Several countries start their second rehearsals in Vienna. As we still don’t have access to the rehearsals, we will do something else. Per entry, we highlight one subject and give you some more information. That can be something about the artist, the song, the lyrics or even something completely different.
Bulgaria — DARA, “Bangaranga”
Running order: 1 | Rehearsal: 8 May, 10:30–10:55 CEST
The Kukeri tradition in Bulgaria is one of the country’s most striking winter rituals. Dressed in heavy costumes, frightening masks and loud bells, Kukeri dancers move through villages to chase away evil spirits and welcome health, fertility and a good harvest. The custom is linked to ancient Balkan beliefs and is still passed on from generation to generation. Around New Year and before spring, communities gather for processions in which the sound, rhythm and costumes create a powerful, almost supernatural atmosphere.
That makes the tradition a fascinating link to Bulgaria’s Eurovision Song Contest staging in Vienna this year. When the dancers appear with wild movements and ritual energy, they are not just adding drama. They are referring to a living folklore practice that many Bulgarians immediately recognise. For international viewers, the Kukeri tradition in Bulgaria shows how music, dance and symbolism can turn a pop performance into a cultural story.
Azerbaijan — JIVA, “Just Go”
Running order: 2 | Rehearsal: 8 May, 11:05–11:30 CEST
The Azerbaijan Eurovision AI rumours quickly became a talking point after JIVA released “Just Go” for the Eurovision Song Contest 2026. Some online discussions claimed that the song may have been created with artificial intelligence, partly because songwriter Fuad Javadov had been linked by fans to earlier AI-related demos. However, Azerbaijani broadcaster İctimai Television (İTV) has strongly denied the claims.
In a statement, İTV said the allegations did not reflect reality. The broadcaster described “Just Go” as an original musical work, created through a professional process based on experience and creative labour. İTV also explained that JIVA was chosen after a multi-stage internal selection, with expert opinions and a focus group helping to decide the entry.
For Eurovision viewers, the debate shows how sensitive the contest has become to questions about technology, authorship and transparency. For now, Azerbaijan insists that “Just Go” is a human-made Eurovision entry for Vienna 2026.
Romania — Alexandra Căpitănescu, “Choke Me”
Running order: 3 | Rehearsal: 8 May, 11:40–12:05 CEST
The Romanian Eurovision lyrics controversy around Alexandra Căpitănescu’s “Choke Me” has put the country’s 2026 entry under a sharp spotlight. After the song was selected for Vienna, some campaigners and fans argued that the repeated phrase “choke me” could be heard as a reference to sexual choking. They warned that, in a family show, such wording might normalise a dangerous practice rather than simply create drama.
Romania’s delegation and broadcaster TVR rejected that interpretation. According to TVR, the stage concept is designed to underline the metaphorical nature of the message and rule out a literal reading of the lyrics. Căpitănescu has also explained that the song is about emotional pressure, inner fears, self-doubt and feeling suffocated by expectations. In that reading, “Choke Me” is not a call for violence or sex, but a dark image for anxiety and the struggle to reclaim one’s voice before the worldwide audience in May.
Luxembourg — Eva Marija, “Mother Nature”
Running order: 4 | Rehearsal: 8 May, 12:20–12:45 CEST
he Slovenian community in Luxembourg may be small, but it has a clear cultural presence in the Grand Duchy. For Eurovision fans, that background adds extra meaning to Eva Marija, Luxembourg’s 2026 contestant, who was born in Luxembourg to Slovenian parents. Around 768 Slovenian nationals lived in Luxembourg on 1 January 2025, according to STATEC. In such a multilingual country, the community connects Slovenian heritage with everyday Luxembourgish life. The Slovenian Association in Luxembourg, also known as Slolux, keeps that connection alive through events, language lessons, celebrations and informal support for newcomers. It promotes Slovenia, helps people integrate and brings families together throughout the year. In a country where almost half of residents are foreign nationals, Slovenes are part of Luxembourg’s wider European mosaic. Eva Marija’s story therefore clearly reflects both her Luxembourgish home and her Slovenian roots beautifully this year in Vienna for a wider Eurovision audience across Europe.
Czechia — Daniel Žižka, “CROSSROADS”
Running order: 5 | Rehearsal: 8 May, 12:55–13:20
Mikolas Josef Eurovision history still matters for Czechia. In 2018, the Prague-born singer represented the country in Lisbon with “Lie To Me”, a playful pop song full of attitude, choreography and a memorable backpack. He finished sixth in the Grand Final with 281 points, Czechia’s best result at the contest so far. That record is now the benchmark Daniel Zizka may try to beat in Vienna 2026 with “CROSSROADS”.
After Eurovision, Mikolas did not disappear from the music scene. He released singles such as “Me Gusta”, “Abu Dhabi” and “Acapella”, built an international fanbase and later continued simply as MIKOLAS. Recent years brought new music, including “Boys Don’t Cry”, “Delilah” and his debut album “ONE”. His post-Eurovision career shows how one strong contest result can become the start of a longer pop journey, not just a one-night Eurovision success story for Czech music fans and the wider Eurovision audience today.
Armenia — SIMÓN, “Paloma Rumba”
Running order: 6 | Rehearsal: 8 May, 13:30–13:55 CEST
Mikolas Josef Eurovision history still matters for Czechia. In 2018, the Prague-born singer represented the country in Lisbon with “Lie To Me”, a playful pop song full of attitude, choreography and a memorable backpack. He finished sixth in the Grand Final with 281 points, Czechia’s best result at the contest so far. That record is now the benchmark Daniel Zizka may try to beat in Vienna 2026 with “CROSSROADS”.
After Eurovision, Mikolas did not disappear from the music scene. He released singles such as “Me Gusta”, “Abu Dhabi” and “Acapella”, built an international fanbase and later continued simply as MIKOLAS. Recent years brought new music, including “Boys Don’t Cry”, “Delilah” and his debut album “ONE”. His post-Eurovision career shows how one strong contest result can become the start of a longer pop journey, not just a one-night Eurovision success story for Czech music fans and the wider Eurovision audience today.
