lõhmus production is world-class. It feels modern and moody, proving Getter is a serious contender for a comeback. I feel like we have a hit that could have been a major thing internationally. Well done!

#10. Minimal Wind ft. ANT – Wounds (Don’t Wanna Fall)

It is an atmospheric, cinematic indie-pop ballad with rich orchestral elements.
The song starts with a haunting piano loop and a cold, ambient synth landscape.
The first verse features a dual-vocal delivery that is fragile and emotive. Ant is the lead vocalist, but later on, he is supported by the female vocalist from Minimal Wind.
The first pre-chorus introduces cinematic strings, violins, and cellos, which add a layer of tragic beauty. It presents the contrast of their voices as part of synergy.
The first chorus is a lush, textured, rich-layered melody that feels both wide and intimate. The stings add minimal drama. The post-chorus features percussion and guitar, along with vocal decoration.
The second chorus continues similarly, but this time the production is “braver” and more powerful.
The bridge is a musical crescendo with a heavy focus on the string arrangement. Ant sings with soft rock elements, while being supported by soft and precise backing vocals.
The last chorus relies on electronic guitar and strings. It burns slowly, but very sophisticatedly.
Overall, it is a high-art entry. It’s musically complex and beautifully produced, likely to be a massive jury favorite. For some listeners, it might be a “slow burn”. I appreciate that one a lot. It screams high-quality music and excellent production.

#11. Vanilla Ninja – Too Epic To Be True

It is a modern, high-energy pop-rock track that pays homage to their roots.
The song starts with a sharp, nostalgic synth riff and a driving rock beat. The introduction is actually part of the chorus.
TLena opens the first verse. The melody is based on keyboards, piano, bass, and electric guitar. You can tell how much they enjoy performing together, and it is part of the magic.
The first pre-chorus features the iconic vocal harmonies the group is known for: polished and powerful. It is a rhythmic climb with heavy power chords.
The first chorus is a “wall of sound” pop-rock anthem that is both modern and retro.
The second verse brings a change with a different vocalist taking the lead. She sings in a more angelic voice. The beats are getting denser.
The group sings the second pre-chorus together.
The second chorus is a more retro-electronic production. The arrangement is glamorous.
The bridge features a cinematic breakdown before a big, final key-change climax. Lena brings more of a rock vibe. Thereafter, we can hear a pre-recorded reciting man with some radio effects. This part I found inessential. The final chorus is more powerful, and the electronic keyboards are in the front.
Overall, it’s a legendary comeback. It captures their old energy but updates it with 2026 production standards. However, by any standards, it isn’t one of their best songs (see “Encore” in 2022, and “Are You Ready to Go” in 2026). I feel like I am more excited about the band, rather than the song.

#12. Stockholm Cowboys, Stig Rästa & Victor Crone – Last Man Standing

It is a revved-up, EDM-country hybrid that feels like a “rave in a barn.”
The song starts with a rhythmic acoustic guitar and a high-energy “club” beat.
The first verse features Victor Crone’s accessible, country-pop vocals. However, lyrically, almost nothing happens. My counter collected 12 “down” and 12 “round”. It is a classic EDM build-up with rising synths and a “shout” from Stig. The beat is getting more dominant.
The first chorus is a massive “rave” anthem with a heavy synth-bass drop and a catchy, repetitive hook. The rate is very specific, and the singing is quite basic.
The post-chorus is a more electronic (almost industrial) production. This part doesn’t rely on singing at all. This part is more country-oriented.
The second verse is performed by Stig, who performs it in a higher tone of voice.
The second chorus relies on more electronic pulses and Victor’s singing. The post-chorus is bold and combines more synth and electronic elements.
The bridge features a “Celtic” violin solo that adds a unique folk-dance twist. Victor struggles to perform at the required pitch. Towards the end, the production is more laid back.
It ends with one final chorus and post-chorus, this time with more house elements.
Overall, I guess this one might have a solid fan base. But for me, the song was mostly built on its instrumental part and the electronic production. The vocals aren’t always on point. The lyrics are secondary, sometimes a filler. Do they try to manipulate us with heavy production, but a very weak song?

My Personal Ranking

Grete Paia – Taevas jäi üles
NOËP – Days like this
Getter Jaani – The Game
Minimal Wind ft. ANT – Wounds (Don’t Wanna Fall)
Uliana Olhyna – Rhythm of Nature
Laura Prits – Warrior
Ollie – Slave
Vanilla Ninja – Too Epic To Be True
Stockholm Cowboys, Stig Rästa & Victor Crone – Last Man Standing
Marta Pikani – kell kuus
Clickherik ft. Max – Jolly Roer
Robert Linna – Metsik Roos

My Prediction

Overall, it is a diverse selection with some big names and mostly solid songs.
When it comes to Estonia, it is always about big names. It isn’t a secret that their voters mostly prefer male performers.
In my opinion, the top 2 will be Clickherik ft. Max and Stockholm Cowboys, Stig Rästa & Victor Crone.
The 3rd place will probably go to Vanilla Ninja or Ollie.

Who is your favorite to win “Eesti Laul 2026″?

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