“Supernova 2026” (Latvia) – ESCBEAT

• It is a rhythmic, percussion-heavy pop track.
• The song starts with a catchy drum loop and a soulful vocal. The first verse is “wordy” and rhythmic. Her singing is quite effortless, with a thin and mid-high tone of voice.
• The first pre-chorus builds with a clapping beat. The first chorus is a rhythmic ear-warming with a straightforward title hook; the electronic beats remind one of Latin pop from the 2010s.
• The second verse is more playful. The bridge is a vocal breakdown.
• Overall, it’s a very competent pop song. It lacks a bit of “soul” in the writing, but the production is polished, It is a safe choice, for good and bad.

#2. Aivo Oskis – “Walking Out”

• It is a contemporary soul-pop track.
• The song starts with an R&B-influenced synth and a smooth vocal. The first verse is melodic and flows well. The melody is based on drums and bass, while his vocals are mostly low.
• The first pre-chorus adds a finger-snap rhythm, alongside guitars.
• The first chorus is a soulful, mid-tempo hook. The melody is based on classical and electronic guitar
• The second verse introduces more backing harmonies. The bridge is a short vocal peak. The second chorus is introduced with modulation.
• Overall, Aivo is a great performer, but the song feels too predictable. It’s pleasant but doesn’t quite “bite.”

#3. Antra Stafecksa – “Divejāda” (Eng: Dual)

• It is an ethno-pop ballad with a grand, orchestral feel.
• The song starts with deep piano chords, traditional folk instruments, and a powerful, grounded vocal. At a certain point, drums are added. The first verse feels ancient and grounded. a
• The first pre-chorus swells with strings.
• The first chorus is dreamy and sweeping, reminiscent of 90s Balkan ballads but with a Baltic twist. Vocally, she is on point. But the lyrics are a bit repetitive.
• The post-chorus is based on bass and electronic sound. The second verse adds modern electronic elements. The bridge is a massive vocal moment. The song ends with fading bass and electronic guitar.
• Overall, it could have been a match for Eurovision, but not in 2026. Maybe more for Eurovision 1996

#4. Atvara – “Ēnā” (Eng: In The Shade)

• It is a minimalist, vocal-focused ballad.
• The song starts with a soft piano playing and a very intimate vocal performance. The first verse is quiet and haunting. It is based on fragile and soft voices.
• The first pre-chorus steps towards the Disney ballads. The first chorus is a masterclass in “less is more,” relying on a beautiful melody rather than a big production.
• The second verse adds an electronic touch and a cello layer. Thereafter, we get some backing vocals.
• The second chorus continues in the same way. The bridge is emotionally charged but stays restrained, featuring some impressive opera vocals.
• While I appreciate its quality, I estimate its chances as very low. I think such songs struggle to make people vote for them.

#5. Blurie – “Loving’ Always Get Me Down“

• It is a sleek, mid-tempo electropop track with a heavy “night-drive” aesthetic.
• The song starts with a pulsing, dark synth bassline and filtered vocals. The first verse is rhythmic, with a steady 80s-inspired percussion kick. The melody is based on keyboards. He sings it quite simply and accurately.
• The first pre-chorus is brief, clearing the frequency for the hook.
• The first chorus is catchy but repetitive, relying on a groovy bassline and a simple vocal refrain. We get more of his vocals, with longer notes and a higher tone of voice. The atmosphere is mysterious.
• The second verse introduces more shimmering synth pads. His singing is simple, giving more space to the melody. The second pre-chorus comes after a long verse.
• The second verse is cinematic and demanding. The production is modern, and the drama is delivered sophisticatedly. The song ends with a rich instrumental part, based on keyboards and string elements.
• It is a high-quality song that excels in both production and lyrics. I don’t know its potential to do well.

#6. Daba – “Panic Attack“

• It is a high-energy alternative pop track with punk-rock undertones.
• The song starts immediately with an aggressive, distorted guitar riff and a frantic drum beat that mirrors the song’s title.
• The first verse features rapid-fire delivery, almost like a breathless recitation. The melody is chaotic but controlled.
• The first pre-chorus creates a “vacuum” effect where the instruments drop out slightly before the explosion.
• The first chorus is a wall of sound—heavy percussion and a shout-style vocal hook that is very memorable. The second verse maintains the high BPM, while the bridge introduces a more melodic, slightly eerie synth part. The final chorus is even more intense.
• Personally, I preferred the first part of the song. I felt like it lost direction at some point

#7. De Mantra – “Let Them“

• It is a dark, alternative-pop track.
• The song starts with an eerie synth drone and a whispery vocal.
• The first verse is mysterious and slow. They sing together, while the melody is based on synth and bass, with overlapping beats.
• The first pre-chorus builds with a heavy electronic pulse. It breaks the melody into a darker vibe while enabling them to sing in longer musical boxes.
• The first chorus is a moody, atmospheric hook. The production is more electronic, and sometimes makes their singing more sparse.
• The second verse is more intense. The bridge is a cinematic peak, but itcreates a more diverse arrangement, relying on more classic elements.
• The song has captivated me from the first moment. It suggests a modern sound with solid production, combined with perfect vocals. I hope they can translate it into the staging

#8. Edvards Strazdiņš – “I Ain’t Got The Guts”

• It is a country-pop song.
• The song opens with an acoustic guitar and harmonica. The vibes are of American country from the 1960s. The first verse is based on a constant clapping tempo. He sings it in a very low tone of voice.
• The chorus is more “commercial” and simple. He sings in a mid-tone of voice. The harmonica is back.
• From there, the song progresses cyclically and quite expectedly, from verse to chorus. The bridge is based on raw production, and something about the vocals is off for me.
• While he ain’t got the guts to ask her out, he has got the guts to submit such an outdated and mid song.

#9. ELPO – “Blakus“

• It is an atmospheric, alternative-pop song in Latvian.
• The song starts with a melancholic guitar pluck and a soft, airy vocal.
• The first verse is delicate and builds slowly. The melody is based on mid-electro beats and synth elements.
• The first pre-chorus introduces a steady electronic drum beat.
• The first chorus is soaring and melodic, focusing on the beauty of the Latvian lyrics. The melody is based on dark keyboard chords, and later on, more elements are added. The production features some processed vocals.
• The second verse is more instrumentally dense.
• The bridge features a powerful vocal crescendo. We get a wider range of synth elements. The second chorus follows, and this time it is based on a faster beat-basis/
• Overall, it feels very authentic to the Latvian music scene and could be a dark horse if the staging is intimate. But I feel like the song is over-produced, especially around the vocals.

#10. Emilija – “All We Ever Had”

• It’s a cinematic power ballad.
• The song starts with a delicate piano melody and a string section that immediately sets a melancholic tone. Emilija sings the first verse in a breathy, emotional mid-tone. As we reach the first pre-chorus, the orchestration swells, adding a cinematic depth.
• The first chorus is the “vocal moment” of the song, where she showcases her power and range. The melody is based on drums, piano, and percussion. It relies on some vocal duplication. The lyrics are mostly repetitive.It ends with a haunting violin solo.
• The second verse is slightly more rhythmic, with a soft electronic beat underneath the strings. The bridge is the peak of the drama, featuring an outcry and high notes. The final chorus is rich and orchestral.
• Overall, it’s a high-quality ballad that feels “safe” but polished. After finishing 2nd last year, Emilija can pull a winning card. However, the song feels a bit generic. I wanted more writing effort in the chorus (which should have been the strongest part)

#11. Honey Blue – “Blue Disco”

• It is a funky, indie-soul track.
• The song starts with a grooving bass line and a brass section. The first verse is cool and laid-back. The first pre-chorus is a jazzy transition.
• The first chorus is a light, funky hook that feels very “summer festival.” The second verse adds more guitar textures. The bridge is a fun instrumental jam.
• Overall, it’s a “vibe” song. It’s probably too niche for Eurovision. I felt like I got the most of it during the first half.

#12. Ivo Grīsniņš Grīslis – “Home”

• It is an acoustic-leaning pop ballad.
• The song starts with fading pre-recorded vocals, guitar and a warm vocal. The first verse is sincere, simple, and yet full of effects
• The first pre-chorus builds with a soft piano. The first chorus is a melodic, radio-friendly hook. He sings it with longer notes and some twirling.
• The second verse adds a light drum beat. The bridge is an emotional height. The second chorus features achoir singing, adding some soulful dimension.
• Everything about it is just OK and forgettable.

#13. Jānis Rugājs – “Smoke”

• It is a soulful, moody ballad.
• The song starts with a jazzy piano and a deep, gravelly vocal. The first verse is atmospheric and slow. Jānis sings in a deep voice.
• The first pre-chorus introduces a soft brush-drum beat, and it ends with long note.
• The first chorus is a smooth, bluesy hook that feels very “late-night lounge”. His voice is warn and velvety.
• The second verse adds a trumpet accompaniment. The melody features an orchestral layer, incorporating elements of strings and classical music The drama increases, as fading backing vocals accompany the production.
• The bridge is a vocal showoff. The second chorus is composed of piano, strings, and wind instruments, and is well-executed. The post-chorus is a vocal charge, where he gives more of his abilities. The song ends with another chorus, and the closure is based on raw production.
• It is certainly one of the best song lyrics and melody-wise. I am also confident about his ability to deliver. However, I am not sure whether it will stand out enough.

#14. Kautkaili – “Te un tagad” (Eng: Here and Now)

• It is an indie-pop song with a smooth, atmospheric production.
• The song starts with a minimalist electronic pulse and Kristīne’s velvety, low-register vocals. The first verse feels intimate, almost like a secret being shared. The melody is based on a subtle bass and light synth layers.
• The first pre-chorus introduces a gentle drum beat, building a steady rhythm.
• The first chorus is understatedly catchy; it doesn’t explode but rather flows naturally from the verse. The hook “Te un tagad” repeats in a way that gets stuck in your head.
• The second verse adds more texture with electric guitar licks in the background.
• The bridge offers a moment of reflection before a final, slightly more layered chorus.
• Overall, it is a very “cool” and modern choice. It might feel too laid-back for some, but its artistic identity is undeniable. If the staging captures the “vibes,” it’s a massive contender for Vienna. I can see it more as a jury-bait, though.

#15. Krisy – “Take It”

• It is an aggressive, short-form electronic-hip-hop hybrid.
• The song starts immediately with a distorted synth riff.
• The first verse is short and punchy. The first pre-chorus is almost non-existent as it slams into the chorus.
• The first chorus is a repetitive, high-energy shout-hook.
• The song moves very quickly, with the second verse and bridge passing in a blur of sound.
• Overall, at under 2:30, it’s a burst of energy. It’s memorable because of its intensity, but it might feel “unfinished” compared to the full three-minute compositions. Having another chorus with different lyrics can lengthen the song and elevate it. Having said this, the song has the potential to become a bombshell.

#16. Kristīne Megija – “Insanity”

• It is a high-drama pop ballad.
• The song starts with a simple acoustic guitar melody and a powerful vocal. The first part is the refrain: it is emotional and raw. She sings simply and precisely.
• The first verse is a big vocal climb. The lyrics are more dense. denser compared to the melody. , compared to the melody. The first chorus is a massive, belting moment. The second verse adds electronic strings. The bridge is a high-note showcase.
• Overall, the song maintains a fairly consistent level thrghou. I appreciate its simplicity, but the lack of engagement is too much

#17. Legzdina – “Ribbon”

• It is an experimental, avant-garde electronic pop song.
• The song starts with electric keyboards and a distorted vocal sample.
• The first verse is performed in a soft voice, while the melody is playful.
• The first pre-chorus is based on a bit faster singing with some mannerisms. The production features some electronic elements.
• The first chorus brings a fresh sound with louder and more house-based melody. The dance beat is pumping, but not too powerful. Vocally, Legzdina performs the second half in a higher pitch. It is followed by a short instrumental part, composed of synth elements.
• The second verse continues in a more candy-pop style. The second pre-chorus is based on keyboards and synth. Vocally, she sings with a more angelic voice.
• The second chorus is based on electronic and dance beats, but the tempo is mostly mid. The post-chorus is spoken-word adjacent, delivered with a lot of attitude. The following chorus is based on a more laid-back production and recitation. From there, it continues to a more impressive piece.
• The first pre-chorus is chaotic, using industrial sounds to build pressure, with more complex rhythmic layers
• To sum up, it can be one of the boldest choices, it is sassy and unique. The song is divisive and even polarizing, and maybe that’s its key to success.

#18. Miks Galvanovskis – “Cruel Angel”

• It is a dark pop-rock song with bluesy influences.
• The song starts with a deep, growling vocal and a rhythmic hand-clap beat. The melody of the first verse is based on a “dirty” guitar sound. Miks sings with a lot of grit and charisma.
• The first pre-chorus is short and serves as a quick ramp-up.
• The first chorus is anthemic and stadium-ready, relying on a strong drum beat and a simple, repetitive title hook.
• The second verse follows a similar structure but feels more confident. The bridge features a guitar solo that adds to the rock-star persona. The final chorus is a big, loud finish.
• Overall, it’s a solid effort from a Supernova veteran. It feels a bit like an attempt to modernize old school rock. While it’s well-produced, I worry it might feel a bit “heard before.” A strong live vocal will be crucial here.

#19. Nolark – “Different Places”

• It is a drum-and-bass-influenced pop-rock track.
• The song starts with a high-speed breakbeat and a soft vocal contrast. The first verse is rhythmic and fast. The atmosphere is dark.
• The first pre-chorus clears the beat for a moment before the drop. The melody is simple, and the singing becomes more basic.
• The first chorus is a high-energy dance hook. The electronic beat combines with digital keyboards and synth beats.
• The second verse maintains the pace. However, it is the weakest part of the song. For me, it is a serious downgrade, as the singing sounds a bit amateur.
• Overall, it feels very “London underground” and brings a lot of energy to the line-up. But the verses are weak, and don’t combine well with the whole package. I feel like it appeals more on the melody dimension, not the singing.

#20. Paula – “Dejot Vien” (Eng: Just Dancing)

• It is a funky, Latvian-language dance-pop song.
• The song starts with an infectious, slap-bass groove and a light, playful vocal.
• The first verse is fast-paced and rhythmic. The first pre-chorus builds tension with rising synth chords. The first chorus is a pure disco-pop explosion—very danceable and upbeat.
• The second verse maintains the energy, while the bridge features a funky middle-8 with a prominent bass solo. 
• Overall, this is one of the enjoyable entries in the selection. It’s lighthearted and catchy, though it may struggle to stand out against some of the others. And don’t you ever doubt its ability to stick to your mind.

#21. Papīra Lidmašīnas – “You’re My Savior”

• It is a classic, upbeat pop-rock track.
• The song starts with an energetic acoustic guitar strum and a bright vocal.
• The first verse is radio-friendly and familiar. We have some French lyrics there as well. The melody is based on smooth bass, electric guitar, and drums.
• The first pre-chorus is a standard “climb” toward the hook, with richer vocals.
• The first chorus is an anthemic, sing-along moment that feels very “festival-ready.” The guitar and the drums create a powerful atmosphere.
• The second verse maintains a high tempo. The bridge is a classic rock breakdown. Overall, it’s a solid, safe entry. It’s well-performed but lacks the unique “edge.”

#22. Robert OX – “Raivin’ At The Taj Mahal”

• It is a dark, theatrical rap-hip-hop pop song with a satirical edge.
• The song starts with a heavy, stomping beat and a growling bass guitar. The first verse is delivered with a dramatic, almost sinister vocal tone. He sings in a smoky
• The first pre-chorus uses a choir-like backing vocal to add scale. The first chorus is a big, stadium-rock anthem with a loud, brass-heavy hook.
• The second verse adds more electronic “rave” elements. That’s where he sings more in the rap genre.
• The bridge is a high-energy instrumental climax.
• Overall, it is nice to see a member of Citi Zēni coming back. It’s catchy, but it feels overproduced, like a song intended for “TikTok. I am not into it at all

#23. Tikasha Sakama – “#010126 CODA”

• It’s a futuristic, hyper-pop influenced track.
• The song starts with high-pitched synth chirps and a digitized vocal melody.
• The first verse is light and airy. Her singing is angelic. The melody is based on piano playing.
• The chorus introduces a heavy, trap-style beat. The first chorus is a maximalist pop hook that feels very modern and moody. The singing is delivered through multiple layers. It is followed by a short instrumental part
• The second verse features more experimental vocal processing. The tempo is higher, and the production becomes even more modern and sharp. Thereafter, we get an additional chorus, blending emotions and chords, with rich vocals.
• The bridge is a high-speed instrumental break. It suggests a change to the melody, which becomes more pulse-based, faster, and immersive.
• Overall, it’s highly original and well executed. Musically, it is a bit similar to Victoria’s song (Bulgaria Eurovision 2020+2021) and even Billie Eilish‘s music. If she can perform it with the right staging, we will have a strong contender to Vienna.

#24. Vēstnieks – “Vai tas it kads brinums?” (Eng: Is this some kind of miracle?)

• It is a retro-inspired, Latvian-language pop song.
• The song starts with a 70s synth sound and a nostalgic vocal.
• The first verse is melodic and warm.
• The first pre-chorus is a classic pop transition. The first chorus is a sweet, catchy hook.
• The second verse adds more synth layers. The bridge is a short instrumental.
• Overall, it’s a very charming, “local” entry. His voice is pleasant, but the song is just in the middle of the road.

My Personal Ranking