Welcome to our new series of posts!
The moment of truth has arrived, and all 35 competing songs for Eurovision 2026 have been revealed.
So we are ready for an extended review of them and a ranking of the songs.
Each post in the series will focus on 5 songs.
This 7th post will focus on 5 of the countries competing in the final: Austria, France, Germany, Italy, and the UK
You can find the previous episodes here:
- Belgium, Croatia, Montenegro, Portugal, and Serbia
- Estonia, Finland, Lithuania, Poland, and Sweden
- Georgia, Greece, Israel, Moldova, and San Marino
- Albania, Bulgaria, Czechia, Romania, and Switzerland
- Armenia, Azerbaijan, Cyprus, Malta, and Ukraine
- Australia, Denmark, Latvia, Luxembourg, and Norway
COSMÓ – Tanzschein
COSMÓ won the Austrian selection for Eurovision 2026, “Vienna Calling 2026”, with his song “Tanzschein“.
The title translates to “Dance License,” which in the song represents emotional intelligence and empathy. COSMÓ critiques the ego and “toxic” posturing often found in nightlife, suggesting that to truly “dance” with others, one needs more than just rhythm; they need a license to be authentic and respectful.
Initial Personal Ranking
19th overall
Musical Review
- It is a dark, sophisticated “Industrial Electro-Pop” track that leans heavily into a gritty, nocturnal aesthetic.
- The song opens with a distorted, low-frequency synth pulse and the sound of muffled footsteps, immediately establishing a mysterious club atmosphere.
- COSMÓ opens the first verse with a deep, spoken-word-style delivery that transitions into a rhythmic, breathy baritone. The production is skeletal here, anchored by a “cold” techno kick drum and clicking percussion that mimics a ticking clock.
- The first pre-chorus introduces a rising analog synthesizer and layered vocal whispers, building a sense of social anxiety. The melody starts to climb, becoming more urgent as more electronic layers are added to the mix.
- The first chorus goes on a simple line. Rather than a massive explosion, it features a slick, deep-house bassline and a catchy, repetitive “Tanzschein” hook. COSMÓ sings with a smooth, detached, very low vocal tone that perfectly matches the lyrics’ critique. The instrumentation is sharp, using industrial stabs to punctuate the rhythm.
- The second verse adds more percussive “clinks” and a gritty electric guitar riff in the background.
- The second chorus expands the soundscape with shimmering, high-pitched synth pads.
- The bridge is a rhythmic breakdown, a “digital riot” of glitchy electronic sounds and a heavy, tribal drum pattern. COSMÓ delivers distorted vocal ad-libs that sound like a megaphone announcement. This builds into a final, high-energy chorus that feels like the peak of a late-night club set. The song ends with a sharp, industrial “cutoff.”
- Overall, the song suggests a modern take on synth club and industrial music. The catchy choreography might elevate it as well. However, I find the singing in the native language a bit aggressive in the chorus. It lacks something in the overall package. The chorus is much stronger, but it is repetitive. However, it is one of the cool entries this year.
Betting Odds
The song was selected as Austria’s entry for Eurovision 2026 on February 20th.
On the first 3 days, Austria was ranked between 25th and 29th place.
Ever since February 23rd, Austria has been ranked between 30th and 32nd place.
Early Prediction
Austria suggests one of the coolest entries this year.
However, it seems the song hasn’t achieved enough traction throughout the season.
It will be remembered by the catchy chorus and the choreography, but I think some might question the language, the style, and the genre. I am mostly concerned about the jury support, which might be too low.
I predict Austria will end between 19th and 25th place in the final.
Monroe – Regarde!
Monroe was internally selected to perform “Regarde!” in Eurovision 2026.
The song’s message is a hymn to universal love, urging the listener to “Look!” (Regarde!) past human differences and difficulties. It frames love as the only language capable of truly uniting a fractured world, delivered with the grandiosity of a modern opera.
Initial Personal Ranking
21st overall
Musical Review
- It is a cinematic, “Operatic Pop” epic that bridges the gap between the Grand Palais and the modern dance floor.
- The song opens with a stunning, delicate harp glissando and a faint, ethereal choir.
- Monroe opens the first verse with a soft, pop-style head-voice. Her delivery is intimate and crystal clear, supported only by a warm piano melody and a light orchestral string arrangement. It feels like a quiet plea for humanity.
- The pre-chorus sees the production swell significantly. A cinematic timpani drum enters, and Monroe’s vocals transition into a rich, powerful mid-range. The melody is sweeping and grand, building an immense sense of “look at the world.”
- The first chorus is a vocal explosion. Monroe unleashes her classical soprano training, delivering the “Regarde!” hook with a soaring, operatic belt that is technically flawless. The instrumentation is based on a full orchestra meeting a subtle, pulsing electronic beat that keeps it contemporary.
- The second verse maintains a higher energy than the first, with a more prominent cello bassline. Vocally, it sounds like whispers.
- The second chorus features even more intricate vocal runs and high-pitched ornaments.
- The bridge is the emotional peak. The music drops to a haunting, minor-key violin solo before Monroe delivers a stratospheric high note, which leads into a final, triumphant chorus supported by a full gospel-style choir.
- The song closes with a final, whispered “Regarde” over a fading string section.
- Overall, it is a wonderful choice for those who enjoy classical or Opera music. I can see it doing really well with the jury. But on the other hand, it might be too niche for the public. There’s no doubt she is one of the most powerful vocalists of the year, especially when she is the youngest. It is a case where the staging will probably push it much beyond the audio-cut.
Betting Odds
The song was revealed as the French entry on March 6th.
Ever since then, it has almost always ranked 2nd, with a few days in 3rd place.
Early Prediction
Things look quite positive for France.
Since 2024, it seems they have been on the right track, finishing in the top 10 for consecutive 2 years.
However, I can’t ignore that the song isn’t that accessible to the general public.
I think the odds might be overestimated for now.
On the other hand, I imagine they will have a great staging.
Therefore, I predict France will get a high jury score, but a modest public vote (up to 80 points, let’s say). France will finish around 5th-11th in the final.
Sarah Engels – Fire
Sarah Engels won “Das Deutsche Finale 2026” with the song “Fire“.
The song serves as anthem of self-empowerment and boundary-setting. Sarah draws from her personal journey to tell a story about recognizing one’s own worth after dealing with a “liar” or a toxic influence. It’s about the “fire” of standing up for yourself, refusing to be played, and finally following your own dreams without looking back.
Initial Personal Ranking
16th overall
Musical Review
- It is a dance-pop song.
- The song starts with a pulsing electronic beat and a soaring vocal run from Sarah.
- The first verse is sung with a rhythmic, sassy delivery over a deep 808 bass. The melody is based on ticking sounds as well.
- The first pre-chorus is a classic EDM build-up with rising synths and heavy percussion, as well as processed backing vocals.
- The first chorus is a massive drop with a soaring, repetitive hook. It’s very “Eurovision-ready.” The melody is based on drums, synth, and electronic keyboards.
- The second verse progresses quite similarly to the first one. However, the melody is mostly based on a more modern production.
- The second chorus is an ethnic pop with a bold sound. However, it is too “by the book” and does not surprise us.
- The bridge features a dance-break section that is clearly designed for a big choreography moment on stage. It is mainly instrumental.
- Overall, this is a “mainstream” bid. It’s polished, and Sarah is a seasoned performer. It has huge staging potential. On the other hand, there is the risk of playing the “safe” girly pop card that leads to a low score in the final.
Betting Odds
Germany selected its song for Eurovision 2026 on February 28th.
Ever since then, Germany has been ranked between 21st and 25th place, mostly around 23rd place.
Early Prediction
It seems that over the years, the love and appreciation for girly pop bops has decreased.
I can see it ranked quite mid-low in some countries. I think it will depend much on the staging and the running order.
Prediction: I think Germany will end around 17th-22nd in the final.
Sal Da Vinci – Per sempre sì
Sal Da Vinci won “Festival di Sanremo 2026” with his song “Per sempre sì“.
His song is a tribute to eternal commitment and enduring love. The title “Forever Yes” refers to the vow of marriage and the decision to face life’s challenges together. Sal, dedicated this song to his wife of over 30 years, making the “sì” a symbol of fidelity and the joy found in a lifelong partnership.
Initial Personal Ranking
33rd overall
Musical Review
- It is a timeless, “Neapolitan-Style Classical Ballad” that exudes warmth and romanticism, with strong 1980s influences.
- The song opens with the elegant sound of a grand piano and a gentle, acoustic guitar pluck that feels like a Mediterranean breeze.
- Sal opens the first verse with his signature velvety, gravelly baritone. His delivery is deeply emotional and storytelling in nature, utilizing the natural vibrato of his voice. The production is classic and acoustic, focusing on the organic beauty of the instruments.
- The pre-chorus sees the introduction of a lush string section (violins and violas) that adds a layer of “grand Italian drama.” The melody rises gracefully, reflecting the sincerity of the commitment in the lyrics.
- The first chorus is a soaring, anthemic embrace. Sal sings the “Per sempre sì” hook with a powerful, resonant Italian belt that is full of passion. The instrumentation reaches a cinematic peak, featuring rich orchestral swells and a steady, light drum beat that keeps the rhythm grounded.
- The second verse adds more soulful vocal ornaments, while the second chorus feels even more grand, with layered backing vocals that add a “choral” depth to the profession of love.
- The bridge is a stripped-back moment featuring a tender piano and cello duet. Sal delivers a vulnerable, soft head-voice passage before building into a powerful vocal climax that showcases his impressive range and breath control. The song closes with a gentle repetition of the hook over a fading piano.
- Overall, it is an authentic and romantic entry. However, I can’t omit that it is quite dated and not that competitive. However, it will surely have some audience, like the older part of the audience or those who really enjoy Italian classics. Regardless, it might to quite good, as Italy usually does.
Betting Odds
The song was selected to represent Italy on February 28th.
Ever since then, Italy has been ranked between 8th and 11th place.
Early Prediction
It is one of the least competitive songs from Italy in recent years, and I think it is a bit dated. However, it might succeed better than expected, due to Italy’s repetition in the contest.
Prediction: Italy is likely to finish on the left side of the scoreboard, around 6th-11th in the final.
LOOK MUM NO COMPUTER – Eins, Zwei, Drei
LOOK MUM NO COMPUTER (real name: Sam Battle) was internally selected to represent the UK in Eurovision 2026 with the song “Eins, Zwei, Drei” (Eng: 1,2,3).
The song tells the story of someone who dreams of flying away from a mundane office job into a world of endless creative possibilities. The German counting serves the idea that sometimes you just need a new “rhythm” to make yourself feel better. It also symbolises the will to break free and change reality.
Initial Personal Ranking
8th overall
Musical Review
- It is a quirky, electro-synth punk experimental pop song.
- The song starts with a distorted, lo-fi electronic counting (“Eins, zwei, drei…”) and a buzzing, DIY-sounding synth riff.
- LOOK MUM NO COMPUTER opens the first verse with a high-energy, “manic” vocal style. It’s more of a rhythmic chant than a traditional melody, delivered over a chaotic sequence of home-built synthesizers and a heavy, 8-bit drum beat.
- The pre-chorus features a rising frequency modulation (that classic “ascending” synth sound) and frantic, clicking electronic percussion. The energy is high-octane, building a sense of “escaping the mundane” as described in the story.
- The first chorus is a lo-fi explosion of sound. The hook is simple, repetitive, and incredibly catchy, shouted with a punk-rock energy. The instrumentation is a wall of analog noise, using custom-built oscillating synths that give the track a “mad scientist” vibe.
- The second verse introduces a more staccato, “robotic” vocal effect, while the second chorus adds even more layers of synth “bips and bops.”
- The bridge is a dedicated instrumental synth solo—a frantic, improvised-feeling breakdown where the artist showcases his technical skill with analog gear. It’s a “sonic playground” that builds into a final, chaotic chorus.
- The song closes with a sudden “power down” sound effect, as if the machines have been unplugged.
- Overall, it is an electronic-oriented entry that goes quite bold and wild. It has something sophisticated, not necessarily direct or popular enough. I appreciate the UK for trying something new and risky. I hope it will pay off. The song has such a great staging potential, let’s hope it will be utillzied
Betting Odds
The UK revealed its Eurovision entry on March 6th.
Between March 6th and 11th, the UK was ranked between 10th and 12th place.
Between March 12th and April 6th, the UK was ranked between 13th and 16th place.
Ever since April 7th, the song has been ranked between 17th and 18th place.
Early Prediction
It is about whether the risk will pay off. The UK decided to try something new and different. I am not sure whether the public will appreciate it. If the staging is the correct one, it might do even better.
Prediction: I think the UK will end around 15th-20th in the final.
Eurovision 2026 will be held in Vienna, Austria, on May 12th, 14th, and 16th, 2026.
