Bulgaria wins the 70th Eurovision song contest with the party anthem ‘Bangaranga’

Dara from Bulgaria holds up the trophy after winning the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Sunday, May 17, 2026.

VIENNA — Bulgarian singer Dara won the 70th Eurovision Song Contest on Saturday with her infectious party anthem “Bangaranga,” giving the southeast European country its first-ever victory in the competition.

Israeli competitor Noam Bettan came second after a contest in Vienna clouded by protests and a boycott over the country’s participation.

Dara beat 24 other competitors during Saturday’s grand final of the sequin-drenched pop music competition. The song’s infectious beats and tightly choreographed dance routine proved a hit with both national juries in participating countries and viewers around the world, whose votes together decide the winner.

“This is unbelievable,” Dara said at a post-show news conference. “I don’t even know what’s going on right now.”

She thanked “everyone who felt the bangaranga and felt connected to the force.”

The 27-year-old performer is an established name in her homeland and a mentor on “The Voice Bulgaria,” but had not been among the favorites to win. Still, “Bangaranga” is the sort of pop banger that Eurovision does so well, with its irresistible exhortation: “Surrender to the blinding lights. No one’s gonna sleep tonight. Welcome to the riot.”

Dara has spoken about battling with anxiety, and described bangaranga as an inner force that allows people to “drop this mask of chasing perfection.” She has said the song draws on Bulgaria’s kukeri, elaborately costumed men who perform ritual dances to ward off evil spirits.

Romania’s Alexandra Căpitănescu came third in the contest with the rock song “Choke Me.” Australian star Delta Goodrem was fourth with the slick midtempo ballad “Eclipse,” and Italian crooner Sal Da Vinci came fifth with “Per Sempre Si,” or “Forever Yes.”

The Finnish duo of pop star Pete Parkkonen and classical violinist Linda Lampenius, who were strong favorite on betting markets, ended up in sixth place.

Eurovision historian Dean Vuletic said the contest often produces surprises.

“Eurovision has never really been a contest for big stars. It’s largely been a contest for underdogs,” Vuletic said. “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.”

Eclectic and outrageous acts

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.

The political tensions have clouded a contest that over the decades has given the world the perfect pop of ABBA’s “Waterloo” and the ageless “Nel blu, dipinto di blu” -- better known as “Volare” -- along with a host of Euro-pop party anthems.

The musicians had just 3 minutes to win over viewers. Jets of flame, glitter guns and wind machines worked overtime in a show that celebrated Europe’s eclectic musical tastes.

Serbian metal band Kravina offered hard rock angst, while Albania’s Alis used a brooding choral sound to pay tribute to mothers on “Nan,” while Cypriot contestant Antigoni had the crowd on its feet with dance floor filer “Jalla.”

British act Look Mum No Computer’s jokey novelty song “Eins, Zwei, Drei” came last.

Female solo artists dominated: an empowering power ballad from Germany’s Sarah Engels, gospel-tinged R&B from Poland’s Alicja, ethereal beauty from Ukraine’s Leleka, techno-pop from Sweden’s Felicia. and opera-pop from France’s Monroe.

Male soloists were well represented too, by the likes of Aidan from Malta, Denmark’s Søren Torpegaard Lund, rock-edged singer Jonas Lovv from Norway and Austria’s Cosmo.

Party rap with a political edge was in the house thanks to Satoshi’s ebullient “Viva, Moldova” and Greek artist Akylas’ “Ferto.”

Protests express opposition to Israel

Bettan was loudly cheered, though there was a smattering of boos 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.

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.

Still, Eurovision is eyeing expansion, with a spinoff Eurovision Song Contest Asia due to take place in Bangkok in November.

Eurovision director Martin Green urged viewers to put politics aside and enjoy the “brilliant, wonderful, heartfelt show.”

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. “All of them were very much mired in political controversy, yet Eurovision continues.”

Jill Lawless, The Associated Press

Associated Press writers Hilary Fox and Philipp Jenne in Vienna contributed to this report.