Review: “Melodi Grand Prix 2026” (Norway)

Norway will select its Eurovision 2026 entry via “Melodi Grand Prix 2026″.
9 artists will compete in the selection. The final will be held on Saturday, February 28th, 2026.
The results will be based on public votes and jury votes.

In this post, I will review the 9 competing songs:

#1. Alexander Rybak – Rise

• It’s a mid-tempo folk-pop song that acts as a spiritual successor to his 2009 victory.
• The song starts with a solitary, melancholic violin weep, instantly recognizable, layered over a soft orchestral swell.
• The first verse is sung in Rybak’s classic, earnest storytelling style. He sings effortlessly, and the general vibe is folk.
• The first pre-chorus introduces a rhythmic acoustic guitar pluck and a steady, heartbeat percussion.
• The first chorus is a “rise” in every sense: a major-key explosion featuring a full string section and a soaring melody. This is also where he gives us more vocally. The production is simple and minimalistic. The post-chorus is an instrumental violin-based part.
• The second verse is pretty similar to the first one, but the singing is more playful.
• The second chorus sounds more like Eastern European music.
• The bridge is a high-energy violin solo that shifts from classical to folk dance. The song ends with the final chorus, featuring much lazier lyrics (na na na).
• Overall, the song relies on cliche message, and sounds a bit like a children’s song. It is one of Rybak’s weakest songs. While the Norwegian public might be excited about the singer’s comeback, the song is more of an almost certain NQ in Eurovision.

#2. Emma – Northern Lights

• It is an atmospheric, ethereal Scandinavian pop ballad.
• The song starts with a haunting, “joik-inspired” vocal hum and the sound of a cold wind.
• The first verse is delicate, featuring airy vocals that feel like they are floating. Emma sings it in an angelic high tone of voice. The melody is based on keyboard playing.
• The first pre-chorus is short and builds up the tension gradually. It is based on piano playing with some studio effects. Emma performs it with a slightly lower tone of voice in Norwegian.
• The first chorus builds with a fast, ticking percussion that mimics a racing heart. It’s based on an expansive, cinematic hook, very “Aurora” meets “Susanne Sundfør”. The melody is also based on deep, vibrating bass synths.
• The second verse is similar to the first one, but the melody is based on fast phase keyboards playing with soft electronic elements.
• The second verse continues the storyline effectively with beautiful vocals and modern production.
• The bridge features a transition into repetitive lyrics, adding to the authentic Nordic feel. It features some echo backing vocals.
• Overall, it’s a beautiful, mood-driven entry. It’s accessible yet carries an artistic weight that makes it a top contender. If the staging suggests the right dark (but hopeful) atmosphere and the vocals are on point, it will stand out.

#3. Hedda Mae – Snap Back

• It is a quirky, retro-infused pop track that pulls heavily from late 90s and early 00s aesthetics.
• The song starts with a funky, compressed bass guitar riff and a playful “snap” percussion track.
• The first verse is rhythmic and conversational, delivered with a self-ironic attitude. She sings almost nonchalantly, but with great presence.
• The first pre-chorus is a fast-paced climb that uses “stutter” vocal effects. The melody is richer and based on the keyboard. bass and drums.
• The first chorus is a punchy, earworm hook that is deceptively simple but incredibly well-engineered for radio. It is easy to singalong. Hedda Mae performs it with a wide range of voices. The beats can also relate to very current music, like Dua Lipa’s music.
• The second verse suggests a similar vibe to the first, but with richer backing vocals and soulful singing.
• The bridge is a fun, chaotic breakdown with brass stabs.
• Overall, it’s the most “modern” and playful entry. It brings a much-needed burst of color and irony to the selection.

#4. Jonas Lovv – “Ya Ya Ya”

• It is a flamboyant, high-octane glam-pop-rock song.
• The song starts with a “shout-out” intro and a heavy, distorted synth-bass line that feels almost industrial.
• The first verse is delivered with a lot of theatricality and high energy. Jonas sings with a raspy mid-tone of voice. The melody is based on the bass, drums, and electronic keyboards
• The first pre-chorus uses rising electronic “risers” to build massive tension. He sings it in a different tone, engaging the listener more.
• The first chorus is an unapologetic, maximalist explosion of sound. It is catchy, loud, and very “visibly queer” in its aesthetic energy. He sings it in a warmer tone of voice, with longer notes. The melody is based on longer musical boxes, implemented by bass and drums.
• The second verse introduces more electronic “glitch” textures. This verse is more of a rock vibe, with an electronic guitar guiding the melody as well. The second pre-chorus is a bit more laid back.
• The second chorus follows and progresses as before. The post-chorus starts as an instrumental percussion-based part, and later on features multiple backing vocals.
• The song ends with the final chorus, which is more of glam pop.
• Overall, it’s a high-impact stage song. It’s the kind of entry that depends on a massive performance to truly land. However, I find the song monotonous in some parts. I think the song should have featured more elements, so it would remain engaging all the way through. Having said this, I really like his vocal performance,

#5. Leonardo Amor – “Prayer”

• It is a dark, introspective ballad with a contemporary R&B production.
• The song starts with a minor-key piano and a vulnerable, soul-inflected vocal.
• The first verse is stripped-back, focusing on a deeply personal lyrics about identity and faith. He performs it very intimately and personally. Leonardo’s singing is based on a delicate, gentle voice. The pre-chorus is more soulful, raw and served with a warm voice.
• The first chorus is simple and still based on piano playing. He sings it with a higher tone of voice. Later on, more classical elements are added to the melody, like strings.
• The second verse is a bit more rhythmic, featuring a modern bit, as long as a violin. The second pre-chorus builds up to the chorus.
• The second chorus is a soaring, emotional high point that utilizes Leonardo’s impressive vocal range.
• The bridge features a dramatic vocal crescendo that feels like a spiritual release. It gives more space to the classical elements.
• Overall, it is the “emotional anchor” of the selection. It feels authentic and very raw. It is very impressive vocally. However, I am afraid it might go too simply and raw for some listeners. As much as I ballads, this one doesn’t stand out enough.

#6. Mileo – “Frankenstein”

• It is a theatrical, dark-pop track with an international, “monster-motif” soundscape.
• The song starts with a creaking door effect and a deep, rhythmic bass pulse that feels like a slow heartbeat.
• The first verse is moody and sung in a hushed, intense tone. It serves in a very playful way, with unique word phrasing. The melody is based on a drum beat and a soft electronic sound.
• The first pre-chorus builds with industrial percussion and “scary” synth pads. Its core is based on keyboards. He sings it in a lower tone of voice and finalizes with vibrato singing.
• The first chorus is an anthemic, powerful hook that is both catchy and slightly unsettling. He sings it emotionally, with a thin and warm voice. It ends with multi-layer singing with plenty of effects.
• The second verse continues the same vocal line. Between those parts, he sings very theatrically with a diverse tone of voice. This part is designed as “Question and Answers”, where each part gets a different tone of voice.
• The second pre-chorus is short and effective; the keyboards and synths are in the front.
• The second starts with similarity to the first one.
• The bridge features a cinematic “transformation” section with distorted vocal layers. He sings it more calmly and emotionally. Slowly, it grows and explodes. The production is way more minimalistic
• The final chorus starts with a more raw sound, essentially focusing more on vocals. Later on, the synth elements are added.
• Overall, it is highly cohesive and incredibly memorable. It upstages the “crazy” entries with actual musical substance. When it comes to staging, I have faith in Mileo to deliver the story effectively. What impresses me the most is the way that a single guy sounds like a complete boy band.

#7. Silke – “Forevermore”

• It is a sophisticated, electronic pop track with house and dance club elements.
• The song starts with a lush, multi-layered choral hum over a clean, Röyksopp-inspired synth pad.
• The first verse is sung in a very pure, “mountain-air” vocal style. Silke sings in an angelic voice, with echo backing vocals. The production is modern, putting the different elements above the melody.
• The first pre-chorus introduces a heavy, driving house beat that contrasts sharply with the vocal purity. Towards the end, we get some club beats.
• The first chorus is a soaring, melodic peak that feels like “light at the end of a tunnel”. It delivers some positivity. It starts with mid-beat and gradually explodes to dance club beats.
• The second verse suggests a more Scandinavian sound, relying on sampled percussion beats.
• The second chorus is more festive, but still performed emotionally
• The post-chorus starts with pre-recorded metallic backing vocals and is mainly based on 1990s-influenced electro beats.
• The bridge is performed in Norwegian. It’s a vocal showcase that highlights her ability to blend organic and digital sounds. Some parts of this are performed in more of an operatic voice. The song ends with one final chorus.
• Overall, it’s fresh, elegant, and very recurrent. It might be a strong appeal to those who appreciate excellent vocals, as well as the house-club genre. If it is executed in the same quality live, it will generate an unforgettable performance.

#8. Skrellex – Into the Wild

• It is an epic, cinematic pop-anthem with “warrior-like” energy.
• The song starts with a thumping, taiko-style drum beat and a dramatic orchestral swell.
• The first verse is delivered with power and a clear, commanding vocal. Skrellex sings this part in a surprisingly low tone of voice. The melody is based on keyboard and bass playing, as well as a constant beat.
• The first pre-chorus is a massive, climbing build-up that feels tailor-made for a large stage. Skrellex sings it with more energy and a higher-pitched voice.
• The first chorus is anthemic, grand, melodic, and highly energetic. The melody is based on drum beats, keyboards, and studio effects. The second half is a “sing-along stadium” oriented.
• The second verse maintains the intensity with added electronic layers. The production suggests recorded backing vocals. The singing is effortless with a very basic tone. The second pre-chorus is a bit more melodically designed.
• The second chorus is uplifting and cheering. A reciting/spoken word part follows it. The melody is more intense, with drums in the front. The bridge is more powerful vocally, with more laid-back production. The song ends with the final chorus.
• Overall, the song suggests an almost “typical” Scandinavian national selection sound. I can even heat some part of “Domino” from “Montesong 2025″. My main problem is that the vocal performance (depth, blending, color of voice, and more) doesn’t blend well with the melody and the production. The song goes in a very predictable and safe direction, which I can’t really appreciate.

#9. Storm – “Lullaby”

• It is an “energy bomb” that fuses rock, metalcore, and melodic pop.
• The song opens with children singing.
• The first part is the chorus; it is immediately shattered by a crushing electric guitar riff and a heavy drum kit.
• The first verse is sung in a melodic rock style, processed with plenty of vocal effects. The rate is higher, almost suggesting an angry vibe. The sound is electronic rock.
• The first pre-chorus moves into a more aggressive delivery, almost light metal meets college rock. The choir singing comes once again.
• The first chorus is an infectious, stadium-rock anthem that is surprisingly accessible despite its heavy roots. Vocally, we get softer sides of his voice, ending with falsetto singing.
• The bridge features a brief, intense metalcore breakdown before returning to the melodic hook. It is a modern take on classic rock and ends with growling.
• Thereafter, we get a short transition part, just before the final chorus. It is based on echo pre-recorded backing vocals and a fragmented electronic beat.
• The final chorus is powerful and easy to singalong to. Vocally, it is one of the best takes of this song. The song ends with a fusion of choir singing and growling.
• Overall, it’s a high-intensity entry that bridges the gap between the “heavy” and “pop” audiences perfectly. However, something about this song sounds like it was performed by one of the American rock bands between 2007 and 2012. I am not sure about the authenticity it delivers. The choir singing is overused, and sometimes disconnected from the main core of the song.

My Personal Ranking

1. Mileo – Frankenstein
2. Emma – Northern Lights
3. Silke – Forevermore
4. Hedda Mae – Snap Back
5. Jonas Lovv – Ya Ya Ya
6. Leonardo Amor – Prayer
7. Storm – Lullaby
8. Alexander Rybak – Rise
9. Skrellex – Into the Wild

My Prediction

Overall, it is a weaker than usual edition of “Melodi Grand Prix” (which for me peaked at 2023). It will be interesting to see whether the votes will be based on names or on the song’s merits.
I think the winner will be one of: Alexander Rybak, Emma, or Mileo

Who is your favorite to win “Melodi Grand Prix 2026″?

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