Top 20 Eurovision Song Contest Songs

Bucks Fizz
Bucks Fizz may have been organized in order to compete in the Eurovision Song Contest, but the British pop act actually earned continued success in the wake of their appearance. “Making Your Mind Up” was the United Kingdom’s 1981 entry for Eurovision, and is cut from the ABBA mold of post-disco pop. There’s also some 1950s rock ‘n roll and doo-wop present within the musical arrangements and melodic choices. Bucks Fizz even goes for a “Grease”-style hand jive during the tune. And the line “if you want to see some more” coincides with breakaway skirt reveals that are as on-the-nose as you can get. It’s kitschy, corny, and silly: just three of the things that make a good Eurovision song, great.

Teach-In
Eurovision song submittals, historically-speaking, tend to be ballads or uptempo pop songs. There have been exceptions, of course, but lighthearted fare does tend to be the norm. “Ding-a-dong”, a silly-but-catchy tune from the Dutch pop group Teach-In, definitely falls in this category. The song served as the Netherlands’ entry for Eurovision 1975, and is yet another example of the influential shadows cast by ABBA’s bedazzled, satin-y heads. “Ding-a-Dong” feels like it mixes ABBA’s Euro-pop sound with a more band-focused instrumentation. The Dutch influence of bands like progressive rockers Focus [1] is there, too, but muted in favor of earworm hooks that are impossible to forget.

Johnny Logan
"What's Another Year" from Ireland’s Johnny Logan is schmaltz. But it’s great schmaltz, the kind of soft rock ballad that hinges upon its earnestness and forthright composition. The song’s direct approach is evident right from its opening saxophone hook, prior to the first verse. “What’s Another Year” then tugs at the heartstrings with Logan’s straightforward, honest delivery. The song doesn’t sound like it would feel out of place during the end credits of a made-for-TV movie, or maybe during a 1970s variety show. And we mean that as a big compliment. “What’s Another Year” would go on to win Eurovision for Ireland, proving that, sometimes, a direct approach is best.

Domenico Modugno
Eurovision novices can be forgiven for not knowing a lot of songs on this list. However, this 1958 Italian pick is arguably an outlier. That’s because Domenico Modugno’s “Nel Blu, Dipinto di Blu” has gone on to become something of a standard, being covered by artists like Dean Martin. You may know the song better by its popularized title, “Volare.” Whatever you call it though, it’s the epitome of classic, iconic cool. Hearing just about anyone singing it evokes images of smoky nightclubs, handsome men in dapper suits and dazzling dames dancing [1] the night away. It even won the very first Grammys for Record and Song of the Year. That’s not too shabby, eh?

Måneskin
Italy strikes again with our next entry, but this hard rocker couldn’t be more different than “Volare.” This isn’t a bad thing whatsoever, but instead a reflection of the country’s more modern Eurovision offerings. Måneskin was already an honest-to-goodness rock band prior to achieving Eurovision fame with “Zitti e buoni.” The song also stands apart from the contest’s light and airy reputation. It’s hard-hitting, neo-glam rock with an indie soul. Think the White Stripes, Modest Mouse and even the Strokes for reference. The slamming guitars, heavy groove, and confident vocals sound, on the surface, like they’d be Eurovision poison — but nope! Måneskin won it all in 2021 with this banger, and we couldn’t be more pumped.

SunStroke Project
The artists behind “Hey, Mamma!” are known as the SunStroke Project. But fans of this Moldovan entry know who the true star of the 2017 Eurovision Song Contest was: the Epic Sax Guy! The enthusiastic brass player arguably stole the show and ruled the stage. We’re well aware, of course, that there was also a lead singer, violinist and back-up performers during “Hey, Mamma!” And they killed it, but we fully lose ourselves once that earworm sax line hits. Viewers can’t help but be drawn to the Epic Sax Guy’s natural charisma. Beyond that, the song itself is just impossible not to love. Each instrument and lyric comes together to create a catchy hit for the ages.

Dschinghis Khan
It sort of makes sense that the late seventies would see disco tunes being submitted to the Eurovision Song Contest. And we’re so glad, because it meant that in 1979, we were introduced to Dschinghis Khan’s eponymously titled banger. The West German group was put together for the sole purpose of competing in Eurovision, and their stage show was very much indicative of the contest’s penchant for color and kitsch. “Dschinghis Khan” (the song) is exciting, hinging upon its orchestral accompaniment and that insistent, four-on-the-floor disco beat. Meanwhile, the band vamps and hams it up for all they’re worth. Is the whole thing kind of cheesy? Absolutely, but it’s also a whole lot of fun — and isn’t that the point?

France Gall
France Gall was already a singing sensation in her native France prior to Luxembourg’s submission of "Poupée de cire, poupée de son" to Eurovision 1965. This also wasn’t the first time Gall had collaborated with notorious French songwriter Serge Gainsbourg. But this specific tune would go on to become one of Gall’s best-known hits. "Poupée de cire, poupée de son" is full of salacious double-entendres and turns-of-phrase. It plays on the juxtaposition of youthful Yé-yé performers singing about love at such a young age, and features a driving, almost Spaghetti Western-style rhythm. Gall’s adolescent vocals only add to the number’s effectiveness, while also infusing plenty of spice and charm into it along the way.

Dana International
Unabashed dance-pop is what Dana International’s “Diva” gives us. The winning tune from Eurovision 1998 is indicative of what was going on with commercial pop radio at the time. An uptempo number, it’s full of electronic instrumentation that’s tailor made for the dance floor, and never fails to get us moving. Today, “Diva” is also remembered for its inclusive social significance. Indeed, Dana International, who’s transgender, made history with her win. This nicely ties into the song’s lyrical content about celebrating strong women. Meanwhile, Dana’s actual vocals are melodic and charismatic. In other words, it’s a perfect combination.

Lulu
Lulu had already achieved success at a young age. The singer’s hit title song for the film, “To Sir, with Love” notably helped define her career, as did this memorable entry into the 1969 Eurovision Song Contest. "Boom Bang-a-Bang" is another pick with a saccharine, nonsense wordplay game as the title, but that works in its favor. Lulu sells this sunshine pop for all she’s worth, a fun ode to young love that’s sixties-sounding with a capital “S.” “Boom Bang-a-Bang” is sonic taffeta and chiffon, sung with power and charm that feels like a warm, playful hug. What more could you ask for?

Buranovskiye Babushki
Buranovskiye Babushki gave everyone something to talk about at the 2012 Eurovision Song Contest. The group, composed of elderly Russian women from Buranovo village, is probably still best known for “Party for Everybody”. That’s perhaps due, at least in part, to the members’ enthusiasm, which elevates the already unique song. They truly look and sound like they’re having a great time on stage. And that makes it easy for us to lose ourselves in the music and do the same. “Party for Everybody” melds a club beat with traditional folk melodies in a manner that’s certainly unexpected, yet it totally works.

Emmelie de Forest
The intro to “Only Teardrops” is a melancholic, slow-burn that features some gorgeous, folk-influenced instrumentation. Then, Emmelie de Forest’s vocals kick in, and it’s even clearer that we have a hit on our hands. “Only Teardrops” nicely balances a traditional pop structure with de Forest’s powerful voice and an epic sense of grandeur. As a result, this offering from Denmark killed it at the 2013 Eurovision Song Contest, making it all the way to first place. It’s easy to see why, too, since it’s beautiful enough to feel legitimately moving, yet not cloyingly so. It’s just a prime example of excellent songwriting and execution.

Conchita Wurst
“Rise Like a Phoenix” is a Eurovision hit for the modern day, proof that there’s always something new and fresh to be done. Sure, this offering from Austria’s Conchita Wurst is sort of a slow burn, but not in a sappy way at all. Instead, many have pointed out that it’s more like something you’d hear in a James Bond film. Indeed, there’s an evocative, cinematic quality that makes it stand out from the crowd. As if that wasn’t enough, Wurst’s commanding vocals really sell the point. The delivery feels like a strong ode to classic divas of old with an excellent balance of emotional sentimentality and self-aware, transformative energy. In other words, it’s brilliant, mesmerizing stuff all around.

Celine Dion
Speaking of divas, who knew that a future worldwide phenomenon would, early in her career, take to the Eurovision stage? We think Celine Dion had a pretty good idea! She certainly seemed well-aware of her powers all the way back in 1988, and “Ne partez pas sans moi” is all the better for it. It’s a pop-rock tune with gusto, and it’s undoubtedly memorable in its own right. But it might’ve gotten lost in the shuffle were it not for the way Dion brings it to life with her once-in-a-generation talent. Her voice carries the song to the finish line, but we’re not complaining, because she’s truly deserving of all the praise.

Sam Ryder
It isn’t necessary for a Eurovision contestant to co-compose or co-write their song submission, but it’s always satisfyingly impressive when they do. Sam Ryder did just that for “Space Man,” a song on his debut album that also represented the United Kingdom in the 2022 Eurovision Song Contest. The tune is perfect for Ryder’s high, falsetto vocals, and feels contemporary yet with some 1970s soul. This is pop with plenty of heart to spare, a strong bridge, and a KILLER chorus. There’s even a stellar guitar solo for all the rockers out there. “Space Man” was a big hit for Ryder, earning the musician second place at Eurovision and over 45 million streams on Spotify.

Lena
It’s nearly impossible to stand still when “Satellite” by Lena is playing. It’s just an infectious pop tune that never pretends for a second that it’s anything else. The lyrics are cheeky and celebratory, the kind that just want to shout about love and have you sing along. Lena seems to understand this as an artist, too, and fully leans into the vibe of “Satellite” with a knowing wink-and-smile. Eurovision fans certainly seemed to like the tune, as this German entry deservedly won the whole contest back in 2010. We can’t say we’re surprised - it’s a bop.

Lordi
We mentioned earlier how hard rock and heavy metal don’t tend to dwell within Eurovision’s sphere of influence. There are always exceptions, however, and that’s where Finland’s Lordi comes in. The band came out on stage with an appropriately horror-centric look, while their sound ended up being a much more melodic and anthemic affair. As a result, “Hard Rock Hallelujah” actually went all the way to the top of Eurovision 2006, blazing a trail for lovable metal monsters everywhere. The song possesses a relatively straightforward structure, but Lordi absolutely sells the sizzle along with the steak, combining showmanship and songwriting in spectacular fashion.

Loreen
Some songs manage to blow up far beyond the confines of the Eurovision Song Contest. “Euphoria” is one of them, becoming a mega-hit for Loreen and winning the 2012 iteration of the contest for Sweden. The song seems to be designed for the club and dance floor, an apologetic ode to getting that body moving. The energy oozing out of it feels like a nonstop party, so it’s no wonder it’s amassed plenty of fans and gone multi-platinum while making waves in several countries worldwide. The mix of Loreen’s clear vocals and the track’s driving dance rhythm makes “Euphoria” feel like a perpetually exciting number that could never overstay its welcome.

Alexander Rybak
Alexander Rybak’s “Fairytale” is a Scandinavian Eurovision pick that makes excellent use of its cultural and musical heritage. The violin melodies and danceable rhythms serve as a wonderful backdrop to Rybak’s lyrics about young love and heartbreak. Here, the singer’s Norwegian and Belarusian backgrounds work together with a tight arrangement and his own personal charisma to make some pure Eurovision magic. It’s the sort of winning song that feels right at home in the contest, while at the same time taking on a life of its own on the international charts. You could even say it’s the stuff fairytales are made of.

ABBA
Is there any combination in the world better than the Swedish pop superstars of ABBA and Eurovision? If there is, we can’t think of one, because we’re still dancing to “Waterloo”! Can you blame us? It has everything from catchy lyrics to an infectious beat. It’s easy to forget that the supergroup actually won Eurovision in 1974 with the track, because it’s served as a standard of theirs independent of that for so many years. Yet here we are, surrounded by the group’s satin-y brilliance, still early in their career and hungry for success. The Eurovision win helped catapult ABBA into the global cultural zeitgeist. And although their discography is filled with countless other amazing songs, this one is certainly a highlight from Eurovision history.