At this time of posting, the 2026 Eurovision Song Contest has already wrapped up in Vienna, with the 25 grand finalists all having performed for your votes. With that being said, I have to extend my congratulations to first-time winners Bulgaria, as DARA brought home the victory with the song “Bangaranga” from CD-1's review, after a hotly contested, down to the wire score with second place Israel, which again, draws more controversy than any song is worth. They are the reason five nations pulled out of the contest this year, yet they continue to be allowed in. Russia takes flak...I call double standards for a supposedly non-political show. But I digress, too much red tape. Redder than Palestinian blood. Can I digress twice in a row? I do. 

Politics aside, it’s only fair that I give CD-2 and the remaining seventeen artists fair representation, and share my thoughts on the good, the bad, and the UK. Let’s at least TRY to stay united by music... as we continue our Eurovision journey, covering Vienna 2026... 

ITALY: SAL DA VINCI - "PER SEMPRE SI"
Salvatore Michael Sorrentino, who isn't in-fact Leonardo's long-lost great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great grandson, was born in 1969 in New York, who as this years Eurovision Grandpa (Being the oldest competitor) is a long-time singer, song writer and actor. He's even hosted "Pazzi Di Pizza" on Food Network. Is this a recipe for success or am I going to have to go all Gordon Ramsay on his asparagus? I mean I like pineapple on pizza, but this guy uses durian and extra virgin Castrol oil. It's got string elements layered under some funky pop aesthetics, but, less "Uptown Funk" and more Little Italy District Pimp: The Musical. Imagine being sat in a struggling Frankie & Bennies cutting into a cold calzone...this is playing in the background. The song translates as "Forever Yes"...mama mia I hope to god not... [3]

LATVIA: ATVARA - "ENA"
Liene Atvara Sturmane was enrolled into music school by her mother, where she has studied conducting, singing and vocalisation in jazz and pop, which begs the question; what is the excuse for this? It translates as "In The Shade"...but she's hardly a hardy geranium. A slow, harmonic slab of a dreary ballad; it's got some classically inspired operatic high notes, barely lifting an otherwise hushed, heavisome offering. My Latvian score is low...low but fair. [2]

LITHUANIA: LION CECCAH - "SOLO QUIRO MAS"
Tomas Alencikas is what happens when a member of the Blue Man Group gets Lithuanian poisoning. I was afraid if he lost he'd call on Galactus but luckily he surfed his silver-ass into 22nd place. (I wonder who scored less?). Apparently he has a masters and bachelor's degree in music theatre, as well as being big in Lithuania's drag scene, which is funny, because ultimately this song is a bit of a drag, I don't care how you dress it up. It's got soft harmonic vocal sections leading into electronic pop, and the rhythmic beats of the chorus are like a musical representation of neoclassical Rococo stylistics. It means "I only want more"...to which I say, I really don't. [2]

LUXEMBOURG: EVA MARIJA - "MOTHER NATURE"
Without wanting to call her a velociraptor; clever girl. Speaking five languages, she studied song-writing at the Institute Of Contemporary Music Performance in London, which on paper sounds like either FAT BOY SLIM's "Praise You" for the privileged, or upper-class grime to me? In actual fact, it's far less entertaining. In my head now I want to hear Chris Eubank spitting bars...lyrically beat boxing if you will. Instead we've got this innocently pleasant song of self-awareness, self-discovery, personal growth, healing and reconnection. A percussive track with ample folk-pop elements, it channels the likes of RAE MORRIS and FLORENCE WELCH. [6]

MALTA: AIDAN - "BELLA"
Aidan Cassar has been a previous Junior AND Eurovision competitor, not without controversy faced for entering a non-eligible song at one point. Bad boy? Nah he just dresses like Brokeback Malta. Here we have an acoustic-driven, soft jazz, orchestral romantic offering. It's honestly beautifully composed in a, imagine Giacomo Gianniotti was James Bond kind of way. One Bajtra Spritz, not shaken, not stirred, but sensually whipped with the finest Bizzilla topped with a Loquat. Very croon-heavy...imagine Moonraker meets "Moon River" under a full moon while someone moons at you across the bank. I'm calling you out random man in Paris on holiday with my grandparents...we have you and your arse on photo. True story. [4]

MOLDOVA: SATOSHI - "VIVA MOLDOVA"
Vlad Sabajuc here blends traditional pan-pipes and Eastern instrumentation, with modern pop and rap production, fuelled by an almost drum & bass rhythmic underlay, coupled with clap-along percussion. It's lively and up-tempo, with a melodic hook-rich chorus but the general rapped verses are quite monotone in delivery, which is jarring for how genuinely fun this track is. Long live Moldova? I mean it DOES have underground wine cities apparently? 12 points purely for dystopian alcoholics! 1.5 million bottles? Give me a week...[5]

MONTENEGRO: TAMARA ZIVKOVIC - "NOVA ZORA"
A vocalist AND a flautist? You expect SOME level of whimsy. Alas, we get another dance-pop anthem that I expect to get HEAVY remix treatment in European DJ circles. Church-esque gang vocals accompanied by ringing bells, it's got an underlying holy feel to it bridging cultural and generational gaps. It translates as "New Dawn" and I can imagine watching the Sun rise following an all night rave at Budva. Take your own pills, a fiver a bottle of water and sheep tipping is easier than cows. You'll have a decent weekend, trust me, I'm a Welshman. [5]

NORWAY: JONAS LOVV - "YA YA YA"
GUITARS! A welcome dose of indie-rock this is, honestly. If you're a fan of say, THE SHERLOCKS, or for a better example, previous Eurovision winners MANESKIN, then you'll get a kick out of this. It's up-beat, it's got a real sense of swagger, some fantastic groove and bluesy rhythm, coupled with an easily sing-along structure...this is simplistic, fantastic guitar pop. It's such a fun track, honestly, I LOVV this ya?! [8]

POLAND: ALICJA - "PRAY"
An instant in-your-face frolic into the inclusion of church bells and gospel gubbins means we're equal parts preachy and performative. I personally don't care for it conceptually, but I won't deny Alicja here has a wonderfully commanding vocal presence; the lady can sing. It does descend into this hip-hop infused urban-sermon which takes away any class the track started with, though it does build into an entertaining crescendo. A metaphor for her own growth, self belief and hope in the form of manifestations, but not even Sheldon's mother gives this 12 points. [3]

PORTUGAL: BANDIDOS DO CANTE - "ROSA"
Imagine a barber-shop quintet without the joviality. The vocal harmony is on point I'll give them that, and the gentle acoustic tones compliment the delicate string sections wonderfully...I won't lie it's a beautifully composed little track, however...it's a frustratingly boring track. Innocent, pleasant and quaint in all of the right ways, but entertaining in all the wrong ones. [2]

ROMANIA: ALEXANDRA CAPITANESCU - "CHOKE ME"
Winner of season 11 of The Voice...you'd think on face value, oh another one of them...we get a lot of entrants from variations of talent shows, BUT, Alexandra is a little different. She's already an under-graduate and aiming for her masters degree in medical physics, all the while delivering arguably the best hard-rock song of this years entire competition. The lady clearly thrives on pressure and performance. It's gritty, with commanding percussion, subtle yet sublime operatic influences, blending artists like HALESTORM with more prominent European symphonic metal peers. Being a rock entry aside, it's not without it's controversies, as it was flagged for romanticising sexual violence and erotic asphyxiation. Bunch of vanilla prudes on these juries I swear...SUFOCA-MA MAMI! [9]

SAN MARINO: SENHIT - "SUPERSTAR"
Senhit Zadik Zadik is a well-established singer in the Italian music scene. Having performed around Europe in theatre productions of BIG shows like "Fame" and "The Lion King", as well as having four albums and an EP under her belt, it makes sense that this is her third time officially representing San Marino. It would have been four but, Covid was a thing. Automatic nil points from lock-down but that's not her fault. Nevertheless she is here, aiming to do better than their football team. It's a fun, bouncy, funk-driven dance-pop track that has subtle elements of DAFT PUNK in places, and honestly its the track JAMELIA wishes she had written for her. It's energetic, bassy in groovy way, and most importantly it's catchy...hell even BOY GEORGE lends his vocals to this, proving that Eurovision is THE culture club. Nothing wrong with this at all. [7]

SERBIA: LAVINA - "KRAJ MENE"
Their name translates as avalanche, which on face value alone prepares you for a force of nature; pummelling and relentless, and as this years most prominently metal performance, it fits. They formed in 2020 and with just the one album, "Odyssey" under their belt, they are still finding their feet, but have toured and are getting their reps in. In terms of stage presence, it's very Anne Rice, and there is a fine line between Lavina and Lestat to be truthful, but I'm all for it. It gives LORD OF THE LOST vibes, bridging hushed, brooding vocals with more intense, physically demanding percussion driven metal. It's passionate, pained and important for diversity. Is Europe as accepting? It's twenty years since LORDI won...who knows...Count Von Count counts the points....one ha ha ha...two ha ha ha...three....it's going to be a long night...[7]

SWEDEN: FELICIA - "MY SYSTEM"
Felicia Agneta Eriksson...has been compared to the likes of CASCADA. Early chav/townie dance vibes, and to be fair you could easily expect this blaring from some Vauxhall Corsa driven wanker's Halfords sound-system, in the Summer, probably trying to sell substances to or if not groom kids. You think you are cool, but you are not. Generic as fuck dance pop with nasally vocals. My system? 404 error, point not found. Ministry Of Sounds like getting fingered in an alley to DJ Sammy on an old Sony Ericsson wearing knock-off Uggs to a paedophile. Because you love him. This is the soundtrack to toxic teenage girl energy. The Lambrini is probably both warm and shoplifted. [5]

SWITZERLAND: VERONICA FUSARO - "ALICE"
SMOKIE once asked, who the fuck is Alice? Well, being from 1977 makes it a cold case which I am now officially reopening with the Bundespolizei to work out if there is any connection here. And judging by the music video, it's a valid question to be honest. It tackles identity within the LGBTQ+A on a postcard please community, focusing on secrecy and longing. The setting of a wedding day hammers home the message of should've would've could've which I believe emphasises the song, but without that visual it does negate a sense of impact. Though I appreciate the fact it tackles issues which even in 2026 many young people are still afraid of for fear of judgement. It's a powerful track in a societal sense, a safe space for women, but musically it's a plodding, indie-rock number that blends latter day ARCTIC MONKEYS with say, THE PRETTY RECKLESS and a subtle doo-wop delivery. Switzerland...playing it safe while being ever so slightly risqué...[6]

UKRAINE: LELEKA - "RIDNYM"
Viktoriia Leleka has bachelors degrees in performing arts, jazz vocals and composition...and to be fair it shows. She co-wrote this song and it's an incredibly emotive, powerful ballad of adversity, progression and defiance which is apropos to the STILL ongoing situation in Ukraine. It means "To The Dear Ones" and the Disney-esque ballad includes heartstrings in its instrumentation. Honestly it's a beautiful track blending orchestral pop with traditionalism, acoustics and soft, sombre vocals.....including THAT note. Her vocal control, escalating in pitch, the operatic crescendo is absolutely perfect and as a SONG contest, Leleka has more than earned her flowers here. This is simply stunning. [8]

UNITED KINGDOM: LOOK MUM NO COMPUTER - "EINS, ZWEI, DREI"
Over the years, as a music review blog space. you may have noticed certain levels of cynicism, sarcasm and patterns of arguably biased content. This is no different. The UK is part of the Big 4 which means we don't have to qualify because of financial and other reasons. Does it mean we deserve to be here? Absolutely not. I mean on face value we've got an energetic, up-beat performance with audience interaction, the techno-pop aesthetic is catchy and in typical British humour it is depreciating, self-aware and sadly self-harming. It tries to be inclusive and immersive but comes across as if not offensive but patronising on a grand stage. I can see where its aiming for forgiveness, it's like look Europe, we love and appreciate you, it's a very post-Brexit song, and it's very on the nose AND tongue in cheek, delivered with the cheeky charm that can only be described as "Park Life" for those who like a bump and a key in a pub toilet. A paracetamol to quench the pain? Mate you want to be on stronger stuff than that. Sam Bartle is a talented musician and engineer...but look mum, no points. [2]

70 years ago, mainstream music was dominated by the birth and growth of rock ‘n’ roll, blues, and country. ELVIS PRESLEY was taking over the world alongside the likes of CHUCK BERRY and LITTLE RICHARD. Old school pop-crooners like FRANK SINATRA and DORIS DAY were household names, while JOHNNY CASH was making country cool. But what about Europe? This was pre-THE BEATLES who, ultimately changed everything...but aside from CLIFF RICHARD, EDITH PIAF and even DOMENICO MODUNGO...European and UK artists just weren’t on that level. Everything was niche, regionally nuanced, with vastly different markets and audiences. Something needed to change...something fresh and new needed to happen; to ignite a spark in the European music industry...and so in 1956...THE EUROVISION SONG CONTEST was born. 

In an aim to bring Europe together post-war, encouraging cultural cooperation, to share cultural values and entertainment, and also to experiment with large scale TV broadcasting, seven nations came together at Switzerland’s Teatro Kursaal in Lugano, to showcase both song and sophistication. Evening gowns, tuxedos, orchestras, welcoming diversity like an international cabaret. It was vastly different then, with different rules, voting, judging etc, but boy did it take off. Now...70 years later...The Eurovision Song Contest not only continues, but has become the single largest annual live musical extravaganza in the world, with hundreds of millions of viewers, big budget production for stage and costume design, with over 30 countries regularly competing to win, and the opportunity to host the show. It’s incredibly prestigious. It can be absolutely bonkers, beautifully random, entertaining and intense all in one show. 2026 finds us in Vienna, Austria, thanks to last year's winner JJ...but who will be crowned winner at the Wiener Stadthalle, as we are once again.. UNITED BY MUSIC. 

At the time of writing, Semi-Final 1 has already taken place, so not all artists will be competing at the Grand Final on May 16th...but here are my thoughts on the first 18 entries that make up Disk 1 of the official accompanying album, in alphabetical order. 

ALBANIA: ALIS - "NÂN"
Alis Kallaci is an Albanian X-Factor winner with a piano diploma and had studied pedagogy, so he's got a decent musical background to begin with to his credit. The song was inspired by a dream...saying goodbye mother. Well this is a happy start isn't it! Ok it's not entirely bleak, it's about waiting mothers and faraway children. Distance and missing your loved ones. Quite wholesome, incredibly dramatic, though musically quite dark; it layers soft albeit pained piano flutters, grand, almost monastic gang chorus vocals on the brink of being Biblical, with some powerful percussion. But, if Nan here is mother, is this really Albania or Alabama? [4]

ARMENIA: SIMÓN - "PALOMA RUMBA"
The song immediately starts with what sounds like a group of kids in voice, which makes we worry but it does tie in thematically I'll grant it. Simon Hovhannisyan was born into a family lineage of doctors...any otologists in there anywhere? This dude chose music over medicine! A song about breaking free from the routine, instead choosing the passion of life and the free spirit, as opposed to you know, saving the lives. The children's vocals emphasise that free-spirited nature, amidst a fusion of up-tempo beats, rap elements traditional Eastern Mediterranean instrumentation. Energetic? Yes. Overcrowded and often-times sonically busy? Also yes. Let's play a game of Simon Says shall we? Simon Says...too much. Shut up Simon. Or at least take some annual leave [5]

AUSTRALIA: DELTA GOODREM - "ECLIPSE"
It's been ten years already since Australia made their Eurovision debut marking the 60th anniversary, and to be fair they've always had a decent crack at it with some respectable results, welcomed back again and again. This year shouldn't be any different as the Aussies bring a sense of class and quality to Vienna, courtesy of Delta Goodrem. The actress/singer is multi-award winning performer with 8 million record sales to her name and nine number one's down under, so I think they're looking to place well. It's a traditional ballad entry, with soft piano and sweeping orchestral layers, over some modern symphonic pop production. Delta has powerfully emotive vocals and it's both classy and catchy is equal measure. Grandiose but not pompous and wouldn't be out of place on any golden era Disney soundtracks. Solid stuff. [7]

AZERBAIJAN: JIVA - "JUST GO"
Jamila Hashimova was the winner of season 3 of The Voice in Azerbaijan, and the Moscow-born performer is known for her love of blending pop with dance and R&B in both Russian and English. There isn't a lot really to be said about this one...it's another stereotypical ballad entry with a slow, brooding almost James Bond inspired soundscape, as her smooth harmony rich vocals carry well, but, it's not the most exciting track. Not quite as depressing as ADELE but it's of that ilk. [2]

BELGIUM: ESSYLA - "DANCING ON THE ICE"
Alice Van Eesbeeck was a finalist on season 9 of The Voice in Belgium (That's a recurring theme here) and has a variety of musical influences. Honing her craft as a backing singer for more established artists she started laying the foundations for her own solo musical adventure but it's been a relatively slow start. This song got to number 39 in the Belgian charts...I mean, if your own countryfolk aren't THAT fussed then, it's not exactly encouraging for the rest of us. But she's quirky, I'll give her that...like Essyla is a stylised version of her name Alice, backwards. Dancing on ice isn't quirky though...it's dangerous...like entering a generic, BILLIE EILISH-inspired light techno-pop song to a voting audience of literally millions. It' got ample hooks but, so does my coat rack. [4]

BULGARIA: DARA - "BANGARANGA"
I had to do a double-take for a split second then, as I was almost convinced the dude that hosts Mock The Week was in the business of SKRILLEX covers. Now I kind of wish he was. Darina Nikolaeva Yotova was once third place in Bulgaria's version of The X-Factor, and here we find her dabbling in a weird mesh of traditional wind instrumentation and R&B/hip hop beats. It's on the verge of being a split personality disorder, and it only JUST works. [2]

CROATIA: LELEK - "ANDROMEDA"
​LELEK are an all-female folk-pop ensemble formed in 2024, and were actually runners-up at last years national selection, so they're aiming for redemption in Vienna. I know there are suggested or implied rules against politicism on the show, I'm unsure of where religion sits at the table. On the floor on it's knees one would assume. A track dealing with persecution, but I truly don't know enough about the Ottoman empire...though it's apropos in today's socio-political climate and could stir up some controversy. I love that about this song. It's powerful in it's message against generational trauma, resisting assimilation and the real issues with religious conflict...thought's and prayers are about as useful as nil points and while visually it has about as much subtlety as a drone strike, I do like this. [6]

CYRPUS: ANTIGONI - "JALLA"
Antigoni Buxton...daughter of Tonia Buxton. Drinker of Buxton mineral water? Possibly? Did you know Buxton in England is 1000 feet above sea level? Making it the UK's highest market town? Fascinating stuff you learn when you're bored. The track starts off alright, but becomes this Eastern Mediterranean Temu SHAKIRA type effort. Latina hips don't lie...Love Island rejects do. He did get to number 72 in the UK charts once. Forget "Jalla"...one guy one jar was more popular! [3]

CZECHIA: DANIEL ZIZKA - "CROSSROADS"
Born in Prague, from a young age Daniel Zizka was drawn to music and recording at just ten years old, and decided that he wanted to officially pursue music professionally, recording his first tracks at just 15. "Crossroads" is a relatively brief track but while the journey is short, the destination is worth it, as with his blend of hushed, subdued vocals, with some incredibly emotive, soaring nigh notes, it gives strong THOM YORKE and JEFF BUCKLEY vibes. It may very well impress the judges...just as it has irritated my neighbours dogs. [5]

DENMARK: SØREN TORPEGAARD LUND - "FØR VI GÅR HJEM"
Another tale of early interest in the arts here. Born in Gudme, he attended a music and theatre boarding school from a young age and has always had a deep interest in performance and being on stage. It's a restrained, light electronic pop track that has a simplistic beat and rhythm, while the vocals are for the most part smooth, with the odd dash of passion, and it's something fans of say, CHARLIE PUTH or YEARS & YEARS would appreciate...but it's not breath-taking. It got to number 4 in the charts in Denmark...respectable enough. The song means "Before We Go Home"...it's not a holiday you dopey bastard you're trying to win a competition here! This isn't a day trip to bloody Staatsoper! [4]

ESTONIA: VANILLA NINJA - "TOO EPIC TO BE TRUE"
This all-girl rock group already represented Switzerland in 2005?!?! Damn those ninja's are sneaky! Borders mean nothing! We ARE united by music after-all...embrace thy neighbour and all that. I jest. Apparently very popular in Estonia, where they have an ice-cream brand named after them. I would happily get brain freeze for this lot. A really catchy, up-beat pop-rock song with a synth driven, energetic bounce, that reminds of early THE VERONICAS. This is honestly my personal highlight of CD 1 and I will certainly be checking out more of their back catalogue. Absolute tune. [9]

FINLAND: LINDA LAMPENIUS & PETE PARKKONEN - "LIEKINHEITIN"
So, Linda Lampenius is an ACCOMPLISHED classic concert violinist. Born to parents who were composers and in theatre production, she's grown up in and been surrounded by this here whole life. She picked it up EARLY. A multi-genre influenced professional that has toured the world over with years of experience...this lady could represent her country on her own...but they've got Finnish Spiderman on vocals. I jest, Pete Parkkonen appeared on Finland's Pop Idol and has topped the Finnish charts, and has plenty of charisma and presence that compliments Linda. The song translates as "Flamethrower"...and it's a fiery song of the juxtaposition of a hot and cold relationship. It's dramatic, it's passionate, and that crescendo? I need a cold shower after that one. One of the bookies favourites...I don't need an excuse to fly back to Finland in 2027 but...I absolutely would for Eurovision. [9]

FRANCE: MONROE - "REGARDE!"
Monroe Vata Rigby was born to Mormon parents in the US, in Salt Lake City, Utah. While growing up there she discovered a love for church choirs and thus developed an appreciation for classical compositions. Her mum actually emigrated from the Congo before settling...and I have to say part of me wishes this was some passionately gospel inspired BEETHOVEN and UM BONGO crossover jingle. Is that racist? None of this says French in any capacity by the way. I digress. It's an operatic number, more of what would be perceived as typical Eurovision fodder, but she's got a great voice. Quite cinematic in scope...like a boss fight in something like Final Fantasy or Bloodborne. [4]

GEORGIA: BZIKEBI - "ON REPLAY"
The name that I can't pronounce means "Wasps" so they're already potentially annoying bastards in two languages. They actually once won the Junior Eurovison Song Contest but, just like wasps harassing your pint in a beer garden, they keep coming back until you ultimately let them drown and get a fresh Heineken. Your life is worth a fiver don't test me. In the junior competition they made up a language, how that's allowed I have no idea, but luckily (I think) they perform normally here. Sultry R&B/Dance piece, unimaginative chorus, some traditional albeit subtle oompa vibes...no replay, only skip. [3]

GERMANY: SARAH ENGELS - "FIRE"
Deutschland Sucht Den Superstar...because HEAVEN FORBID German's just say "Pop Idol". A former runner-up, Sarah Engels utilises decent dance-pop hooks with more of that popular Latino flare, for a song of empowerment and feminist independence. While for the most part generic as a composition, it's a catchy pop track and has radio potential, and Sarah even said on her Instagram that this is the biggest opportunity of her career, so I genuinely wish her well. Everyone deserves a chance and a lucky break, it clearly means a lot to her, so go get it. Just don't set the sprinklers off. Or the smoke alarm. Or play with matches. Extinguishers at the ready. [5]

GREECE: AKYLAS - "FERTO"
Akylas Mytilinaios looks like Seth Rollins dressed up as JAMIROQUAI which, to be fair if you've ever watched WWE that's a fairly standard affair. Dude's got a bigger wardrobe than his wife. A man of several talents; despite dropping out of secondary school he took theatre classes, graduated from culinary school and has done stints singing on cruise ships to earn a living and hone his craft. I've never been on a cruise...but I wouldn't expect this unless it was one of Chris Jericho's. Apparently he became Tik Tok famous in Greece doing ukulele covers...nothing screams Greek like a ukulele. Baglamas please...and easy on the olive oil! The song means portable, which in ways ties into the music video of 16-bit pixelated game stylistics, like an old Game Boy, but portable also means you can pick it up and fuck it off away from me. It blends up-beat techno/dance with essentially Nintendo-core, but switches into some piano ballad fill, resulting in an off-kilter, awkward composition. A mish-mash of ideas...and I think the only person equipped to score this one would be James Rolfe, The Angry Video Game Nerd. I'm actually going to message him with this song and video and get back to you if he gets back to me. [3]

ISRAEL: NOAM BETTAN - "MICHELLE"
Winner of season 12 of Israel's Rising Star...the son of French parents, he swapped the military for music, but he still bombs in the studio like Israel bomb the Gaza strip. There is so much controversy surrounding Israel entering the contest, not just this year but for several, yet they continue to score well. Conspiracy and propaganda over quality and principle. I know they try to avoid political issues for what is essentially a song contest, but they get away with it while Russia are lambasted for the same issues, I.E Ukraine. The hypocrisy is real, as is the fear of repercussion it would appear. Nil points from both myself and Palestine. I don't care who Michelle is, she isn't getting a green card, or benefits. Or my vote. Get in the bin. [0]

She looks like the person who slept at Comic Con and woke up in a bondage shop, and her new album "Encores" is even more bizarre. Imagine classical music shoved headfirst into a shredder of industrial depravity.

She's fast, yes, but it's speed with a dash of fear added. There is art in her fingers, she'd probably be able to restring a violin balancing scalpels, but the result is this blur wherein Paganini's spirit is chuckling or suing. Half the time I'm not even certain if I'm astonished or just sick.

Thirty songs. Thirty-six minutes. "Encores" is not an album in the traditional sense. It's a seizure. This is...for whatever reason...THE GREAT KAT...

"Paganini’s Caprice No. 9": She murders Paganini so fast, he skipped rolling in his grave and went straight to pole-dancing on it. "Sarasate’s Malaguena": A Spanish dance, now performed by someone who sounds like they’ve never even danced socially. Or had friends.

"Leather Britches Guitar": This sounds more like pleather pants rubbing up against one another as someone cries in a Hot Topic dressing room and less like leather britches. "Santa Lucia Guitar": What is more cliché for the tearful Italian serenade than a woman crying over the violin as if screaming for help from the back of a speeding car.

"Cumberland Gap Guitar": – A folk tune. And nothing captures the spirit of Appalachian mountain folk like a Juilliard grad in fishnets screaming at ghosts. "Pizzazz": The only thing this track pizzazzes is my migraine.

"Paganini’s Caprice No. 14":  At this point, Kat isn’t covering Paganini, she’s just speed-dating his corpse. "Pizzicato by Delibes": Delibes wrote this to sound light and cheerful. Kat plays it like she's auditioning for the slasher film with a busted lawnmower.

"Joplin's The Entertainer": Consider a stripper emerging to this, but she trips immediately, breaks her teeth, and keeps dancing. "Minute Waltz": Chopin wrote it to be performed in a minute. Kat finishes it before you can say, "This was a mistake."

"Shredssissimo":  Not a word, not a style, but a cry for help. "Nessun Dorma": Puccini's master aria of victory. Kat brings it down to the whine of a dying microwave.

"Dixie": She dares to play "Dixie." Considering this album already has enough sins against humanity. "The Flight of the Bumblebee": – Rimsky-Korsakov gave us buzzing chaos. Kat gives us a wasp sting inside your ear canal.

"Blue Danube Waltz": Strauss wanted waltzing elegance. Kat delivers the soundtrack to a drunk uncle vomiting into a wedding cake. "Caprice No. 24": Paganini’s most famous piece. Kat treats it like an ex-boyfriend she found on Tinder: fast, messy, and ultimately regrettable.

By the end, I wasn’t clapping “Encore". I was calling the emergency services.

Score: Paganini’s ghost just called. He wants his dignity back. Words: Matt Denny.

They say that nice guys finish last...nice guys get walked over, nice guys get overlooked; but not every nice guy is arguably the hottest property in rock and roll right now. Finish last? (Firstly, that’s the gentlemanly thing to do). Some nice guys are just truly getting started, because they are beginning at breaking point...sick and tired of the snapped synapse that is the music industry. Sick of the disconnect between corporate greed and the common man. Sick of the bullshit. They want to make the world better... 

Artists with good intentions DO come and go...BOB GELDOF tried the whole “Band Aid” thing, and it was literally like putting a Hello Kitty plaster over a glioblastoma. Forty years later Bob, you’ve re-released the same track more than once with fresh line-ups, gradually getting less Christmassy and more cringeworthy, (Which is a good thing to be fair as you were the musical equivalent of colonialism to an extent) and yet mosquito nets to this day still save more mosquitos from dying of aids than your aid does saving children dying of starvation. DAVID DRAIMAN, I hope your label and PR team leaves you dangling like your stupid fucking chin tusks, for personally signing missiles that’ll undoubtedly kill civilians you tactless cunt. Down with the sickness? You’re just down in everyone's estimations. U2 once hacked us to give us a free album on iTunes...hacked is a strong word, sorry...let me rephrase that; RAPED. U2 forced an album on us without consent, I guess that’s how The Edge gets off? I digress... 

Jokes aside, today we’re here to appreciate and learn about YUNGBLUD. Real name Dominic, Yungblud has never shied away from controversy or criticism, be it in his early image and fashion sense on stage, or the sheer honesty of his song writing, to even starting up his own festival to ease the chokehold on extortionate organizers, and, from his emergence on “21st Century Liability”, this Yorkshire-born youngster has grown into one of the most vitally important artists in rock and alternative music. He champions the people, he’s an empath, he cares about community...he cares A LOT, and not many so unashamedly put the people first. 2025 found Yungblud scoring another number one album with “Idols” ...and before we jump into this headfirst, BILLY IDOL once said “Rock isn’t art, it’s the way ordinary people talk”, so let’s talk... 

The opening track “Hello Heaven, Hello” is a beautifully ballsy move at just over nine minutes long. There's no short, sharp introduction to this album, we dive straight into the grandiose with an ambitious indie-rock opera, and you know immediately this is going to be something different, something special. It’s a journey of self-discovery, and he’s asking if you’re along for the ride. It’s a track about finding your truth, your identity and the tribulations you persevere through; the ambitions you nurture and the goals you aspire to in the face of negativity and adversity. Amidst an up-beat indie rock core sound we have wonderfully arranged orchestral pieces, hard rock riffs, vocal vitriol and a true longing for life. We take elements of QUEEN, “The Rocky Horror Picture Show”, BLACK SABBATH, OASIS, THE VERVE...it’s truly a modern rock masterpiece. Yungblud proves you don’t have to play heavy to go hard, as the emotions and eccentricities here are raw and real. This is a superb song... 

This transitions wonderfully into “Idols Pt.1” and there are almost James Bond elements here with the string instrumentation. We’ve got another track about diversity and emancipation. Girls and boys are irrelevant here; a gender-fluid ideology of who you really are at heart, and who you aspire to be...it’s a pained track about acceptance and empowerment. We can be our own idols; we can look into ourselves to find strength and belief and we shouldn’t let other people suffocate our dreams. Everyday people, believing in themselves and it's a sweet little melodic indie-pop number. 

This then blends wonderfully into the single “Lovesick Lullaby” and the Brit-Pop elements really shine through here. It gives off BLUR “Park Life” vibes with it’s almost narrated verses and light guitar notes, coupled with the simplistic, melodic chorus hooks. The switch between electric and acoustic guitars, the backing gang vocals; it all amounts to this brief but brilliant little track full of character, tackling self-doubt and insecurity. It’s like Dom is having fun with his own vulnerability and personality and acknowledging stifled yet tumultuous emotional dilemmas.  

We go straight into the sombre next as we have one of the most emotionally hard-hitting tracks you’ll hear this year, or ever, courtesy of “Zombie”. A truly heart wrenching track about coming to terms with loss, protecting your loved ones from hurt, mental health, and knowing time is precious. It’s about loving unconditionally in the face of hardship and truly knowing that there are people out there that care. There’s a genuine sense of sadness oozing from the guitars here that tearfully carry Yungblud’s tender vocal delivery and it’s a genuinely beautiful ballad; easily an album highlight. 

Similar can be said for personal album highlight of mine “Monday Murder”, which carries this jovial, melodious acoustic led guitar tone. It’s light, airy and houses an almost blissful ignorance to the chaos of the world, an apathy to the conflict. It’s touching in its melancholy to the point it acts as a prayer for healing, and a yearning for change. We could go on further about the enormity of the emotional aspects of this album, with simply stunning tracks like “Ghosts” and “War” too, but we’d be here all day. Go and appreciate the album for yourself, not just take my word for it. 

YUNGBLUD here has delivered not just a number one album, with some attention-grabbing singles like a pop star, with a cool image...he doesn’t ACT cool, that’s just Dom. He’s delivered an album so raw in genuine emotion, so real and relatable in lyricism, so undiluted in its undeniable passion for growth and togetherness, he’s cemented himself as a Bonafide 21st century rock star.  

His aura, his honesty, his dedication, his presence, his charm, his down-to-Earth character...he is legitimately the modern-day rock star the genre and the community NEEDS. “Idols” speaks to every single one of us; we have an idol locked away in all of us, our best self, be it emotionally guarded by walls from trauma, or a lack of confidence, or doubt...this album is a rallying cry for everyone of us to live. Truly LIVE. In just a few short years, his attitude and passion for not just performing, but the people, has seen Yungblud go from a 21st century liability, to absolutely essential listening. [10]