Although it is still too early for final forecasts – as rehearsals, stage performances, and final impressions are yet to come and often change the course of the contest – the current odds still provide an insight into how the market sees this year’s favorites. At this stage, betting odds should not be viewed as a final verdict, but rather as an indicator of current mood, expectations, and song potential.

Despite this uncertainty, certain countries are already emerging as clear contenders for victory, while a wider group of competitors is forming just behind them, waiting for their chance. At the same time, an interesting situation is developing in the race for the final, where small percentage differences could determine the fate of participants.

Below, we bring a detailed analysis of the current betting situation – who is leading the race, who is in the top 5, and what chances the countries from the region and other participants have to reach the final.

Who Has the Best Chance to Win? Current TOP 5

As things currently stand in the betting odds, a group of five countries has emerged as the most realistic contenders for victory at Eurovision 2026. Although differences exist, it is clear that these countries will form the core of the battle for the top.

Finland – Lampenius & Parkkonen – “Liekinheitin” (around 30%)

Finland is the absolute leader of the betting odds and the only country with a double-digit percentage that significantly stands out from the competition. Their song Liekinheitin delivers an energetic and modern sound that is easy to remember, along with a strong visual identity that has already attracted fan attention.

The duo Lampenius & Parkkonen has managed to create a striking package that works both musically and visually. If the live performance meets expectations, Finland will be an extremely tough opponent for everyone else.

Representatives of Finland

France – Monroe – “Regarde !” (around 11%)

France is firmly holding second place with a song that radiates elegance and emotional depth. Regarde ! is a classic example of France’s Eurovision approach – focusing on interpretation, atmosphere, and authenticity.

As an artist, Monroe brings experience and confidence, and if the emotion is successfully conveyed on stage, France could seriously challenge the favorite.

Representative of France

Denmark – Søren Torpegaard – “Før vi går hjem” (around 10%)

Denmark has positioned itself as one of the most stable contenders at the top. The song Før vi går hjem combines modern production with an accessible melody, often a winning formula at Eurovision.

Søren Torpegaard gives the impression of a confident performer, and his song has the potential to reach a wide audience. However, to reach the very top, an additional standout moment will likely be needed.

Representative of Denmark

Australia – Delta Goodrem – “Eclipse” (around 8%)

A major name on the Eurovision stage, Delta Goodrem brings Eclipse, a song balancing between a radio hit and an emotional ballad. Australia traditionally invests heavily in staging, so a visually striking performance is expected.

The odds are slightly fluctuating, showing some uncertainty, but also the potential for Australia to “explode” after rehearsals.

Representative of Australia

Greece – Akylas – “Ferto” (around 8%)

Greece completes the top 5 with a song that brings an authentic sound and a captivating atmosphere. Ferto stands out with its distinctive style and can easily find its audience among voters.

Akylas has strong stage charisma, which could be crucial, and with a good performance Greece could become one of the main dark horse contenders.

Representative of Greece

Just behind the leading five are Noam Bettan (Israel) with “Michelle”, Felicia (Sweden) with “My System”, Romania’s A. Căpitănescu with “Choke Me”, Ukraine’s representative Leléka with “Ridnym”, and Italy’s Sal Da Vinci with “Per sempre sì”.

Although their winning chances are currently significantly lower, these countries should not be written off – the gaps are not impossible to close, and Eurovision history has repeatedly shown that a strong live performance can completely change the dynamics.

Serbia and the region – stable path to the final, but far from the top

When it comes to Serbia, our representatives, the group Lavina with the song Kraj mene, currently have no significant support from the betting odds in the race for victory – estimates are below 1%, placing them in the lower part of the table.

However, the situation looks significantly more positive when it comes to qualifying for the final. Serbia is among the safer candidates for qualification, with high percentages suggesting that reaching the final should be an achievable goal. In that sense, the real potential for a better result may only open after the live performance, where the biggest surprises often occur.

Looking at the rest of the Balkans, none of these countries are currently serious contenders for victory at Eurovision 2026, but their positions are much more interesting when it comes to qualifying for the final.

Lelek (Croatia) with the song Andromeda has less than a 1% chance of winning, but in the first semifinal stands quite well – around an 80% chance of qualification, making it one of the safer finalists.

Tamara Živković (Montenegro) also has minimal chances of winning (<1%), while in the first semifinal she is right on the qualification borderline with around 65%.

Alis (Albania) in the second semifinal shows a slightly better situation – although winning chances are also below 1%, qualification odds are around 75%, making her a relatively safe finalist.

Dara (Bulgaria) has around a 1% chance of winning overall, but in the second semifinal she is very stable with around 79% qualification chances, placing her among the safer finalists.

Overall, the Balkans do not currently have a strong top contender, but several countries have realistic chances of reaching the final – leaving room for potential improvement after live performances.

Representative of Montenegro

Qualification chances: What do the odds say?

Alongside the battle for victory, perhaps an even more interesting story lies in the Eurovision 2026 semifinals, where betting odds already clearly separate “safe qualifiers,” borderline acts, and outsiders. Although these predictions often change after rehearsals, they currently provide a strong overview of the competition.

First Semifinal – clear favorites and fight for the last spots

In the first semifinal, a group of near-certain qualifiers has emerged. At the very top are Finland’s Lampenius & Parkkonen, along with Sweden, Greece, and Israel – all of these countries have around or above a 90% chance of qualifying, meaning their elimination would be a major surprise.

Just behind them is Serbia with Lavina, who with around an 83% chance belongs to the group of safer qualifiers, together with Croatia, Moldova, and Lithuania. This means that anything other than qualification for these countries would be surprising, but not impossible.

A real drama is expected around the borderline – Georgia, Montenegro, and Poland are between 55% and 65%, placing them in a high-risk zone. These positions often depend on details such as running order, vocal performance, and staging impact.

At the bottom are Belgium, Portugal, Estonia, and especially San Marino, which with very low percentages is already considered an outsider in the race for the final.

Second Semifinal – mid-table crowding and uncertain race

The second semifinal presents a slightly different picture – although there are clear favorites, the differences between participants are smaller, suggesting a more unpredictable battle.

At the top are Denmark, Ukraine, and Australia, all with around 90% qualification chances, making them safe finalists. Behind them is a group of very stable candidates – Romania, Cyprus, Bulgaria, Czechia, and Malta – with around 75–80% chances.

Unlike the first semifinal, the “danger zone” here is much wider. Albania and Norway are around 70–75%, while Latvia, Armenia, and Switzerland sit between qualification safety and elimination risk. This is where the most changes are expected after rehearsals.

At the bottom are Luxembourg and Azerbaijan, with Azerbaijan practically having no realistic chance of qualifying at this moment due to single-digit percentages.

Conclusion – a clear favorite, but the race is still open

As things currently stand, betting odds for Eurovision 2026 clearly highlight Finland as the main favorite, with France and Denmark as the closest challengers. However, the gaps behind the leader are not insurmountable, and experience shows that the balance of power can change significantly after rehearsals and live performances.

The battle for qualification looks somewhat more predictable, but even there nothing is guaranteed – especially in the middle of the table where small details decide everything. This is often where the biggest surprises happen, while some favorites fail when the lights go on.

For Serbia and its representatives, Lavina, the focus is clearly on securing a place in the final, which currently looks very achievable. Anything beyond that will depend on staging and overall live impression.

Ultimately, betting odds provide a framework and guidance, but Eurovision year after year proves that the winner is not determined by numbers – but by the moment, emotion, and a performance that the audience remembers.

Representative of Serbia

It is an annual survey organized by OGAE, an international network of official Eurovision fan clubs that brings together thousands of contest enthusiasts worldwide. For decades, it has been one of the most active Eurovision communities.

The OGAE Poll was launched in 2007 – the same year Serbia achieved historic success: not only by winning the Eurovision Song Contest with Marija Šerifović and the song “Molitva”, but also by topping the very first edition of the OGAE Poll.

Members of national OGAE clubs take part in this voting by selecting their ten favorite songs from the current Eurovision season. Points are awarded using the familiar Eurovision system (12, 10, 8–1), and results are then revealed gradually, country by country.

Although it has no official competitive value, the OGAE Poll has correctly predicted the Eurovision winner six times (2007, 2009, 2012, 2013, 2018 and 2023), which gives it additional weight among fans and followers of the contest.

For Serbia, the OGAE Poll holds special significance – in addition to winning the inaugural edition, the country reached the very top again in 2008, finishing in an impressive third place.

Below, follow the results as they come in – the table will be updated in real time, including all votes and changes at the top!

OGAE France

OGAE France was the first to reveal its votes in OGAE Poll 2026, continuing the tradition of opening the results season. In their semifinal-style allocation, Serbia finished last.

Votes from OGAE France:

• 12 points – Finland
• 10 points – Denmark
• 8 points – Cyprus
• 7 points – Australia
• 6 points – Greece
• 5 points – Italy
• 4 points – Sweden
• 3 points – Malta
• 2 points – Albania
• 1 point – Israel

12 points from OGAE France

OGAE Romania

The second club to reveal its results was OGAE Romania, continuing the voting for OGAE Poll 2026.

A total of 48 members took part, and the results show a very close race at the top, with Greece taking the lead ahead of Finland and Sweden. Serbia is currently in the middle of the table with 28 points, placing 18th.

Votes from OGAE Romania:

• 12 points – Greece
• 10 points – Finland
• 8 points – Sweden
• 7 points – Cyprus
• 6 points – Australia
• 5 points – Denmark
• 4 points – Bulgaria
• 3 points – Albania
• 2 points – Montenegro
• 1 point – Moldova

12 points from OGAE Romania 

OGAE Denmark

The third club to publish its votes was OGAE Denmark, which organized semifinals and a grand final to determine its final points this year.

A total of 80 members participated, and Denmark awarded its points through a final voting system, with Finland once again confirming its status as one of the main favorites. Unfortunately, Serbia did not reach the final here, finishing in the semifinal in the penultimate position, just above San Marino.

Votes from OGAE Denmark:

• 12 points – Finland
• 10 points – Australia
• 8 points – Cyprus
• 7 points – Sweden
• 6 points – France
• 5 points – Bulgaria
• 4 points – Greece
• 3 points – Italy
• 2 points – Czechia
• 1 point – Norway

12 points from OGAE Denmark 

OGAE Poll 2026 – Current Standings

After the first three sets of votes, the situation at the top of OGAE Poll 2026 is beginning to take shape, with Finland currently standing out as the most consistent and the first serious contender for the top spot.

1. Finland – 34 points
2. Sweden – 15 points
3. Cyprus – 15 points
4. Denmark – 15 points
5. Greece – 14 points
6. Australia – 13 points
7. Italy – 8 points
8. Bulgaria – 8 points
9. France – 6 points
10. Albania – 5 points
11. Malta – 3 points
12. Czechia – 2 points
13. Montenegro – 2 points
14. Moldova – 1 point
15. Norway – 1 point
16. Israel – 1 point

When it comes to the region, the situation is currently quite mixed. Serbia has not yet scored any points, placing it at the bottom of the table after the first three votes. However, it is still early in the process, with many clubs yet to reveal their results. Croatia and Romania are in the same position.

Montenegro currently sits in 13th place with 2 points, while Albania is doing slightly better in 10th place with a total of 5 points, securing a mid-table position for now.

Among other regional countries, Greece is among the leaders in 3rd place with 14 points, confirming a strong start, while Bulgaria is in 8th place with 8 points, holding a stable mid-table position for now.

The victory went to Zejna with her song “Jugoslavija”, which captured the hearts of the association’s members and collected a total of 208 points. Although she narrowly missed out on winning the main show, Zejna confirmed her status as a fan favorite, with her energetic track being declared the best among Eurovision fans.

Interestingly, second place went to the song “Čairi” performed by Zona, finishing just one point behind the winner. Third place was taken by the group Lavina with their song “Kraj mene”.

As a reminder, Lavina also won the PZE 26 festival and will proudly represent Serbia at the Eurovision Song Contest in Vienna this year.

Representatives of the association once again personally presented the OGAE Serbia 2026 award to the winner at the RTS studios in Košutnjak, wishing her continued success in her career.

As the winner of the OGAE Serbia Award, Zejna and her song “Jugoslavija” earn the right to represent our club at the international online competition OGAE Second Chance 2026, where they will compete against fan favorites from across Europe who did not win their national selections.

OGAE Serbia Award 2026, Photo: Vladimir Jovanović / OGAE Serbia

Complete results are as follows:

OGAE Second Chance

This selection also served as OGAE Serbia’s choice of representative for OGAE Second Chance 2026. OGAE Second Chance is an annual competition for countries that have held a national selection for the Eurovision Song Contest, where members of local OGAE clubs choose one song from their national final to represent them. All songs from the national selection are eligible, except for the winning entry that goes on to represent the country at Eurovision. Voting is conducted in the traditional Eurovision style.

Last year, the honor of representing our club went to the drag group Harem Girls, who finished in 16th place with their song “Aladin”.

The best result achieved by our club remains a 2nd place finish in 2005 with the song “Jutro” by Jelena Tomašević.

You can check the full list of previous winners and results of our representatives HERE.

OGAE Serbia’s representative at OGAE Second Chance 2026

In a night filled with emotion, fierce sound, and unexpected twists, this band achieved what few before them could—uniting the votes of the professional jury and the public to win with a maximum of 24 points.

Although the competition was fierce, Lavina was considered a „dark horse“ from the very first beat of the semi-finals, only to completely blow away the competition in the final. Following them in second place was the audience favorite Zejna with the song „Jugoslavija“, while the third position was taken by Harem Girls x Ivana Krunić with an energetic performance of „Bom bom“.

Serbia’s representatives at the Eurovision Song Contest 2026

Jury and public results

The decision on the new representative was made by a five-member jury consisting of renowned musical names:

• Zoe Kida (Singer-songwriter)
• Alek Aleksov (Arranger and composer)
• Nina (Danica Prodanović) (Serbia’s Eurovision 2011 representative)
• Igor Panić Nucci (Popular rapper and composer)
• Aleksandra Kovač (Composer and Jury President)

Interestingly, Lavina was the favorite of most jury members, while only Nucci and Aleksandra Kovač gave their 12 points to Zejna. Nevertheless, the Niš metalheads confirmed the absolute legitimacy of their victory by receiving 12 points from the jury and 12 points from the public.

The festival winner was decided by the well-known Eurovision system—professional jury votes and public votes were valued at a 50:50 ratio. While tastes often diverged, the final results show a clear picture of who Serbia wanted to see in Vienna.

Top 5 Finalists Point Overview:

1. Lavina – „Kraj mene“: Absolute triumph with a total of 24 points. The band united the industry and the people, receiving 12 points from the jury (56 votes) and an incredible 12 points from the public, backed by 29,759 SMS votes.
2. Zejna – „Jugoslavija“: Took a high second place with 16 points. The professional jury rated her highly with 10 points (50 votes), while she received 6 points (4,454 votes) from the public.
3. Harem Girls x Ivana Krunić – „Bom bom“: Bronze position with 15 points. The jury awarded them 7 points (26 votes), but they fared significantly better with the public, winning 8 points thanks to 6,130 votes.
4. Brat Pelin – „Fräulein“: The biggest public favorite after the winner. With 14,003 votes, he received a high 10 points from televoting, which, combined with 4 points from the jury (22 votes), brought him to a total of 14 points and fourth place.
5. Zona – „Čairi“: Closes the top five with 10 points. They received 3 points from the jury (18 votes), while the public rewarded them with 7 points (4,726 votes).

It is interesting to note that Brat Pelin had nearly three times more public votes than the runner-up Zejna, but lower scores from the professional jury prevented him from reaching the podium. On the other hand, Lavina set a standard that will be remembered for a long time, leaving the runner-up in SMS votes trailing by more than double.

Final placment

Studio spectacle and humanitarian heart

The three-and-a-half-hour program was hosted by the reliable duo Dragana Kosjerina and Kristina Radenković, while Stefan Popović warmed up the atmosphere in the „Green Room.“

While votes were being tallied backstage, the stage of Studio 8 transformed into a true European podium. This year’s interval act was not just „filler“ but a spectacle marked by a historical precedent.

For the first time in the history of the national selection, the Serbian audience had the opportunity to hear a live performance by an official representative of another country competing in Vienna that same year! That honor went to Greece and their representative, Akylas.

He performed his Eurovision entry „Ferto,“ and the reactions in the studio and on social media confirm that Greece is aiming for the very top this year. This move by RTS and the Greek delegation further solidified PZE’s status as one of the strongest national selections in the region.

The representative of Greece in the PZE final on the 26th

OGAE Serbia Award – Zejna is the queen of Eurovision fans

Alongside the main trophy, the OGAE Serbia award was traditionally presented. Members of the association, who follow the competition with special passion, voted for the best composition among the 24 participants, and this year’s „Fan Favorite“ title went to Zejna with the song „Jugoslavija.“

In an extremely close finish, Zejna triumphed with 208 points, closely followed by the group Zona and their song „Čairi,“ which won only one point less! Third place in the fans’ choice went to the festival winners, Lavina.

Although the main victory eluded her, Zejna received this prestigious recognition at the Košutnjak studio, ensuring her participation in the international internet competition OGAE Second Chance 2026. There, her „Jugoslavija“ will battle against fan favorites from all over Europe who did not manage to win their respective national selections.

Foto: OGAE Srbija

After submissions closed on November 10, an expert committee reviewed all entries and selected 24 songs that stood out for their quality, creativity, and originality.

These authors and performers will step onto the PZE stage at the end of February, hoping to win over both the audience and the jury — and secure the ticket to Vienna, the host city of the 70th Eurovision Song Contest.

Who is competing at PZE 2026?

This year’s selection brings a wide mix of pop, alternative music, modern ethno influences, club tracks, and a few completely unexpected directions.

Each song comes with a strong creative team behind it. Here is the full lineup:

• Mirna Radulović – “OMAJA”
  Music: Mladen Stojanović
  Lyrics: Bojana Vunturišević, Đorđe Živadinović Grgur

• Zona – “Čairi”
  Music & Lyrics: Tijana Trivić

• Anabela Mitić – “Trampolina”
  Music: Božidar Ristić, Pavle Kovačević
  Lyrics: Božidar Ristić, Pavle Kovačević

• Iva Grujin – “Otkrivam sebe” (Discovering Myself)
  Music: Nemanja Antonić, Nikola Lazić
  Lyrics: Nikola Lazić, Iva Grujin

• LU-KA – “Veruj” (Believe)
  Music: Tamara Popović – tam, Andrija Gavrilović – A.N.D.R.
  Lyrics: Tamara Popović – tam

• Kosmos trip – “Sve je u redu” (Everything Is Okay)
  Music: Luka Maksimović, Pavle Đurić
  Lyrics: Luka Maksimović

• Makao bend – “Daj nam svet” (Give Us the World)
  Music: Nikola Knežević
  Lyrics: Nikola Knežević, Imad El-Aoudeh

• Lores – “Unseen”
  Music & Lyrics: Ruben Papian

• Harem Girls – “Bom Bom”
  Music: Nemanja Antonić
  Lyrics: Nemanja Antonić, Aleksandar Dilan, Miljan Stojanović Nikolovski

• Jack Lupino – “Adrenalin”
  Music: Nebojša Ćulafić, Daniel Ćulafić
  Lyrics: Daniel Ćulafić, Nebojša Ćulafić

• Zejna – “Jugoslavija” (Yugoslavia)
  Music: Zejna Murkić, Marko Dražnjak
  Lyrics: Zejna Murkić, Marko Dražnjak

• Milica Burazer – “Svima vama treba mama” (All of You Need a Mother)
  Music: YANX, Ljuba Stojanović, Mladen Stojanović
  Lyrics: YANX

• Manivi – “Svaki dan” (Every Day)
  Music & Lyrics: Ivana Vukmirović Manivi

• Sanja Aleksić – “Ko me proba” (Who Tests Me)
  Music: Dušan Alagić
  Lyrics: Radovan Dikanović

• Lavina – “Kraj mene” (Next to Me)
  Music: Lavina
  Lyrics: Lavina, Ivana Jegdić

• Ana Mašulović – “Zavoli me” (Love Me)
  Music: Dušan Alagić
  Lyrics: Radovan Dikanović

• Brat Pelin – “Fräulein”
  Music & Lyrics: Stefan Papić

• Geminni – “Metar sreće” (Meter of Happiness)
  Music & Lyrics: Nemanja Erić, Nataša Erić

• Đurđica Gojković – “Moma mala”
  Music: Aleksa Petrović
  Lyrics: Pavle Petrović

• YANX – “Srušio si sve” (You Destroyed Everything)
  Music & Lyrics: YANX

• Aleksandar Radojević – “Sudbina” (Destiny)
  Music: Aleksandar Radojević, Andreas Björkman, Adriana Pupavac
  Lyrics: Aleksandar Radojević, Adriana Pupavac

• Eegor – “Klaber”
  Music & Lyrics: Igor Mišković

• Aleksandra Sekulić – “Kule” (Towers)
  Music & Lyrics: Slavko Milovanović

• Avgust – “Jabuka” (Apple)
  Music & Lyrics: Avgust

A February spectacle awaits

Pesma za Evroviziju 2026 will follow the established format: two semi-finals followed by a grand final. The event is scheduled for late February and will be broadcast live from the RTS studios.

Fans will be able to watch the festival not only on TV and radio, but also on digital platforms such as RTS Planeta, RTS Zvuk, and the official YouTube channel.

The winner of the fifth edition of PZE will earn the honor of representing Serbia at the 70th anniversary Eurovision Song Contest in Vienna in May.

This national selection carries special weight, as Serbia failed to qualify for the Eurovision final in 2025 for the first time since 2017. Princ, last year’s representative with the song “Mila”, finished 14th in the second semi-final with 28 points.

With 24 fresh contenders and a clear desire to return to the Eurovision stage in full force, fans across Serbia eagerly await the end of February — when the successor to Princ will finally be revealed.

Winner of PZE 2025

]]> https://www.evropesma.org/2025/12/serbia-is-choosing-for-vienna-the-full-lineup-of-pesma-za-evroviziju-2026-is-officially-revealed/feed/ 0 https://www.evropesma.org/2025/11/sve-ili-nista-okeani-stoperka-top-10-serbian-results-at-the-ogae-song-contest/ https://www.evropesma.org/2025/11/sve-ili-nista-okeani-stoperka-top-10-serbian-results-at-the-ogae-song-contest/#comments Sat, 22 Nov 2025 09:48:14 +0000 http://www.evropesma.org/?p=30633 Although the OGAE Song Contest might not be a competition followed by the wider public, it holds a special significance among Eurovision fans. The contest has been held continuously since 1986, and every OGAE network member country gets the opportunity to present its biggest hit of the year — a song that wasn’t at Eurovision, but is strong enough to „stand shoulder to shoulder“ with the best from Europe.

For Serbia, this competition has become a kind of musical diary of the domestic scene over time: every year, we choose something that best represents the sound of the moment, whether it’s emotional ballads, modern pop hits, radio megahits, or songs that have already conquered the region.

While we are still awaiting our first victory, our representatives have managed to shine. Some songs finished unexpectedly high and became darlings of European fans; others are remembered for the strength of the performer, the quality of production, or a specific musical aesthetic recognized only by the OGAE audience.

Looking back — through over twenty-five years of participation — it is clear that Serbia has had its striking moments and that, when it sends the right mix of quality and popularity, it can compete even with the biggest names.

Serbia’s Golden Age at the OGAE Song Contest is certainly the period from 1999 to 2015, when in just eight editions, we finished in the upper half of the table six times, including as many as five entries into the TOP 10 — in 1999, 2008, 2009, 2013, and 2015. This was a time when the domestic pop scene was particularly strong, and Serbian performers brought a recognizable sound that did very well with the OGAE audience across Europe.

In this text, we bring you the TOP 10 best Serbian placements at the OGAE Song Contest, ranked exclusively by the final position on the scoreboard.

From the spectacular debut in 1999, through modern hits that entered European charts, to the most recent successes — this is the list that best shows how Serbia sounded through the years in the eyes (and ears) of the Eurovision audience.

10. „Stoperka“ – Goca Tržan (2000) – 15th place

At the beginning of the new millennium, Goca Tržan brought a fresh, modern pop sound with the song „Stoperka“ (Hitchhiker). At the time, the domestic scene was just starting to open up to more contemporary productions, so the song was a real refreshment. Although the result was not among the highest, Goca’s charisma and the song’s radio appeal left a strong mark.

Fifteenth place represents a decent result for the early years of participation, when Serbia still lacked a stable identity in the OGAE competition.

„Stoperka“ today has an almost cult status among OGAE community veterans, as one of the songs that signaled the modern direction of Serbian pop production.

Goca Tržan – „Stoperka“

9. „Ona nosi Pradu“ – Milica Pavlović (2025) – 14th place

In 2025, Milica Pavlović brought a contemporary pop sound that already dominated regional charts. „Ona nosi Pradu“ (She Wears Prada) is an energetic, modern, and maximally radio-friendly song, with Milica’s recognizable visual identity further boosting attention.

Fourteenth place represents an encouraging step forward compared to previous years, and the song showed that Serbia is once again finding a sound that resonates with the European audience. Many fans consider this the start of a stronger Serbian comeback to the OGAE scene.

Interestingly, this is also Serbia’s best result of the last decade, purely in terms of placement.

Milica Pavlović – „Ona nosi Pradu“

8. „Čuvaj moje srce“ – Aleksandra Radović (2012) – 14th place

Aleksandra Radović brought one of the most emotional ballads Serbia has ever sent. „Čuvaj moje srce“ (Guard My Heart) stood out for its exceptional vocal performance, clearly defined melody, and a personal, almost confessional atmosphere. The song was a favorite among the ballad lovers segment of the OGAE audience.

Fourteenth place might not sound spectacular, but it is considered a solid result for a ballad that was less commercial than most of the competition that year.

Aleksandra’s interpretation remains remembered as one of the most vocally high-quality entries sent by Serbia.

Aleksandra Radović – „Čuvaj moje srce“

7. „Perje“ – Milan Stanković (2011) – 12th place

Milan Stanković was already known for his unique aesthetic, and „Perje“ (Feathers) continued that story in a more modern, futuristic direction. The song represented a departure from traditional Balkan pop and flirted with the electro-pop genre that was becoming increasingly popular in those years.

Twelfth place was a very solid result and an indicator that the audience appreciates Milan as an artist who brings something different and authentic.

„Perje“ is still considered one of his most identity-driven singles, and the OGAE audience often cites it as an example of a song that could have gone even higher.

Milan Stanković – „Perje“

6. „Ime moje“ – Jelena Tomašević (2015) – 9th place

Jelena’s second entry into the TOP 10 came with the song „Ime moje“ (My Name), which brings a recognizable Balkan pop sensibility in a modern, urban production.

The song is filled with emotion, and Jelena’s interpretation carries that specific dose of pathos that makes her loved by audiences across Europe.

Ninth place represents a stable success, especially in a year that had many strong competitors.

Interestingly, Jelena is the only domestic female artist with two TOP 10 results, which puts her at the very top of all-time Serbian OGAE favorites.

Jelena Tomašević – „Ime moje“

5. „I da mogu“ – Emina Jahović (2013) – 9th place

„I da mogu“ (If I Could) was one of the most modern songs Serbia sent to the OGAE Song Contest during the 2010s.

Emina Jahović was intensively working on her international career during that period, which was reflected in the production of this song — a pure pop sound, a clear melody, and a soulful, yet radio-friendly chorus.

Ninth place fully justifies the reputation Emina had among fans across the Balkans and Turkey.

The song was well-rated in the pre-favorites that year, and the result is still considered one of the fairest for Serbia, given the breadth of her international appeal.

Emina Jahović – „I da mogu“

4. „Aspirin“ – Seka Aleksić (2008) – 9th place

Seka Aleksić was the first Serbian artist to bring the pop-folk sound into the TOP 10. „Aspirin“ was a regional mega-hit at the time, and its recognizable rhythm and energy also won over OGAE members across Europe.

The song represented an ideal combination of commercial sound, a catchy chorus, and production that sounded contemporary for its time.

Ninth place was a real surprise — a positive one — as many expected a weaker result due to genre barriers. Instead, „Aspirin“ showed that the OGAE scene is more open than thought, and that the audience rewards a quality hit regardless of the genre.

Seka Aleksić – „Aspirin“

3. „Ludak kao ja“ – Željko Joksimović (2014) – 8th place

Željko Joksimović was already a European music brand, which the OGAE audience recognized even outside of Eurovision. „Ludak kao ja“ (A Fool Like Me) brought an urban pop sound that leaned into the trends of the time, while retaining Željko’s characteristic emotional style. The song had strong production, mature lyrics, and wide recognition in the region.

Eighth place was a great success at the time, as the competition that year was characterized by an extremely strong lineup.

Željko’s song is still one of those that fans often mention when talking about Serbian favorites that could have achieved more, thanks to its commerciality and recognizability.

Željko Joksimović – „Ludak kao ja“

2. „Okeani“ – Jelena Tomašević (2009) – 7th place

Following her success at Eurovision 2008, Jelena Tomašević proved once again a year later that she belongs to the top of the domestic music scene. „Okeani“ (Oceans) was the perfect combination of elegance, emotion, and modern pop arrangement, which perfectly fit the taste of the OGAE audience.

The song delivered the atmosphere of a major radio hit, but with Jelena’s recognizable dose of drama and vocal power.

Seventh place remains a stable benchmark against which all subsequent Serbian results are often compared. This success cemented Jelena’s status as one of the most successful Serbian female artists in the OGAE competition, and the song is still frequently found on fan playlists.

Jelena Tomašević – „Okeani“

1. „Sve ili ništa“ – Svetlana Ceca Slavković (1999) – 3rd place

Serbia entered the OGAE Song Contest in a big way, with a song that immediately showed the potential of the domestic scene. „Sve ili ništa“ (All or Nothing) was modern and emotional pop, shaped to sound international at a time when participating countries mostly sent ballads.

The entire project looked extremely professional for the late nineties, which contributed to a strong impression on the OGAE audience.

Third place remained unreachable for more than two decades, and the song is now considered one of the most successful Serbian musical releases ever sent to the competition. Many fans still call this participation „historical“ because of the strong debut and the clear identity that Serbia showed from the very first step.

Svetlana Ceca Slavković – „Sve ili ništa“

Will Serbia achieve a historic victory?

Looking at this list, it is clear that Serbia has managed to make recognizable and impactful choices for the OGAE Song Contest over the years. From the brilliant debut in the late nineties, through stable results during the „golden period“ between 2008 and 2015, domestic artists have demonstrated the diversity and quality of our music scene year after year.

Although we are still waiting for our first victory, Serbia’s biggest hits have managed to reach audiences across Europe, winning solid placements and becoming fan favorites.

This Top 10 list shows that Serbia’s greatest successes in this competition have mostly come from a combination of strong vocals, emotional interpretation, and songs that have already conquered the domestic market. It is also interesting that both newcomers and established stars are among the best, which speaks to the breadth of Serbian music production that resonates well with the OGAE audience.

Serbia continues to participate every year, and with an increasingly strong domestic scene, the question remains open — is victory perhaps closer than we think?

A detailed history of this contest, all past winners, as well as the full history and results of all OGAE Serbia representatives can be found HERE.

After OGAE Italy celebrated last year with Annalisa’s song „Euforia“, the host of this year’s competition, held in Turin, took the trophy once again!

This time, the convincing triumph with 279 points was achieved by Damiano David (the former vocalist of the winning band Måneskin) with his song „Born With a Broken Heart“. Damiano thus crowned the Italian domination, securing their second consecutive victory.

OGAE Finland, represented by BESS & Käärijä with the song „Kaistaa“, took second place with 179 points, while the Top 3 was rounded out by OGAE Australia, represented by pop icon Kylie Minogue with the track „Lights Camera Action“ scoring 143 points.

Winner of OGAE Song Contest 2025

A total of 29 OGAE clubs participated in the 2025 competition, a significant increase from the previous year. This confirms the growing importance of this contest within the Eurovision fan community.

Among the clubs that joined the competition this year, either as debutants or returnees, were OGAE clubs from Albania, Ireland, Ukraine, Romania, Estonia, and Lithuania, while the only absence was the representative from OGAE Bulgaria.

As every year, representatives from the former Yugoslav republics attracted special attention. In addition to OGAE Serbia, OGAE clubs from Slovenia, North Macedonia, and Croatia also participated in the OGAE Song Contest 2025.

The biggest regional success was achieved by OGAE Croatia, whose representative Baby Lasagna with the song „Biggie Boom Boom“ scored a fantastic 4th place with 140 points.

Other participants from the region included: Arilena Ara for OGAE Albania with the song „Weightless,“ finishing in 15th place with 31 points; Raiven for OGAE Slovenia with the song „Hedonista,“ taking 23rd place with 11 points; and Lozano for OGAE North Macedonia with the song „Barijera“ – 28th place with only 2 points, one of which was received from Serbia.

OGAE Srbija – Milica Pavlović secured the left side of the scoreboard

OGAE Serbia was represented this year by the popular Milica Pavlović with the hit „Ona nosi Pradu“ (She Wears Prada). In a very strong field of 29 countries, Milica finished the competition in a solid 14th place with 44 points.

This is OGAE Serbia’s best result in the last ten years, since the 2015 competition!

For Eurovision fans in Serbia, it is interesting to note that OGAE Serbia selects its representative for the OGAE Song Contest at an internal competition traditionally held between late June and mid-July. You can view the results of this year’s internal competition HERE.

Predstavnica OGAE Srbije 

Who gave points to the OGAE Serbia representative?

The OGAE Serbia representative won 44 points, receiving votes from 8 out of the 30 OGAE clubs that were eligible to vote in this year’s edition. Our representative did not receive any douze points.

POINTS	OGAE CLUB
10	Germany
8	Croatia
6	Andorra  Denmark
5	Finland  Hungary
3	France
1	Poland

How did OGAE Serbia vote?

The votes from the Serbian OGAE club were announced by this year’s Eurovision representative for Serbia, Princ. The traditional 12 points went to neighboring Croatia and Baby Lasagna.

The members of the OGAE club from Serbia voted as follows:

1 point for  North Macedonia

2 points for  Albania

3 points for  Romania

4 points for  Spain

5 points for  Ukraine

6 points for  Czechia

7 points for  Finland

8 points for  Sweden

10 points for  Italy

12 points for  Croatia

With this, we conclude our highly followed series, „PZE ’26 Public Wishes,“ through which we analyzed the 16 most sought-after and controversial names on the domestic scene over the past few weeks. From experienced Eurovision returnees like Konstrakta and Sanja Vučić, to the public’s eternal wishes Jelena Karleuša and Milica Pavlović, our series sparked a flurry of comments and votes.

Now is the time to publish the final and complete ranking based on your votes, providing the most objective insight into who the fans truly want to see on the PZE stage.

Methodology and complete poll results

To obtain the most realistic measure of support, we did not just count the „Yes“ votes; we applied a weighted analysis. Votes were valued so that „Yes“ carried full weight (1 point), „Maybe“ half (0.5 points), while the „No“ vote carried zero support. The Weighted Support Percentage (WSP) indicates how strong the support for an artist is relative to their total number of votes.

This is the final table with the voting results for all 16 names:

* Click on the artist’s name to learn everything about their potential for PZE ’26

Analysis of the TOP 3 – authenticity defeats hype and vocal class

The poll results clearly show that the audience trusts artists who offer originality, artistic identity, and a recognizable stage presence. This is why the TOP 3 is dominated by names that bring something that cannot be bought—authenticity, character, and a distinctive signature.

1. Zorja – 84.1% support – the voice of the fans is clear

Zorja is the absolute winner of the series, and not by a small margin—her result is one of the most convincing in the history of PZE fan polls.

A massive 84.1% support, coupled with an extremely low number of „No“ votes, shows a rare consensus among the Eurovision audience. Fans clearly recognize what Zorja has built over the years: an authentic identity, top-tier vocals, a consistent connection with the Eurovision community, and the skill to merge tradition and modernity in a way few others achieve so successfully.

The public doesn’t just want her return—they want her grand, powerful, solo Eurovision era, one where Zorja would shine as one of Serbia’s most serious contenders in the last decade.

Zorja has stated multiple times that she plans to submit an entry for PZE – but has yet to specify if it will be this year or a future season.

Zorja’s performance at PZE 24

2. Harem Girls – 76.2% support – the new energy fans demand

The Harem Girls, a drag group, take second place, having clearly won the audience over with their freshness and original aesthetic. With 76.2% support, it is clear that fans want a new page in the history of Serbian representatives—modern performers who bring bold aesthetics, viral energy, and a contemporary approach to performance.

Their second-place finish at PZE 2025 further solidified their position as one of the most interesting and promising projects in Serbia. Their act has already garnered attention from European fans, giving them a real foundation to represent Serbia one day.

Furthermore, it has been confirmed that they submitted a song for PZE 2026, which clearly boosted fan excitement and anticipation. Their result suggests the audience is ready for risk, innovation, and a completely new kind of drag performance that would have huge potential on the European stage.

Harem Girls’ performance at PZE 25

3. Konstrakta – 73.0% support – art that leaves a mark

In third place, with 73% support, is Konstrakta—an artist whose approach to music is already recognized by the audience as unique and worthy of attention. Her results clearly confirm that viewers are drawn to originality, thoughtfulness, artistic message, and a recognizable aesthetic.

Konstrakta has already left a deep impression on Europe with her unusual, intelligent, and memorable performance, and the public still believes she has much to offer, especially if she decides to re-enter the competition with a clear artistic vision. Konstrakta has previously discussed the idea of her third PZE entry, emphasizing that she already has a concept ready.

However, just two days ago, she announced on her Instagram profile that she did not submit a song for this year, which is surprising given the immense support she continues to enjoy.

Konstrakta’s performance at PZE 24

Long-awaited stars are not at the top

Although they are considered the biggest stars of the current scene, some artists did not make it to the very top of the public’s wish list. The results show that broad popularity is not the decisive factor when it comes to PZE support.

Milica Pavlović took seventh place, with a solid, but not overly convincing, level of support. Although she is one of the most popular singers in the country, a portion of the audience clearly believes that PZE requires a different kind of song and concept than those she currently promotes.

Tea Tairović finished in eighth place, despite dominating charts and concert halls. The high number of „Maybe“ votes indicates that the audience is divided on whether her genre is the right choice for the Eurovision stage.

Saša Kovačević surprised with a modest result. One of the region’s strongest pop vocalists received relatively little support, suggesting that the audience prefers artists who have already shown interest in the competitive format.

Jelena Karleuša, despite her status as one of the most recognizable figures on the Balkan scene, only took 14th place. Her sharp rhetoric, political engagement, and social media messaging clearly affect the perception of some segments of the audience, leading to a high number of negative votes. The result clearly shows that many currently do not see JK as a desired representative for Serbia at Eurovision.

Overall, the results show that name recognition and hits are not enough—the audience clearly rewards artists who have a clear Eurovision vision, experience, and a more direct connection with the PZE audience.

The last three spots – a clear message from the audience

At the very bottom of the table are three names that attracted a lot of attention, but not the kind they were hoping for. The audience sent a very clear message—name recognition alone is insufficient, and expectations are higher than ever.

Princ, who represented Serbia at Eurovision this year, found himself among the last. It is evident that failing to qualify for the final left a negative impression on a segment of the audience, which is now reflected in the perception of his potential return to PZE. Nevertheless, Princ has undeniable qualities—strong vocals, stage energy, and a specific identity. A second chance is always possible, but he needs to find a song that fully unlocks his potential. Princ, however, confirmed he did not submit a song for this year’s edition.

Maja Nikolić, a singer with a long-standing career, is also near the bottom. Although she announced that she would submit a song for PZE ’26, the audience clearly feels that her style and musical approach are not the most ideal for contemporary PZE and Eurovision. This does not mean she lacks an audience, but that her return would require a modernization of sound or a completely new artistic direction.

The third among the last is Filip Mitrović, who confirmed he submitted a song for the PZE ’26 contest. However, his placement shows that the audience did not feel his potential for the Eurovision stage was convincing enough. While talented, it seems the audience expected a stronger concept, a more original sound, or a more robust identity. This result is more of a challenge than a defeat—an opportunity to find the song that will make him stand out from the competition.

Conclusion

The poll results clearly show that the PZE audience values authenticity, stage identity, and prior Eurovision experience above all else. At the top of the list are artists who have already demonstrated they can combine high-quality vocals, memorable performances, and visual spectacle, which the audience recognizes and rewards.

Long-awaited stars with high popularity did not make it to the top, proving that popularity alone is no longer enough. Fans expect a well-conceived song, a clear stage concept, and a performance that can compete on the international stage.

The bottom rankings clearly show that neither name recognition nor past experiences guarantee support if the song, concept, and stage energy are not right. The PZE audience seeks artists who blend quality vocals, a striking performance, and a strong visual identity, and it is this combination that garners the most trust and support.

The ball is now in RTS’s court to announce how many songs were received and for the selection committee, which will choose the participants of PZE ’26.

The country, which has expressed a strong desire to join the competition for years, seems closer to a debut than ever before. Renewed discussions with the European Broadcasting Union (EBU) suggest that a historic step may no longer be a distant future.

Unlike EBU member countries from the European Broadcasting Area, Kazakhstan, as an Associate Member, requires an official invitation from the Eurovision Reference Group to participate.

In the history of the competition, this has only happened once—when the Australian broadcaster SBS was invited to compete in 2015. Australia received that exclusive invitation to mark the 60th anniversary of the competition, and it is particularly symbolic that that edition was also held in Vienna. (Read all about Australia’s participation in Eurovision HERE.)

For many Eurovision analysts, that Vienna story is crucial: the 70th anniversary now presents the perfect opportunity for the EBU, in the same city, to make a similar move and open the doors to another Associate Member, this time Kazakhstan. If Kazakhstan receives the invitation, it will become only the second country outside the geographical boundaries of Europe to officially compete at Eurovision, thereby expanding the Eurovision map to Central Asia.

What is driving the greatest optimism among fans is the fact that the jubilee, 70th Eurovision is being held precisely in Vienna, at the famous Wiener Stadthalle, on May 12, 14, and 16. For many analysts, this 70th anniversary is the ideal moment for the EBU to reopen its doors.

Key talks in London: EBU interest and support?

The Kazakh state broadcaster, Khabar Agency, an Associate Member of the EBU since 2016, has intensified its efforts to participate. The Chairman of the Management Board of Khabar Agency, Kemelbek Oishybayev, recently attended the EBU General Assembly in London, where he discussed a possible debut with EBU Director-General, Noel Curran.

Oishybayev presented strong arguments: geographical location, proven commitment and success in the Junior Eurovision Song Contest, and strengthening ties with the European Union.

Curran reportedly responded positively, noting that the matter would be discussed at the next EBU board meeting.

A long history of interest and „Junior Eurovision“ as a gateway

Kazakhstan has long shown keen interest in the Eurovision Song Contest. Since 2010, Kazakh television channels have broadcast the competition almost every year.

The first concrete steps toward participation appeared in 2015 when the Khabar Agency acquired Associate Member status of the EBU. That same year, a delegation from Kazakhstan was present at the 60th Eurovision Song Contest in Vienna, Austria, as observers.

A key moment in approaching Eurovision is certainly Kazakhstan’s participation in the Junior Eurovision Song Contest, where they were present from 2018 to 2022. Although they withdrew in 2023 and are not currently expected to return in 2025, the results they achieved at Junior Eurovision are impressive:

• 2018. – Daneliya Tuleshova – “Òzińe sen” – 6. place – 171 points
• 2019. – Yerzhan Maksim – “Armanyńnan qalma” – 2. place – 227 points
• 2020. – Karakat Bashanova – “Forever” – 2. place – 152 points
• 2021. – Alinur Khamzin and Beknur Zhanibekuly – “Ertegı älemı (Fairy World)” – 8. place – 121 points
• 2022. – David Charlin – “Jer-Ana (Mother Earth)” – 15. place – 47 points

These successes were, by all accounts, a significant factor in the arguments for joining the „main“ Eurovision, demonstrating the country’s capacity to successfully compete on the Eurovision stage.

Kazakhstan’s debut performance at the Junior Eurovision Song Contest 2018.

EBU Cautious, But Deadline Extended

The EBU remains cautious for now, with no official decisions, but it has extended the deadline for participation confirmation until mid-December, giving Kazakhstan additional hope. The final list of participating countries is usually announced much earlier, so this deadline extension of several weeks indicates that discussions with the Khabar Agency are still ongoing and options are being carefully considered.

The decision to accept a new Associate Member is not an easy one for the Eurovision Reference Group, as it raises the question of the future expansion of the competition beyond its usual borders.

If Kazakhstan receives the invitation, it will become the 32nd participating country and the only debutant at Eurovision in over a decade, thus marking a new chapter in the history of the competition.

Will the year 2026 in Vienna be the year when Kazakhstan’s long-standing Eurovision dream finally comes true? Judging by all the information, the chances have never been higher!

If Kazakhstan, like Australia before them, receives an invitation, they will use this Vienna jubilee to present themselves to the world and potentially open the door to permanent participation, thereby expanding Eurovision to a completely new cultural area in Central Asia.

Every time a new media statement, a new RTK director, or a new festival emerges, the question of whether Kosovo will appear on Europe’s biggest music stage is reignited in the region and among fans.

However, despite increasingly loud announcements in recent years, the entry of the so-called Kosovo into Eurovision is simply not possible, as European rules clearly dictate who can participate—and Kosovo does not meet them.

As information often appears on regional and international Eurovision portals, mainly from Western countries, suggesting that the so-called Kosovo will compete or should compete, we bring you detailed information on why it is not legally possible for our southern province to compete at Eurovision.

EBU rules that prevent the so-called Kosovo from participating in Eurovision

For a television broadcaster to participate in Eurovision, it must be an Active Member of the EBU (European Broadcasting Union). An Active Member can only be a public service broadcaster from a state that is a member of the ITU (International Telecommunication Union) or the Council of Europe.

RTK (Radio Televizioni i Kosovës), the public service broadcaster from the territory of the so-called Kosovo, is not an Active Member, but only an Associate Member of the EBU, which grants absolutely no right to participate in the Eurovision Song Contest.

Attempts to change this have lasted for years—a particularly important event took place in 2019 at the EBU General Assembly in Oslo.

On June 28, 2019, when a vote was held at the EBU General Assembly in Oslo on a statute amendment that would have opened the door for RTK from the territory of the so-called Kosovo to become an Active Member, the vote was conducted as a secret ballot.

Therefore, the EBU never published who voted how, nor is there a publicly available list of individual broadcasters. Only the total result is known—673 votes against, 400 for, and 113 abstentions—which led to the rejection of the proposal.

Various, often contradictory claims later appeared in the media regarding who allegedly supported the amendments (mentioning the BBC public broadcaster from the United Kingdom and Turkey’s TRT) and who was against (citing broadcasters from Greece, Cyprus, Romania, and Spain), but none of this has been officially confirmed.

Officially, the only thing known is that the proposal was rejected, and the so-called Kosovo was left without the possibility of participating in Eurovision.

Serbia, as a state that does not recognise Kosovo’s independence, clearly opposes any „back-door entry.“ Both according to current rules and the political situation, Kosovo still does not fulfil the formal conditions.

Official EBU response to our portal

In July 2024, our portal directly contacted the EBU with an official inquiry about the status of the so-called Kosovo and the possibility of RTK’s participation in Eurovision.

The EBU sent us the following response, which we translate in full:

„Participation in the Eurovision Song Contest is limited to EBU Members or specially invited Associate Members. Kosovo does not meet the criteria to be either a Member or an Associate Member of the EBU.

The EBU Statutes state that a Member must come from a country that is a member of the International Telecommunication Union (ITU) or is a member of the Council of Europe. Kosovo is neither.

The EBU helped establish the public service broadcaster of Kosovo—RTK—in 1999 and continues to work closely with RTK to safeguard public service media in Kosovo.“

This official EBU stance clearly confirms that there is no legal, statutory, or technical basis for RTK to appear at Eurovision—even in the near future.

The Kosovan festival – “Festivali i Këngës në RTK”

In 2023, RTK launched the music festival „Festivali i Këngës në RTK“, modelled after the older Albanian festival of the same name, which has been used as Albania’s national selection for Eurovision since 2003.

RTK’s idea was to create a „Eurovision format“ on its territory, presenting the festival as a long-term preparation for an eventual debut at the Eurovision Song Contest.

The organisers repeatedly stressed that the festival has „Eurovision ambitions,“ and the first editions were accompanied by media signals suggesting a desire to move closer to the EBU. During the first festival, even EBU Director-General Noel Curran appeared via video message to congratulate the launch of the event—however, this message had an exclusively ceremonial, collegial character, and was not a sign of support for Kosovan participation in Eurovision.

Despite this, RTK’s status remains unchanged. As an Associate Member of the EBU, RTK has no right to participate in Eurovision, and therefore the festival cannot be a national selection, nor does it have any weight in the Eurovision system.

Thus, „Festivali i Këngës në RTK“ has an exclusively local, symbolic, and cultural function—it can promote local performers, but it does not and cannot have any official connection with the Eurovision Song Contest, until the legal framework and international status change.

Cooperation with Albania

Due to the impossibility of RTK from the territory of the so-called Kosovo to participate in Eurovision, intensive musical cooperation with Albania has developed over the years. Kosovan artists very often perform at Festivali i Këngës, the Albanian national selection for the Eurovision Song Contest, which has represented their only realistic path to the Eurovision stage.

Over the years, several performers from the territory of the so-called Kosovo have achieved notable results, and some have even represented Albania at Eurovision.

The most famous example is Rona Nishliu, originally from Kosovska Mitrovica, who took 5th place in 2012, bringing one of Albania’s best placements in the history of the competition.

There is also Ermal Meta, a musician originally from the territory of the so-called Kosovo, who represented Italy in 2018 after a significant career in that country.

Also, Albania’s representative at Eurovision 2023 is originally from the territory of the so-called Kosovo, from Peć, which shows that Kosovan performers still have a significant impact on the Albanian Eurovision scene.

In this way, Kosovan musicians are enabled to indirectly appear at Eurovision, but exclusively through the Albanian public service broadcaster RTSH.

Albania’s performance at the Eurovision Song Contest 2012 in Baku (representative originally from Kosovo and Metohija)

Chronology of so-called Kosovo’s attempts to enter Eurovision (2008–2025)

First attempts and the year 2008

• Following the declaration of independence in 2008, RTK immediately expressed the desire for Kosovo to debut at Eurovision.
• That year, there was even speculation in the media that Kosovo would debut as early as the 2009 Eurovision Song Contest in Moscow, but it quickly became apparent that this was not possible because RTK did not have Active EBU Member status.
• Instead, RTK broadcast the Eurovision Song Contest for the Kosovan audience, but without the right to participate.

The 2010–2014 period – unsuccessful attempts

• During this period, Kosovo periodically announced „imminent membership“ in the EBU.
• In 2013 and 2014, news emerged that RTK planned to join the EBU, but there were no formal advances.
• RTK continued to broadcast Eurovision, which maintained public interest.

Junior Eurovision Song Contest 2014

• RTK negotiated for Kosovo to debut at the 2014 Junior Eurovision Song Contest in Valletta, but nothing came of it because the rules for the Junior Eurovision Song Contest follow the same membership requirements as the „main“ Eurovision—only Active EBU Members have the right to participate.
• Kosovo faced the same obstacle there as for the „main“ Eurovision.

Activities After 2015

• In 2016, RTK obtained Associate Member status of the EBU. This means that it can participate in working groups and programmes, but has no voting rights or the right to participate in Eurovision.
• RTK sent its teams to Eurovision, Junior Eurovision, and other EBU events multiple times for training and contacts.

The key moment – 2019 and the vote in Oslo

• At the 82nd EBU General Assembly (Oslo, June 2019), a statute amendment was proposed to delete the requirement for ITU membership.
• This would have opened the door for Kosovo to become a full member.
• The outcome: the proposal was rejected (400 for, 673 against, 113 abstentions).
• Kosovo remained an Associate Member without the right to participate.

From 2020 to today

• RTK continues to express ambitions for Eurovision. Every year, speculation appears in the media that Kosovo could debut, but there are no formal changes.
• It is occasionally mentioned that Kosovo could participate „exceptionally“ if the EBU finds a special model (similar to Australia’s invitation in 2015), but the EBU has never confirmed this.
• In 2023, the „Festivali i Këngës në RTK“ was launched, conceived after the pattern of the older Albanian festival of the same name, which has been used as Albania’s national selection for Eurovision since 2003.
• In 2024, the story of a possible debut was circulating again in Kosovan media, but still without concrete decisions.
• The current status of Kosovo is that RTK is an Associate Member, has no right to vote or send a representative to Eurovision, and until Kosovo becomes a member of the ITU or the EBU statute is changed, the status remains the same.