Every year the song is ranked

This year’s 2024 Eurovision Song Contest is returning to a familiar venue, taking place in Liverpool from May 7–11. Loreen’s win there last year set a record. Sweden, the defending champion, is serving as host for the seventh time, this time at the Malmö Arena, the location of the 2013 tournament. And even before the first note is sung, the competition is already promising to be among the most intriguing in recent memory. Unlike last year’s two-horse race, there are more native-language entries than ever before, an old powerhouse making a triumphant return after 30 years in the wilderness, and an abundance of potential winners, who naturally range from the sublime to the ridiculous. Here is a list of all the contenders, ranked from worst to best, including supernatural folk-metal, Aboriginal pop, happy hardcore bangers, and patriotic power ballads.

36.

Dons (Latvia) – “Hollow”.

With just six qualifying appearances in the last 20 years and a most recent comeback in 2016, Latvia has one of the worst records in recent memory for the Eurovision Song Contest. Latvia may have ended its losing streak if it had sent the Cats-on-acid novelty, which placed second runner-up in the national final. Instead, it chose Dons, a somewhat successful local singer, whose debut regrettably lacks cat costumes and meowing samples. Sadly, it lacks any sort of unique quality and is just a generic ballad that is meant for people who think Imagine Dragons are a bit too edgy.

37.

“Nendest) narkootikumidest ei tea me (küll) midagi,” the Estonians Puuluup and 5miinust said.

The unlikely collaboration between hip-hop group 5miinust and nu-folk duo Puuluup is “(Nendest) narkootikumidest ei tea me (küll) midagi,” one of several entries that has fallen victim to the “Cha Cha Cha” effect. There could already be five No. for the former. Estonians may have 1’s to their name, but this is the Käärijä ripoff that is most likely to be mistranslated. The rest of Europe is probably going to be left scratching their heads, despite its insane dad dancing and wordy title, which is the longest in Eurovision history and means “We (sure) know nothing about (these) drugs.”.

36.

Nutsa Buzaladze (Georgia) as “Firefighter.”.

Nutsa Buzaladze shouldn’t be too nervous about performing in front of 162 million people because she has competed on Georgia’s Got Talent, The Voice of Turkey, and American Idol before (where she was eliminated in the first live week). Though none of these Frankenstein’s monster-level half-dozen distinct ethnopop hits are especially memorable or catchy, she’s got plenty to work with nonetheless. If it is to send Georgia to the finals for the first time since 2016, “Firefighter,” which of course features a fire engine siren amid all the chaos, will have to smash its staging.

33.

In “Loop,” Sarah Bonnici (Malta).

Malta is possibly the most blatant newcomer of the year, stealing the beat of every mainstream pop hit since Cyprus’s “Fuego” in 2018 and, even more obviously, the dance break from the early 2000s that propelled Israel’s “Unicorn” to the top of the charts last year. Sarah Bonnici ought to possess the necessary experience and drive to market “Loop” to the general public, having previously participated in the Maltese edition of The X Factor and the national final of the Junior Eurovision. The déjà vu feeling, though, might be a bit too powerful to ignore.

Number 33.

“Titan,” Besa (Albania).

Hopefully, the dancers for the Albanian team’s Eurovision entry haven’t added too many moves. In the national final, former The Voice of Albania judge Besa barely avoided an embarrassing trip over her regal gold dress as she struggled to learn the art of singing and walking at a leisurely pace. However, one more onstage mishap would spice up this somewhat rambling performance. Besa performed “Titan” in her original tongue before it was translated into English. Additionally, it seems as though the song has been tampered with, turning it into a somewhat boring Sia meets Middle Eastern pop song that, with thirty seconds remaining, abruptly transforms into the theme song for a 1980s workout VHS.

33.

“Turbulence,” Eden Golan (Israel).

Israel’s submission for this year’s Eurovision has drawn a lot of attention. Because of its overt references to the October 2023 Hamas attacks (e.g., “There’s no air left to breathe,” “They were all good children, each one of them”), Eden Golan was forced to make significant changes to the original version of “October Rain.”. Furthermore, a number of nations have threatened to withdraw from the competition in protest of Israel’s involvement. Not surprisingly, the recently released song “Hurricane” is a power ballad reminiscent of Demi Lovato that tries to say a lot but ultimately says nothing at all.

Raiven (Slovenia) “Veronika”.

Sadly, “Veronika,” despite being co-written by Bojan Cvjetićanin, the frontman of Slovenia’s 2023 entry “Joker Out,” is not another homage to the heyday of indie sleaze. Raiven has attempted to represent her country three times before, and it’s possible that this time she’s going all out with operatic wails, galloping drums, and the kind of click-clacking noises that make you think Netta, the winner from 2018, wandered into the studio by accident. What other notable figure is honored by their presence here than the 15th-century countess who was found guilty of witchcraft and became Slovenia’s first?

thirty.

“Hater of Heights,” Hera Björk (Iceland).

Hot favorite and outspoken Palestinian singer-songwriter Bashar Murad was unexpectedly defeated in the national final by a much-unfancied 50-something Europop diva, sparring Iceland from political upheaval. Hera Björk does, to be honest, have decent Eurovision form. With the beautiful schlager-house of “Je Ne Sais Quoi,” she placed 19th back in 2010. However, “Scared of Heights” sounds like an old song that has been collecting dust for the past 14 years. In the 2010s, the Nordic country became known for taking unexpected turns. However, this is yet another indication that it has lost its charm after the cliched drum-and-bass release of the previous year.

29.

Isaak, a German song “Always on the Run.”.

Since 2014, poor Germany has only once managed to avoid the bottom two. And while it’s by no means this year’s worst entry—this is by no means an obvious attempt to emulate Lewis Capaldi, Rag’n’Bone Man, or any number of British male vocalists who sound like they desperately need a throat lozenge—don’t be surprised to see it topping the scoreboard once again. “Always on the Run” by Chris Isaak, which surprised everyone by winning the national selection, is, in fact, the most vulnerable type of Eurovision song—it’s perfectly good, but it doesn’t have anything that would entice people to call in front of 25 other entries.

28.

Mustii (Belgium) “Before the Party’s Over.”.

Not one to back down, Drag Race Belgique judge and self-described “21st Century Boy” Mustii spends the majority of the “Before the Party’s Over” promo in various states of undress. Sadly, the song itself lacks some of its provocativeness. Belgium’s entry is, in fact, another of those sad-boy ballads that have uninvitedly become a staple of late; it’s far from the glittery electro stomper you might expect. Jurors will surely be enthralled by Mustii’s mesmerizing vocals and thrilling finale. However, it unavoidably sounds like a songwriting camp template—nine hitmakers are listed.

26.

Megara (San Marino) said, “11:11.”.

The dreaded nul points were scored by perennial underdogs San Marino in the previous year’s semifinal. That means there’s not much to criticize about Megara’s self-described “f— off message.”. The Madrid-based group calls their sound “the perfect mix between the sinister and cotton candy.” They attempted to represent Spain twice before winning the microstate’s incredibly demanding 129-entry national final. Based on the song “11:11,” which swings between bubblegum metal and techno bleeps, flamenco guitars, and guttural roars, and an accompanying video that looks like a Warped Tour parody of Airheads, that seems like a fair assessment. While it won’t qualify, the rock vote should still avoid the wooden spoon and go somewhere else.

26th.

“Mon Amour,” by French singer Slimane.

Considering that Slimane has three No. Since taking home the title in France during the 2016 season of The Voice. With “Mon Amour,” a chanson so stereotypically French that it sounds as though it was performed by a bicyclist wearing a beret and carrying a baguette, his talent-show origins are readily apparent. Though somewhat disappointing, France’s musical retreat makes sense after interesting but failed ventures into Celtic electronica and stylish Parisian disco. However, a simple, flashy ballad will stand out in a field full of uptempos. If this comes in first among the Big Five, don’t be shocked.

25.

Australia’s Electric Fields, “One Milkali (One Blood).”.

Electric Fields’ announcement was a bit of an anticlimax after speculation that either Dami Im, the 2016 runner-up, or pop queen Dannii Minogue from Australia would represent Eurovision’s geographical outliers. Nevertheless, Michael Ross and Zaachariaha Fielding, the former X Factor contestants who were defeated by Kate Miller-Heidke’s outrageous popera in the 2019 national final, have contributed something unique to the competition: lyrics in Yankunytjatjara, the Aboriginal language, even though they are only two words long. Organizers will undoubtedly be relieved by “One Milkali (One Blood)”‘s unifying message. However, in a year that has entirely rejected the notion that less is more, its subdued house-pop sound might find it difficult to stand out.

24.

“Deceitful,” Silia Kapsis (Cyprus).

Australians competing in this year’s competition are not limited to Electric Fields. Silia Kapsis, who was raised in Sydney and is the daughter of a Greek dancer and a Cypriot singer, will be representing her father’s side of the family and responding to those who “live in a fake world with a fake script.”. Cyprus has returned to its roots, submitting another diluted rendition of the ethnopop hit that turned around its Eurovision fortunes, after breaking tradition last year with a (shock!) man and (horror!) ballad. “Liar” is more likely to blend in with the dance floor crowd than Eleni Foureira’s “Fuego,” which was overshadowed by Netta’s annoying novelty hit “Toy.”.

23.

Greece’s Marina Satti, “Zari”.

Greece has sensibly chosen to lean on its own rich musical history, having, with a westernized Ed Sheeran-esque song, failed to qualify for last year’s final. Greek culture, both ancient and modern, was actually celebrated in the entry co-written by former Berklee College of Music student Marina Satti. That could be the reason why “Zari” lacks focus and sounds more like a collage of unrelated sounds than a cohesive song, veering from video game synths and operatic Middle Eastern melodies to snake-charming flutes and reggaeton beats. Put this in the category of “always fascinating but very polarizing.”. “.

22.

Nemo (Switzerland) in “The Code”.

Even last year’s version of Switzerland’s The Masked Singer, featuring singer-songwriter Nemo dressed like a panda and performing Wham!’s “Wake Me Up Before You Go-Go,” was less confusing than this Eurovision entry. Drawing from their personal experience as nonbinary people, “The Code” conveys a powerful message of acceptance, self-determination, and liberty. However, it’s lost in a choppy blend of pop opera, Eurorap, drum and bass, and The Greatest Showman that might make you reach for the Ibuprofen. Amazingly, this is currently the clear favorite to prevail.

22.

Teya Dora (“Ramonda”), a Serbian.

A large portion of the TikTok generation is already familiar with Teya Dora thanks to her breakout single “Džanum” from last year, which garnered 100 million Spotify plays and gave rise to an incredibly popular meme. “Ramonda,” a melancholic patriotic song named for the plant that symbolizes Serbia’s wartime hardships, isn’t likely to cause as many viral dances, though. The remembrance ballad is beautifully sung by Dora, a former classmate of Charlie Puth at Berklee College. The crescendo, with its swirling strings and tribal percussion, is sure to make you cry with pride. However, Serbia might miss out for the first time since 2017 if they don’t have much of a global appeal.

20.

“Sand,” Saba from Denmark.

Denmark is the only country that has drawn inspiration from the real winner, despite the fact that far too many others have copied the 2023 runner-up. Even the substance Loreen rolled around in under what appeared to be a massive sandwich toaster is named after their entry. One of those expertly crafted pop epics that the Scandinavians can sing in their sleep, “Sand” is said to be a metaphor for losing control. And, should it go forward, it should do very well with the juries under the capable direction of musical theater actress Saba. But viewers of the television may think it’s news from last year.

19.

“No Rules,” says Windows95man from Finland.

Once more, Finland has solidified all of the misconceptions that people who haven’t watched Eurovision since the 1990s still have about the competition. Seen through the same cloth as Käärijä’s bolero-clad reenactment of The Human Centipede, Teemu Keisteri is shown in “No Rules” emerging from a gigantic denim egg, firing fireworks from his jorts, and celebrating the program that turned Bill Gates into a multibillionaire and the wet dream of conspiracy theorists. Though it’s much easier on the ears than its predecessor, “No Rules” is an ode to living life carelessly, echoing the iconic Eurodance that Kyle Gordon masterfully parodied last summer. Windows95man, who placed last in the national final jury, was spared by a resounding public victory. Here, anticipate a similar situation.

18.

Luxembourgian Tali, “Fighter.”.

Don’t forget Tracy Chapman at the Grammys or No Doubt at Coachella. Without a doubt, Luxembourg has made the greatest comeback in the history of Eurovision in 2024. The landlocked country was once considered one of the contest’s heavyweights, taking home a record-tying five titles between 1961 and 1983. However, thirty years have passed since it last appeared in the musical extravaganza, despite numerous fan-led campaigns. Tali’s “Fighter,” which addresses her hardships in the business and the tenacity she’s developed as a result, has a theme that is definitely appropriate. Although the adoptive New Yorker should have no problem qualifying, Luxembourg’s much-anticipated comeback is unlikely to be a triumphant one thanks to her formulaic, albeit incredibly catchy, song.

17.

“Moldova,” Natalia Barbu in “In the Middle.”.

After a tumultuous nationwide casting process in which the runner-up was accused of both accusation and vote rigging, and another early entrant withdrew to serve on the jury instead, “In the Middle” was born. The final declared winner is equally dramatic, with its dramatic flurry of violins, arm choreography, and operatic wails. Furthermore, the staging—which falls in between Black Widow and Robert Palmer’s “Addicted to Love” music video—has not even been previously discussed. ” Moldova’s fourth returnee in a row, Natalia Barbu finished tenth when she last competed back in 2007, a creditable placing unlikely to be bettered here.

16.

Iolanda (Portugal) called me “Grito.”.

Talent show regular Iolanda has called her entry a “scream of self-defense,” implying that Portugal, a favorite among arthouse crowds, has once again chosen what the charitable would call avant-garde and others that are on the verge of being unlistenable. Thus, learning that “Grito” is a comparatively simple piece of fado pop comes as a welcome surprise. Its melodies might be a bit too slow-burning and subtle for a competition that rewards immediacy, so it might have problems emerging from the semifinals. But this is a much-needed palate cleanser in a year when nearly every nation is trying to be the loudest.

15.

Irish rapper Bambie Thug, “Doomsday Blue.”.

Ireland has cast aside caution this year after a national final that essentially begged viewers to vote for the biggest curveball, with the country now having to share the title of most successful Eurovision nation after Sweden’s seventh victory. Perhaps the most striking newcomer to the country since hand puppet Dustin the Turkey, gothic pop princess Bambie Thug resembles an early Lady Gaga as envisioned by Tim Burton. Clearly, the genuinely intoxicated “Doomsday Blue” will not rank in the top few spots on the standings. It might even find it difficult to meet the requirements. Although some may find the screamo verses unlistenable, the pastoral-folk chorus is the most beautiful part of this year’s Eurovision.

14.

“Zorra,” Nebulossa (Spain).

Whether or not they understand Spanish, Nebulossa, which consists of singer Maria “Mery” Bas and producer Mark Dasousa, is this year’s entry most likely to make conservatives froth at the mouth. Due to its provocative lyrics, the retro synth-pop song “Zorra” has already caused controversy. Although the title literally translates as “slut,” the married couple is actually trying to repurpose the misogynistic term to celebrate female independence and call attention to societal hypocrisy (“If I go out alone I’m the bitch / If I have fun, the sluttiest”). The song “mother slaying at a sex club” is another illustration of how Eurovision’s bizarre approach frequently has a deeper meaning. “.

13.

The Armenian Ladaniva, “Jako.”.

The most notable trend of this year is the number of nations embracing their own cultures: Take a look at the world music group Ladaniva, a. k. 1. French multi-instrumentalist Louis Thomas and front woman Jaklin Baghdasaryan. “Jako,” the second-ever entirely Armenian-language entry, is a lively blend of national pop and traditional folk that makes no attempt to win over Western voters. Even if most listeners won’t be aware that “Jako” is a self-empowering feminist statement (“Wear this, open this, close that, behave like a girl! / But I am a free girl, so I will dance and you will watch!”), its formidable energy and Baghdasaryan’s natural charisma should still have the desired effect.

12.

“Rim Tim Tagi Dim,” a Croatian baby lasagna.

Rim Tim Tagi Dim, a song by one-man band Baby Lasagna, has some depth despite sounding like they were plucked from an outdated Eurovision name generator. Of course, it’s the infectious rhythmic verses and slightly deranged leap from Balkan techno to headbanging emo that’s made the man born Marko Purišić a major front-runner. Written in response to the wave of young Croatians leaving their homeland for a better life, it’s essentially a piece of socioeconomic commentary.

11.

Aiko, Czechia, “Pedestal.”.

Russian-born Czech singer Aiko, who now resides in Britain, upset some people in the national final with her unconvincing live performance, looking as though she had run out of breath by the second line. Aiko has already released three studio albums. She might have trouble pulling off such a surprise on the Eurovision stage in the company of more experienced rock performers. However, “Pedestal” is one of the year’s most powerful songs—at least when heard on record—a fiery post-breakup anthem and self-care tribute that sounds like Paramore in their orange-haired, Twilight-bothering days.

10.

Ilkin Dovlatov (Azerbaijan) in Fahree’s “Özünlę apar”.

This time around, Azerbaijan has chosen two male vocalists with charisma, stage presence, and a track that thankfully stays away from both pretentious white-boy rap and Britpop landfill, in contrast to last year’s twin-based horror show. Instead, “Özünlə apar” (translated as “Take Me with You”) is a sultry, cinematic affair that leans into Azerbaijan’s cultural heritage, namely the classical vocal form known as mugham. It’s a bit of a slow burner, which could hurt it in a competition that renowned offers just one chance. Nonetheless, this is a far more intriguing option than the other competing ballads thanks to its stunning sweeping strings and Dovlatov’s eerie musical compositions.

9.

Olly Alexander (United Kingdom), “Dizzy”.

After earning a No. Considered the most culturally relevant British artist since Olivia Newton-John in the early 1970s, Olly Alexander released her debut album just two years ago as a one-man band Years and Years, after initially appearing as a trio. Additionally, he has joined forces with hitmaker Danny L Harle, who is responsible for the disco-pop shine on Dua Lipa’s previous two hits. It’s a lineage that could turn the tables on them. The flawlessly crafted song “Dizzy” sounds fantastic on the radio, but despite Alexander’s “dragged through a thrift store backward” sense of style, it might be a bit too understated for most people to connect with at first listen.

8.

Luna, “The Tower” (Poland).

Alma Katarzyna “Ola” Wielgomas, a.k.a. K. 1. In the national final, Luna defeated Edyta Górniak, Poland’s first (and currently highest-placed) Eurovision competitor. Well, no. Could she surpass the latter’s 1994 runner-up finish? However, in the thirty years that have passed, “The Tower” is yet another indication of how far the competition has come. With echoes of Ellie Goulding, Aurora, and Grimes before she started naming babies after mathematical equations, “The Tower” — co-written with Brits Paul Dixon and Max Cooke — is the kind of featherlight synth-pop that seems tailor-made not for Eurovision but for trendy Spotify playlists. This could be considered 2024’s lost gem in the future.

7.

Joost Klein, a Dutchman, is known as “Europapa.”.

Joost Klein, then twelve years old, wrote “Europapa” as an emotional letter to his father, whom he lost to cancer. So not exactly a heartfelt acoustic ballad that will dry every tear in the arena? With sounds blatantly lifted from rave machine Scooter, pinball techno of 2 Unlimited, and the Dutch hardcore scene known as gabber, Netherlands’ entry is a whirlwind of Euroclub sounds. Europapa also functions as a pro-EU anthem, with Joust proudly proclaiming over the background, “Fortunately, don’t need a visa to be with you,” how wonderful the EU is. With its abrupt shift in tone towards the outro, it’s possibly even more divisive than the Brexit referendum, but it’s also oddly moving.

6.

Marcus and Martinus (Sweden) called it “unforgettable.”.

There’s a theory that the host countries will send a deliberate mix of runners-up and busts to avoid having to stage the competition for a second year that could be financially disastrous. Not Sweden. Last year, Loreen’s “Tattoo” helped the Eurovision masters secure a record-tying seventh victory, and this flawlessly produced dance-pop hit indicates they may be targeting an eighth. “Unforgettable,” performed by talent-show regulars Marcus and Martinus, who are identical twins and actually from nearby Norway, sounds like an instant streaming hit. In essence, it’s the Weeknd parodying “Salva Mea,” the beloved club song by Faithless. Plus it looks the part, too, with a creative Tron-like staging. However, might it be a tad too polished?

5.

Norway’s “Ulveham,” Gåte.

Gåte, a Norwegian contestant, almost lost the competition after their rendition of a medieval Scandinavian ballad violated the competition’s stringent originality requirements. But aside from a few minor lyrical adjustments, the grim story of a young maiden who is changed by her stepmother into a knife, a needle, and eventually a wolf has been permitted to remain. Musically, “Ulveham” is equally unique, fusing folk-metal, traditional instrumentation (the nyckelharpa is undoubtedly making its Eurovision debut), and the high-pitched herding cry known as kulning into a potently eerie amalgam. Expect plenty of hand-horn salutes during Gåte, as history with Lordi and, more recently, Måneskin, has demonstrated that voters are not against high-caliber metal.

4.

Jerry Heil (Ukraine) and Alyona Alyona in “Teresa and Maria.”.

The writer of “Teresa and Maria” is also the author of “Stefania,” a folk-hip-pop mashup that won Ukraine its third title of the twenty-first century in 2022. Counting the likelihood that Alyona Alyona, the rapper dubbed (hopefully only technically) her country’s answer to Azealia Banks, and former YouTuber Jerry Heil will add to this total. Motivated by the Virgin Mary and Mother Teresa, their message of “unification, love, and charity” will surely resonate in the midst of the ongoing conflict in Ukraine. Yet, there’s also a fantastic song here, with Heil’s fearless vocals reminiscent of Shakira and Alyona’s lightning-fast rhymes coming together on a dramatic alt-pop production. In the event that it wins, the sympathy vote will not matter much.

3.

“La noia,” by Italian singer Angelina Mango.

When the incredibly named Angelina Mango disclosed that her Eurovision entry is an ode to the pleasures of boredom, it might have been a recipe for trouble. Fortunately, “La Noia,” an incredibly catchy cubana song that shares a producer with Italy’s best entry since returning to the competition in 2011, Mahmood’s “Soldi,” is anything but monotonous. Since their return, the Italians have only twice missed the top ten, making them by far the most reliable of the automatic-qualifying countries. Furthermore, the incredibly captivating Mango ought to assist Italy in rising to the top of the scoreboard once more, even in a sea of female-fronted hits.

2.

“Luktelk,” the Silvester Belt in Lithuania.

Silvester Belt, the name of Lithuania’s 2024 contestant, suggested that she would appear in a red PVC tracksuit, surrounded by a group of dancing ninjas, at the world’s most extravagant song competition. The reality TV veteran, who has performed on episodes of The X Factor and The Bar in his native country as well as the Junior Eurovision national final, has created the most existential hit of the year with “Luktelk,” whose Troye Sivan-discovery techno doubles as a theory on the illusion of reality. Belt overcame the Roop, who entered the race twice, to reach Malmö, and based on his captivating qualifying showing, there’s a good chance he could improve on their best eighth-place result.

1.

“We Shall Rage,” says Austrian Kaleen.

One could have forgiven Austria for being a little safer after their unjustifiably poor performance with last year’s Edgar Allan Poe-inspired oddity. Rather, as the name implies, it has released the most relentless club banger of 2024, incorporating everything from warped techno to breakbeat and ’90s Euro trance to the kind of music you could imagine blasting out of Berlin’s Berghain club at four in the morning. The talented Kaleen, who is no stranger to the competition having previously worked as an interval choreographer, creative director, and stand-in for rehearsals, gives her all to a dance floor call-to-arms that, despite its brief three minutes, leaves you completely speechless.