The unexpected Nordic collaboration between Sweden’s two-time Eurovision winner and Iceland’s modern-classical innovator has returned with new remixes, a new track, and renewed momentum.

Finnish singer-songwriter, jazz vocalist, composer, arranger and pianist Eeppi Ursin has built a career on movement: between genres, languages, countries, traditions and selves. Her new Finnish-language single, “New Yorkista Puumalaan” — released April 24, 2026 — captures that movement with unusual clarity. It is both a homecoming song and an immigrant’s anthem, a piece about leaving the rush of New York City behind for the lakes, forests and ancestral quiet of Puumala in Southeastern Finland.

Some Eurovision artists arrive with years of slow-burn buildup behind them. Others seem to hit the frame at full speed. Norway’s JONAS LOVV feels like the latter. Hailing from Bergen, he is described by Eurovision’s official participant profile as a “powerhouse performer” who first broke through nationally during the tenth season of The Voice in 2025, where his vocal grit and stage presence made him stand out quickly.

Not every Eurovision entry arrives by kicking the door down. Some move differently: slower, darker, and with the confidence to let silence do part of the work. Latvia’s Atvara feels like that kind of artist. Eurovision’s official profile describes her as a singer-songwriter with a powerful voice, a cinematic sound, and an instinct for emotionally raw storytelling, blending pop and ballad elements into songs about inner strength, vulnerability, and personal transformation.

There are comeback acts, and then there are Eurovision acts that seem to understand exactly how to turn memory into momentum. Estonia’s choice for Vienna 2026, Vanilla Ninja, belongs firmly in the second category.

Some Eurovision entries arrive with a hook; others arrive with a whole artistic world. Lithuania’s Lion Ceccah feels like the latter. The Vilnius-born performer heads to Vienna 2026 not simply as a singer, but as a stage artist, songwriter, musical-theatre specialist, and visible advocate of drag culture.

Some Eurovision artists arrive by way of streaming culture, others through talent shows or indie circuits. Denmark’s Søren Torpegaard Lund comes from somewhere more theatrical. His path to Vienna 2026 is rooted in performance in the fullest sense of the word: singing, acting, movement, character, emotion.

FELICIA arrives at Eurovision 2026 carrying two stories at once: the momentum of a fast-rising Swedish pop force, and the intrigue of reinvention. Formerly known on The Masked Singer TV Show as Fröken Snusk, she built a formidable audience in Sweden through a distinctive voice, heavy streaming traction, and even win the contest which led to a busy live schedule of more than 300 gigs.

Few pairings in this year’s Eurovision field feel as instantly arresting as Finland’s Linda Lampenius x Pete Parkkonen. On paper, they come from very different musical worlds: Lampenius is an internationally recognized violin virtuoso, while Parkkonen made his name in Finland as a pop and soul vocalist with mainstream television roots. In practice, that contrast is exactly what gives the duo its voltage.

When the London Philharmonic Orchestra announced that Estonian conductor Paavo Järvi would become its next Chief Conductor and Artistic Advisor, effective from the 2028–29 season, the news landed as more than a routine baton pass. It was a reminder that Estonia — a country of just over a million people — continues to produce cultural figures who command the confidence of the world’s most prestigious institutions.