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Bulgaria has won the 70th Eurovision Song Contest with singer Dara’s party anthem “Bangaranga.”
Dara beat 24 other competitors during Saturday’s grand final in Vienna. The song’s infectious beats and tightly choreographed dance routine was a hit with both national juries and viewers who together decide the vote.
It’s Bulgaria’s first-ever Eurovision victory.
Israeli competitor Noam Bettan came second after a contest clouded by protests against the country’s participation.
After a week’s buildup, acts from 25 countries took the stage at the Wiener Stadthalle arena in Vienna to battle for the continent’s pop crown. Millions of viewers around the world cast judgment on a fiery Finnish violinist, a Moldovan folk rapper, a Serbian metal band and many more at Eurovision’s 70th anniversary event.
The campy, colorful contest has been likened to the World Cup with songs instead of soccer. And like global sports, it often becomes entangled in politics. The contest has been clouded for a third year by calls for Israel to be excluded over its conflicts in Gaza and elsewhere, with five longtime participants – Spain, the Netherlands, Ireland, Iceland and Slovenia – boycotting in protest.
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A variety of performers
First up was Denmark’s Søren Torpegaard Lund, among the contest favorites for the sultry “Før Vi Går Hjem” (“Before We Go Home”), followed by Germany’s Sarah Engels with the power ballad “Fire,” the first of doubtless several performances to make liberal use of jets of flame.
Israeli competitor Noam Bettan was cheered as he performed “Michelle,” a rock ballad in Hebrew, French and English. Earlier in the week, four people were ejected for trying to disrupt his semifinal performance. Then came “Dancing on the Ice,” a techno-ballad by Belgium’s Essyla.
Ukrainian singer Leléka offered the ethereal, beautiful “Ridnym,” and Australian star Delta Goodrem showed what a diva should be like with her slick midtempo ballad “Eclipse” – and a bravura performance that sees her raised into the air above a glittery piano. A European country would likely host for Australia next year if she wins.
Serbian metal band Lavina provided a dramatic change of pace with the angsty “Kraj Mene.”
Newcomers looking to grasp the eclectic essence of Eurovision and its interplay of pop and politics should look no further than two of the fan favorites to emerge during a week that saw two semifinals ahead of the grand finale.
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Rapper Satoshi’s ebullient “Viva, Moldova” is a bouncy, pro-European song from a country moving toward the European Union after decades in Moscow’s orbit. Greek artist Akylas’ song “Ferto,” or “Bring It,” provides a playful take on conspicuous consumption in a country still scarred by the economic wounds of the 2008 financial crisis.
Both are likely to score highly with viewers, though national juries, which tend to be more impressed by technical excellence, may be less impressed. Winners are chosen by a mix of votes from the two, translated into points by a system confusing even to Eurovision fans. The act with the most points wins, and their country gets to host the competition next year.
Finland is the favorite in betting odds with “Liekinheitin,” or “Flamethrower,” a fiery duet between the singing of pop star Pete Parkkonen and the fiddling of classical violinist Linda Lampenius.
Eurovision can produce surprises
“Eurovision has never really been a contest for big stars. It’s largely been a contest for underdogs,” said Eurovision historian Dean Vuletic. “People like to see the underdog on stage. They like to the artist-in-the-making on stage or an artist from a smaller, poorer country on stage.”
Street protests opposing Israel’s inclusion over the conduct of its war against Hamas in Gaza have been smaller in Vienna than at the 2024 contest in Malmo, Sweden, and last year’s event in Basel, Switzerland.
Hundreds marched near the contest arena before Saturday’s final, some holding placards saying “Block Eurovision.” Pro-Palestinian groups also staged an outdoor concert on Friday under the banner “No stage for genocide.”
“Inviting Israel on such a beautiful stage as the Eurovision Song Contest stage is an affront to all the people who believe in humanity, who believe in love and togetherness,” said Congolese-Austrian artist Patrick Bongola, one of the organizers.
The five-nation boycott is a revenue and viewership blow to an event that organizers say was watched by 166 million people around the world last year. This year’s field of 35 contestants is the smallest since 2003.
Still, Eurovision is eyeing expansion, with a spinoff Eurovision Song Contest Asia due to take place in Bangkok in November.
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Eurovision director Martin Green urged viewers to put politics aside and enjoy the “brilliant, wonderful, heartfelt show” that is the competition’s grand final.
Vuletic says political controversy is nothing new. The first Eurovision boycott was in 1969, ironically, by Austria, which refused to send a delegation to Spain under dictator Francisco Franco.
“We’ve seen very politicized editions of the contest in the recent past,” Vuletic said, including the 2009 contest in Russia, Azerbaijan’s turn as host in 2012, and the 2024 competition in Sweden, marred by protests and the expulsion of a competitor after a backstage altercation.
“All of them were very much mired in political controversy, yet Eurovision continues,” he said.
Eurovision aired on national broadcasters in participating countries, on Peacock in the United States and on the Eurovision YouTube channel in many territories.
