The second semifinal

photo: EBU/Sarah Louise Bennett

The hosts Petra Mede and Malin Åkerman open the show with their own version of “Tattoo.”

Malta

In the Maltese act by Sarah Bonnici, there is a lot of movement and dancing. Later during the act, she is blindfolded, as are her dancers. Despite so much movement, Sarah manages to sing remarkably well.

Albania

Besa wears a turquoise gown with gemstones. The stage also includes several dancers, which might make it look a bit messy. However, many dancers are projected onto LED screens. Besa’s voice sounds a bit sharp here and there.

Greece

First, we see her purple boots, then the whole Marina Satti. She is also flanked by four dancers, but it looks much more organized. Greece has chosen a sophisticated entry not meant for casual listeners. A lot happens during this entry. Marina continues to sing well.

Switzerland

Nemo takes the viewer into his story with the song “The Code,” managing to crack the (binary) code. Their clothing says it all. Nemo has so far managed to enhance their narrative through fashion statements. Nemo jumps, skips, shows himself to be a balancing artist… and continues to sing crystal clear. We do not know if this is a winner, but we definitely respect their skills.

Czechia

You would expect Aiko to be standing on a pedestal during her performance. That’s not the case, but we find that the ceiling (one of the cubes) is very low. Aiko has four… Her nipples are no longer visible. Pay particular attention to the high note that Aiko effortlessly hits. Aiko surprises!

During the first semifinal, Nicole (from Hugo) received a tribute, and in this semifinal, Jahn Teigen (ESC 1978, 1982, 1983) is honored. We are treated to a journey through Eurovision history with several participants who did not finish very high.

France

Slimane, dressed in white, starts singing while lying down, then sits up. Everything is shot in close-up, which makes the song even more intimate. Slimane pulls out all the stops in terms of his singing ability. The song has its distinct fans, but others are completely on the opposite end of the spectrum.

Austria

It’s interesting to put someone on stage who has held various other roles at the contest. Singing is clearly not Kaleen’s strongest suit. Regardless of how enjoyable the song may be found, the singing is forgotten in Austria. However, the act looks absolutely tight, and Kaleen knows very well what she is doing in terms of dance.

Denmark

It seems like you only see a singer sprinkling some sand and singing her song. However, we also see a second Saba in the background… A hologram, as it turns out, because at one point she disintegrates into sand. Occasionally, Saba tends to sing too loud, which makes the whole thing seem a bit shouty.

Armenia

Cheerfulness all over, garnished with typical Armenian sounds. Singer Jaklin Baghdasarian of Ladaniva plays a leading role throughout the act. The other band members and backing band stand behind her, but at one point, the flutist also comes forward. We see all sorts of things in the background: trumpets, chickens, and the artists themselves.

Latvia

Looking at his Instagram account, he is very cheerful and humorous: the Latvian Dons. But seeing him standing there in his sleeveless leather outfit amid a circle, and hearing his very serious ballad, we notice little of that. There is nothing wrong with this song, but that might also be the problem.

Spain

Both the singer and the dancers are dressed in black. The singing isn’t fantastic, but Nebulossa certainly knows how to throw a party in the hall. And of course, halfway through the act, the dancers strip off their clothes and continue dancing with bare chests and buttocks. At the end, a keyhole appears behind the singer Mery. The Spaniards really throw a party.

San Marino

We stick with the Spanish language, as San Marino sends the Spanish group Megara. Singer Kenzy Loevett is briefly flanked by two dancers in scary Easter bunny suits. Everything is pink and black in this act. It’s all rock, and the group tries to match the scariness of Bambie Thug, but it remains rather tame for a horror show.

Georgia

Nutsa Buzaladze is dressed in gold and stands in a circle of fire, which at one moment looks like a sun, the next a burning hoop. Nutsa is flanked by four dancers, and gives her all in terms of singing, but that doesn’t necessarily mean it’s good. For Georgia, it’s definitely not a done deal.

Belgium

We had already seen photos of Mustii amid a circle of microphones, but he starts alone on stage. He then stands on a rotating platform. Later, he goes into this circle. Mustii is dressed in white. The singing we hear here is very cautious, with Mustii consciously staying below the high notes. He did not, as we previously reported, take his shirt off. But towards the end, we see the whole hall going wild with the Belgian entry!

Estonia

5miinust and Puuluup are having a party on stage. The title of the song is, as previously mentioned, the longest ever. Whether the party really come across with all the “hey hey hey” is still a question. Possibly a finalist position for Estonia, but that is by no means certain.

Italy

Angelina Mango starts lying down, with roses projected under her. She has a sort of henna-like print depicted. This print also continues with the dancers. There are so many prints all over. There are so many details that you occasionally don’t see Angelina and her dancers at all. The singing is fine where it concerns Angelina. She ends a cappella. That takes skilsl, and Angelina has them. Italy will finish high, but perhaps not win.

Israel

The Israeli entry is the only ballad in this latter stage of the second semifinal. Just before she starts singing, Eden Golan leans back in a circle with lights. Five dancers flank her, and of course, she is lifted in the middle of the song. The singing is good, including the high note. Israel got both bood and cheered; possibly SVT and EBU will filter the booing tomorrow.

Norway

Norwegian instruments, we see branches everywhere, and we see the Norwegian band Gåte. Nightwish meets Within Temptation during this entry. The whole has a Norwegian mystical character. The band seems to have come right out of the Norwegian mythology. Singer Gunnhild Sunli effortlessly hits all the high notes.

Netherlands

Joost starts while standing on a picture of his head, depicted on the floor. Next to him are two dancers, and on stage with him are his friends Appie Mussa (in a bird suit) and Stuntkabouter in a blue suit. The graphics correspond in part with the text. It’s a lot, we see many different graphics. Next to typical Dutch snacks, we also see the burning mill, silhouettes of the parents, and the word papa (daddy) pass by. During the 90s gabber music part, the stage turns red. During the emotional outro, the background is black, with subtitles. Then follows the text for his parents.

Tonights  interval act contains various surprises. First, we see a singalong with Sertab Erener, Charlotte Perrelli, and Helena Paparizou. Then we see the two presenters singing the song “We just love Eurovision too much.” They do this with the aforementioned Sertab, Charlotte, and Helena, but also Käärijä and The Herreys take the stage.

After that follows the moment of announcement. We think the following countries will make it to the final: Greece, Switzerland, Austria, Denmark, Armenia, Georgia, Belgium, Israel, Norway, and the Netherlands.

Related news

Eurovision 2026

Vienna 12 points: from a princess to a winner

Several countries start their second rehearsals. 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.  Moldova – Satoshi, “Viva Moldova!” Running order: 1 | Rehearsal: 10:30–10:55 CEST “Viva Moldova,” sing the Moldovans this year, and they do so in Romanian. That language choice carries more history than many Eurovision viewers may realise. Romanian was long officially referred to as Moldovan in Moldova, a name rooted mainly in Soviet and post-Soviet politics rather than linguistic difference. In practice, Moldovan and Romanian are the same language, with regional accents and vocabulary, as Dutch in the Netherlands and Flanders can differ without becoming separate languages. In 2013, Moldova’s Constitutional Court ruled that the Declaration of Independence, which names Romanian, prevails. Since 2023, the constitution also refers to Romanian. At Eurovision, “Viva Moldova” therefore is not only a patriotic slogan from Chișinău, but also a clear political and linguistic statement today.Oddly enough, Satoshi uses a Japanese name. He explains why in an interview with us. Another interview with Satoshi came after the rehearsals:  Sweden – FELICIA, “My System” Running order: 2 | Rehearsal: 11:05–11:30 CEST Fröken Snusk was one of Sweden’s most talked-about pop phenomena: a pink-balaclava-wearing persona built on anonymity, provocative lyrics and the booming EPA-dunk sound. The act broke through online and became known far beyond its party-music niche, helped by Melodifestivalen 2024 and a strong visual identity that made the mask as recognisable as the songs. Behind the original Fröken Snusk was Felicia Eriksson, who later left the project and moved forward under her own name. That background gives today’s Eurovision rehearsal extra context. Still wearing a mask, Felicia is no longer hiding inside the Fröken Snusk character, but the confidence, controversy and curiosity around that chapter still follow her onto the Vienna stage.  Croatia – LELEK, “Andromeda” Running order: 3 | Rehearsal: 11:40–12:05 CEST Andromeda is a figure from Greek mythology: a princess, not a goddess, and the daughter of King Cepheus and Queen Cassiopeia. After her mother angered the sea nymphs by boasting of Andromeda’s beauty, Poseidon sent a monster to ravage the kingdom. To save her people, Andromeda was chained to a rock as a sacrifice, until Perseus rescued her. In Lelek’s song, that story becomes more than a myth. Andromeda can be read as a symbol of women treated as bodies, victims or bargaining chips by forces bigger than themselves. The title also carries a cosmic meaning: Andromeda is a constellation and gives its name to the Andromeda Galaxy. That link to the stars fits the song’s imagery of escape, distance and survival. For contemporary listeners, her ancient story adds emotional weight. Lelek’s Andromeda is therefore both a mythological princess and a powerful metaphor for pain, resistance and hard-won freedom.  Greece – Akylas, “Ferto” Running order: 4 | Rehearsal: 12:20–12:45 CEST Akylas has become an important figure for Greece’s LGBTQ+ community because his visibility is not presented as a side note, but as part of his artistic identity. Long before Eurovision, his music and stage presence were linked to queer self-expression, emotional honesty and performances at events such as Athens Pride. That background gives his Eurovision journey a broader meaning. In a country where queer voices have often had to fight for space in mainstream culture, Akylas represents a new kind of openness. He has also spoken about homophobic bullying and the support he received after winning the Greek selection, turning his own experiences into a message for younger LGBTQ+ people. For many Greek fans, his participation is therefore not only about a song. It is also about recognition: seeing someone openly queer carry Greek pop culture onto one of Europe’s biggest stages with confidence, vulnerability and a distinctly Greek sound.  Portugal – Bandidos do Cante, “Rosa” Running order: 5 | Rehearsal: 12:55–13:20 CEST Cante Alentejano is the traditional polyphonic singing of the Alentejo, the vast southern Portuguese region between the Tagus and the Algarve. It is usually performed by groups of amateur singers, without instruments. It’s in a slow, collective style built around two vocal lines and distinctive melodies. UNESCO added it to the Representative List of the Intangible Cultural Heritage of Humanity in 2014. In Portugal’s 2026 Eurovision entry, Bandidos do Cante bring that tradition into a pop setting. “Rosa” does not simply borrow a regional sound; it places the warmth of group singing at the centre of the song. That gives the entry a clear Portuguese identity. The voices suggest landscape, memory and togetherness, while the modern arrangement makes the old tradition accessible to a Eurovision audience that may be hearing Cante Alentejano for the first time, without losing its roots. You can read more about the meaningful lyrics here.  Georgia – Bzikebi, “On Replay” Running order: 6 | Rehearsal: 13:30–13:55 CEST Junior Eurovision has often been a first step towards bigger stages, but only four winners have later returned as Eurovision contestants. The Tolmachevy Sisters opened that path: after winning Junior Eurovision 2006 for Russia with “Vesenniy Jazz”, they represented Russia in 2014 with “Shine”, finishing seventh. Destiny followed Malta’s 2015 Junior victory with “Not My Soul” by taking “Je Me Casse” to Eurovision 2021, also ending seventh. Georgia’s Iru, winner as part of Candy in 2011, returned solo in 2023 with “Echo”. This year, Georgia completes the circle again with Bzikebi, the buzzing trio who won Junior Eurovision 2008 with “Bzz..” and now step onto the adult contest stage with “On Replay”. Their return adds a nostalgic layer to 2026. Still, one milestone remains untouched: no artist or group has ever won both Junior Eurovision and the Eurovision Song Contest. That unresolved challenge keeps the crossover story fascinating.

Read More »
Eurovision 2026
Martijn

Vienna 12 points: from a princess to a winner

Several countries start their second rehearsals. 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.  Moldova – Satoshi, “Viva Moldova!” Running order: 1 | Rehearsal: 10:30–10:55 CEST “Viva Moldova,” sing the Moldovans this year, and they do so in Romanian. That language choice carries more history than many Eurovision viewers may realise. Romanian was long officially referred to as Moldovan in Moldova, a name rooted mainly in Soviet and post-Soviet politics rather than linguistic difference. In practice, Moldovan and Romanian are the same language, with regional accents and vocabulary, as Dutch in the Netherlands and Flanders can differ without becoming separate languages. In 2013, Moldova’s Constitutional Court ruled that the Declaration of Independence, which names Romanian, prevails. Since 2023, the constitution also refers to Romanian. At Eurovision, “Viva Moldova” therefore is not only a patriotic slogan from Chișinău, but also a clear political and linguistic statement today.Oddly enough, Satoshi uses a Japanese name. He explains why in an interview with us. Another interview with Satoshi came after the rehearsals:  Sweden – FELICIA, “My System” Running order: 2 | Rehearsal: 11:05–11:30 CEST Fröken Snusk was one of Sweden’s most talked-about pop phenomena: a pink-balaclava-wearing persona built on anonymity, provocative lyrics and the booming EPA-dunk sound. The act broke through online and became known far beyond its party-music niche, helped by Melodifestivalen 2024 and a strong visual identity that made the mask as recognisable as the songs. Behind the original Fröken Snusk was Felicia Eriksson, who later left the project and moved forward under her own name. That background gives today’s Eurovision rehearsal extra context. Still wearing a mask, Felicia is no longer hiding inside the Fröken Snusk character, but the confidence, controversy and curiosity around that chapter still follow her onto the Vienna stage.  Croatia – LELEK, “Andromeda” Running order: 3 | Rehearsal: 11:40–12:05 CEST Andromeda is a figure from Greek mythology: a princess, not a goddess, and the daughter of King Cepheus and Queen Cassiopeia. After her mother angered the sea nymphs by boasting of Andromeda’s beauty, Poseidon sent a monster to ravage the kingdom. To save her people, Andromeda was chained to a rock as a sacrifice, until Perseus rescued her. In Lelek’s song, that story becomes more than a myth. Andromeda can be read as a symbol of women treated as bodies, victims or bargaining chips by forces bigger than themselves. The title also carries a cosmic meaning: Andromeda is a constellation and gives its name to the Andromeda Galaxy. That link to the stars fits the song’s imagery of escape, distance and survival. For contemporary listeners, her ancient story adds emotional weight. Lelek’s Andromeda is therefore both a mythological princess and a powerful metaphor for pain, resistance and hard-won freedom.  Greece – Akylas, “Ferto” Running order: 4 | Rehearsal: 12:20–12:45 CEST Akylas has become an important figure for Greece’s LGBTQ+ community because his visibility is not presented as a side note, but as part of his artistic identity. Long before Eurovision, his music and stage presence were linked to queer self-expression, emotional honesty and performances at events such as Athens Pride. That background gives his Eurovision journey a broader meaning. In a country where queer voices have often had to fight for space in mainstream culture, Akylas represents a new kind of openness. He has also spoken about homophobic bullying and the support he received after winning the Greek selection, turning his own experiences into a message for younger LGBTQ+ people. For many Greek fans, his participation is therefore not only about a song. It is also about recognition: seeing someone openly queer carry Greek pop culture onto one of Europe’s biggest stages with confidence, vulnerability and a distinctly Greek sound.  Portugal – Bandidos do Cante, “Rosa” Running order: 5 | Rehearsal: 12:55–13:20 CEST Cante Alentejano is the traditional polyphonic singing of the Alentejo, the vast southern Portuguese region between the Tagus and the Algarve. It is usually performed by groups of amateur singers, without instruments. It’s in a slow, collective style built around two vocal lines and distinctive melodies. UNESCO added it to the Representative List of the Intangible Cultural Heritage of Humanity in 2014. In Portugal’s 2026 Eurovision entry, Bandidos do Cante bring that tradition into a pop setting. “Rosa” does not simply borrow a regional sound; it places the warmth of group singing at the centre of the song. That gives the entry a clear Portuguese identity. The voices suggest landscape, memory and togetherness, while the modern arrangement makes the old tradition accessible to a Eurovision audience that may be hearing Cante Alentejano for the first time, without losing its roots. You can read more about the meaningful lyrics here.  Georgia – Bzikebi, “On Replay” Running order: 6 | Rehearsal: 13:30–13:55 CEST Junior Eurovision has often been a first step towards bigger stages, but only four winners have later returned as Eurovision contestants. The Tolmachevy Sisters opened that path: after winning Junior Eurovision 2006 for Russia with “Vesenniy Jazz”, they represented Russia in 2014 with “Shine”, finishing seventh. Destiny followed Malta’s 2015 Junior victory with “Not My Soul” by taking “Je Me Casse” to Eurovision 2021, also ending seventh. Georgia’s Iru, winner as part of Candy in 2011, returned solo in 2023 with “Echo”. This year, Georgia completes the circle again with Bzikebi, the buzzing trio who won Junior Eurovision 2008 with “Bzz..” and now step onto the adult contest stage with “On Replay”. Their return adds a nostalgic layer to 2026. Still, one milestone remains untouched: no artist or group has ever won both Junior Eurovision and the Eurovision Song Contest. That unresolved challenge keeps the crossover story fascinating.

Read More »
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