Review: “Melodifestivalen 2026” (Sweden)

Sweden will select its Eurovision 2026 entry via “Melodifestivalen 2026″.
12 artists will compete in the final, which will be held on Saturday, March 7th, 2026.

The results will be based on 50% International jury and a 50% public vote.

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

#1.  A*Teens – Iconic

• It is a Schlager-Eurodance track with heavy progressive house influences, perfectly capturing the “Avicii-era” Swedish sound.
• The song starts with a sharp, filtered house-clap rhythm and a pulsating bassline that immediately sets a nostalgic yet high-energy tone.
• The first verse features the four members trading lines with clean, synchronized pop vocals. The arrangement is relatively sparse here, allowing the rhythmic bass to drive the momentum.
• The first pre-chorus introduces a classic synth-riser and lush vocal layering that builds significant tension, leading into a “fake-out” silence.
• The first chorus is a massive, melodic explosion. It’s an “Iconic” anthem with a soaring hook and a heavy 4/4 beat. The post-chorus relies on a synth-driven “drop” that is tailor-made for stadium energy. The bridge is a stripped-back breakdown with rhythmic hand-claps and a gospel-inspired vocal stack before a final, high-energy finale.
• Overall, it’s the ultimate nostalgia trip executed with 2026 precision. While it leans on familiar tropes, the production is world-class, and their live vocal blend remains their greatest asset. I guess it is really a matter of taste here. Those who like the early 2000’s music might really like this one. I this it is solid, but at the same time, afraid it won’t speak to the general audience.

#2. Meira Omar – Dooset Daram

• It is a rhythmic, Persian-infused pop track that seamlessly blends ethnic motifs with sleek, Stockholm-style EDM production.
• The song starts with a haunting sitar and string motif, quickly joined by a deep, atmospheric sub-bass.
• The first verse features Meira’s velvety, low-register vocals. She alternates between English and Persian, creating a mysterious, “desert-at-night” vibe.
• The first pre-chorus introduces a driving “dam-dam-ram” percussion that heightens the tempo and adds a tribal urgency. The first chorus is a hypnotic earworm. The repetition of “Dooset Daram” is supported by a heavy, modern dance beat and shimmering synth arpeggios.
• The bridge is a cinematic peak featuring an intense rhythmic “dance-break” with traditional Persian percussion colliding with industrial electronic stabs.
• Overall, it’s fresh, culturally rich, and incredibly polished. It fills the “ethnic-pop” vacuum in Melodifestivalen. However, I am not sure whether oriental pop song is the right choice for Sweden at Eurovision.

#3. Lilla Al-Fadji – Delulu

• It is a high-energy “novelty-plus” dance track that uses a character-driven persona to deliver a surprisingly tight club anthem.
• The song starts with a fast-paced, 140 BPM electronic beat and a humorous spoken-word intro in the signature Al-Fadji style.
• The first verse is a rhythmic, almost rap-adjacent delivery. The production is “messy-on-purpose,” using “glitch” effects and sirens to match the chaotic theme.
• The first pre-chorus is a fast-paced build-up with a choir of “delulu” chants that increase in volume and pitch.
• The first chorus is a pure, unadulterated “bop.” It relies on a heavy, bouncy bassline and a repetitive, viral-ready hook. The melody is simple but effectively infectious.
• The bridge features a sudden comedic “stop” and a brief, soulful vocal parody before slamming back into the final, frantic chorus.
• Overall, it’s an entertaining song. Some may dismiss it as a joke. It is polarizing, high-energy, and destined for TikTok immortality. I am not sure that this kind of humor will gain enough popularity in Eurovision. I can see it getting much more point from the public, rather then the international jury.

#4. Saga Ludvigsson – Ain’t Today

• It is a modern, power-pop song, with country influences.
• The song starts with a distorted electric guitar riff and a rhythmic drum “stomp” that feels very grounded and organic.
• Saga’s first verse is delivered with a raspy, storytelling tone. Her voice is the focus here, accompanied only by a pulsing bass guitar.
• The first pre-chorus is a melodic climb that showcases her vocal power, building excitement with a sudden shift in melody.
• The first chorus is a grand, melodic explosion. The hook is soaring and defiant, backed by a wall of sound featuring guitars, synths, and heavy percussion. This part takes the song more into the country genre.
• The bridge features an emotional climax with high, sustained notes and a “reverb-soaked” breakdown that highlights the lyrics’ vulnerability.
• Overall, it’s a high-concept, “stadium-ready” entry. It showcases Saga’s growth from “Idol” contestant to a legitimate pop force. It’s authentic, powerful, and yet not trying too hard. The performance elevates the siong

#5. Smash Into Pieces – Hollow 

• It is a cinematic, modern pop-rock song that fuses heavy guitar riffs with drum-and-bass electronic textures.
• The song starts with an atmospheric, “sci-fi” synth pad and a mechanical drum beat that mimics a ticking clock.
• The first verse features Chris Adam’s distinctive, gravelly vocals. The arrangement is tense and sparse, focusing on a “cold” electronic framework.
• The first pre-chorus introduces a driving bass synth and a rapid-fire percussion build that signals a massive transition.
• The first chorus is a soaring, arena-rock masterpiece. The production is incredibly dense, blending heavy distorted guitars with “shimmering” high-end synths.
• The bridge is an instrumental highlight featuring a solo from the Apocalypse DJ, incorporating glitch-core elements and a heavy breakdown.
• Overall, it’s “Smash” at their most polished. It feels like a video game soundtrack brought to life. It’s predictable but executed with such technical perfection that it remains a top-tier contender. I wish the song were a bit too rocky and less poppy.

#6. Cimberly – Eternity

• It is a soaring, mid-tempo pop ballad with a soul-infused core and a massive, “Euro-diva” production. The song starts with a lonely, melancholic piano melody and Cimberly’s powerful, grounded “velvet” voice. The first verse builds momentum slowly, introducing a heartbeat-like electronic pulse.
• The first pre-chorus is a slow, methodical orchestral swell that adds significant cinematic weight and “drama.”
• The first chorus is a grand, melodic explosion. It’s built on big notes and a sophisticated string arrangement. The melody is timeless, feeling like a modern classic.
• The bridge is an emotional tour de force where her vocals reach their absolute peak, followed by a sudden, intimate “hushed” moment before the final chorus. This part features some pre-recorded processed vocals.
• Overall, it’s an “Idol-winner” masterclass. It’s polished, emotional, and focuses entirely on her incredible range. It’s a very safe but highly effective entry for the jury. I like the innocence and pureness it delivers. It is one of the pleasant surprises of the selection.

#7. Medina – Viva L’Amor

• It is an infectious, Arabic-influenced Swedish-pop anthem that serves as the ultimate party soundtrack. The song starts with a signature “Medina” string hook (the Oud) and a high-energy, 128 BPM “Salami-pop” beat.
• The first verse is a rhythmic, dual-vocal delivery from Ali and Sami. It’s light, playful, and instantly gets the listener moving.
• The first pre-chorus is a classic “mello-climb” with hand-claps and rising synths that heighten the “carnival” energy.
• The first chorus is a massive, sing-along anthem. The hook is simple, celebrating love and unity, backed by a driving kick-drum and lush, sunny production. The bridge features a rhythmic “dance-off” section with heavy percussion and vocal ad-libs.
• Overall, it’s Medina doing exactly what they know. It captures the “Summer in Sweden” vibe perfectly. But I find it too cliché, and it follows the same formula they have been trying for years. I am not sure that this Middle Eastern sound is the correct one for Sweden.

#8. Greczula – Half of Me

• It is a mid-tempo pop-rock track with a distinct 80s “New Wave” polish.
• The song starts with a clean, rhythmic electric guitar and a light synth pad that creates a “driving at night” atmosphere.
• The first verse features Greczula’s clear, storytelling baritone. The production is tight and rhythmic, focusing on the “groove.”
• The first pre-chorus introduces a subtle melodic lift with “airy” backing vocals that add a sense of space.
• The first chorus is a sophisticated earworm. It doesn’t rely on “shouting” but rather on a smooth, melodic hook and a very “radio-ready” production style.
• The bridge is a melodic breakdown featuring a synth-sax solo and a more “raspy” vocal delivery from Greczula.
• Overall, it is one of the entries that feels less authentic to me. I see it as a mixture of many existing songs, like “Gloria” by Laura Branigan, and “Listen to Your Heartbeat” by Friends (Eurovision 2001). For some reason, I find the song (and the performance) too artificial, in the sense that it follows the steps of many well-known performers in the past.

#9. Robin Bengtsson – Honey Honey

• it is a slick, country-pop influenced track with a catchy, retro-modern aesthetic.
• The song starts with a sunny acoustic guitar strum and a light, whistling melody.
• The first verse is delivered with Robin’s signature “smize” vocals, which are smooth, effortless, and rhythmic.
• The first pre-chorus features a “Motown-lite” rhythmic snap and multi-layered harmonies.
• The first chorus is a simple, feel-good hook. It’s an instant “ear-candy” moment that focuses on the title “Honey Honey” with a light, bouncy bassline.
• Overall, it’s a bit of a departure from his usual slick pop, moving into a more “organic” territory. While it lacks “drama,” its infectious positivity makes it a strong radio hit. I feel that Robin himself is the main power, not the song itself.

#10. Felicia – My System

• It is a high-octane, “ecclesiastical” dance anthem that channels the high-energy spirit of Cascada and modern Norwegian pop. The song starts with a surprising church-organ motif and a massive vocal run from Felicia.
• The first verse is sung with a sassy, rhythmic delivery over a heavy, pulsing electronic beat.
• The first pre-chorus is a classic EDM build-up with rising synths and “heartbeat” percussion.
• The first chorus is an explosive “drop.” It relies on a heavy synth hook and a repetitive, addictive beat. The “My System” hook is designed for club play.
• The bridge is a sudden atmospheric shift with “white voice” samples before a final, thunderous chorus.
• Overall, it is the standout “bop” of the year. It’s professionally produced, high-energy, and has immense staging potential. It’s Sweden’s answer to the modern “Club-pop” trend. While it doesn’t always rely on vocals, as the song features some instrumental and electronic drops, it still delivers EDM at its best. I can see the similarities to Cascada‘s “Everytime We Touch“, but I think it takes it to a much more modern take.

#11. Sanna Nielsen – Waste Your Love

• It is a soaring, “stadium” pop ballad that successfully blends Sanna’s classic elegance with modern, cinematic pop.
• The song starts with a grand, orchestral piano and Sanna’s crystal-clear, legendary vocals.
• The first verse is delivered with a warm, storytelling tone. The production builds slowly with a rhythmic “drum-thump” and light synth textures.
• The first pre-chorus is a classic “Sanna-climb” that builds immense excitement for the hook.
• The first chorus is a major-key anthem. It celebrates love with a “Symphony-style” production, featuring orchestral strings meeting modern beats. It’s grand and authentic.
• The bridge features an incredible vocal run that reminds everyone why she is a Melfest legend, ending on a high, long note.
• Overall, it’s a triumphant return. It’s charming, authentic, and feels like a more commercial continuation of her previous hits. A jury-slayer for sure. I don’t find the song brilliant, and sadly, it doesn’t bring anything new to the table. I do appreciate Sanna Nielsen‘s as performer and the way she elevates it.

#12. Brandsta City Släckers – Rakt in i elden

• It is a high-energy, schlager-rock anthem that revives the “fireman-party” vibe with modernized production. The song starts with a punchy drum fill and a heavy, distorted guitar riff that feels very “live.”
• The first verse is fast-paced and delivered with Glenn’s recognizable, gravelly energy. The first pre-chorus is a driving “rock-build” that signals the massive, sing-along hook.
• The first chorus is an explosive, “oh-oh-oh” anthem. It’s simple, loud, and incredibly effective as a piece of crowd-pleasing entertainment.
• The bridge features a “fire-themed” instrumental breakdown with heavy percussion and “shouted” chants.
• Overall, it’s a total crowd-pleaser. While it borders on “childish,” the production is decent. It feels like a “crowd” pleasure entry, but it is too targeted at the local market.

My Personal Ranking

1. Felicia – My System
2. Cimberly – Eternity
3. Smash Into Pieces – Hollow 
4. Saga Ludvigsson – Ain’t Today
5. A*Teens – Iconic
6. Sanna Nielsen – Waste Your Love
7. Robin Bengtsson – Honey Honey
8. Greczula – Half of Me
9. Meira Omar – Dooset Daram
10. Lilla Al-Fadji – Delulu
11. Medina – Viva L’Amor
12. Brandsta City Släckers – Rakt in i elden

My Prediction

Overall, it isn’t a great year for “Melodifestivalen”, but it has improved from 2025.
The predicted leading candidates will be Felicia, A*Teens, Greczula, and Smash Into Pieces.
If I on have to place my bet on only one of them, I will go with Felicia

Who is your favorite to win “Melodifestivalen 2026″?

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