Estonia at Eurovision
Let's see what the black, white, and blue can do! 🇪🇪
It’s always fun to see what Estonia is bringing to Eurovision, because they will give you anything and everything you can imagine, from Estonian-language ballads to basic-but-lovable English-language pop. They can be beautifully random: Within a decade, they’ve sent three songs that reference Italy in either language or place names. They’ve sent songs that show off their culture and songs that could be on the Billboard Hot 100 from Anywhere, USA. The versatility of what they send is perhaps its own characteristic! Speaking of versatility, I just learned that a member of the band in my last-ranked entry conducted the performance of my second-ranked one. Whoa.
For such a small country, with fewer people than Chicago, its cultural impact is outsized. Many cultures claim to be innately music-focused, but it’s not every country whose Singing Revolution helped bring about independence from the USSR, now is it? Amid occupation by Sweden, Imperial Russia, the USSR, Nazi Germany, and the USSR all over again, this country’s tenacity and pride in its own culture provided a constant amid such dislocation. It’s a fascinating country, to say the least.
Welcome to the ranking! You haven’t scrolled down all the way yet, for the worst-to-best rankings, the way nature intended?
Don’t disappoint Stefan! Scroll ALL the way down, then back up. Good job!
1. Goodbye to Yesterday (2015)
This song is a terrific counterweight to the worst excesses of Eurovision – instead of some gaudy, loud, lyrically deficient mess, this is a beautifully normal song you’d hear on virtually any country’s radio. Stig Rasta and Elina Born play well off of each other vocally, with the latter even shedding a single tear in the beautiful live performance (was it acting or was she genuinely “feeling it” – both?). The song excels because it tells a compelling story with plenty of realistic detail, without hitting you over the head. The song trusts that you’ll get it. It’s more subtle than most Eurovision songs, and while it doesn’t have an obvious infusion of uniquely Estonian culture in its presentation, it’s far from generic or forgettable. The retro sound and subtle yet impactful storytelling make this a must-listen.
2. Kaelakee Haal (1996)
At first, you might wonder why it’s a love song between two vastly different-aged people. But it seems like the goal was innocent or at least uncomplicated: bringing together an outstanding female and male singer, the latter happening to be Ivo Linna. Indeed, he was one of the driving forces behind Estonia’s nonviolent Singing Revolution. Beyond his importance, though, the song is well performed, sentimental without being mawkish, and cleverly building as the keys keep changing but the quality remains consistently high. Thankfully, the staging understands their age gap, making it seem like they’re singing to other people, thus avoiding anything uncomfortable. Instead, it’s elegant and timeless, and it usually gives me chills.
3. Bridges (2023)
Alika is an amazing singer, and this song triumphed over about 20 songs in the national final, almost all of which were excellent quality that year. (I am not Hardcore enough to watch national finals, but I was curious about Estonia’s version that year, and I was taken aback by how radio-friendly, including in the US, most seemed.) The song develops in a way that doesn’t feel like it’s just copying Eurovision cliches, and I’m not sure why this is, but I think it has to do with Alika’s voice genuinely conveying urgency and emotion. The song’s been compared to songs by Adele, which is not a bad place to be in, now is it?
4. Kuula (2012)
The song title means “listen,” and you do not need to convince me. Ott Lepland’s vocals make the song stand out. The song builds nicely, as many of this caliber do, and the key change doesn’t even feel corny or tacked-on. Elegant and flawless!
In Estonia, is it customary to offer instruments as ritual sacrifice after a performance?
Image from Instagram - “ESC Content” (how specific)
5. Too Epic to Be True (2026)
I realize that calling something “epic” after the mid 2010s is a little cringey. But if this song is corny, take me to a field in the middle of Iowa, because I am absolutely here for all of it. The melody is catchy, and the Vanilla Ninja women are fully committed to the throwback vibes, having the best time possible. Their enthusiasm is infectious, and their song catalogue is excellent (they don’t coast on nostalgia, with great recent work). I listen to this and I’m happy – maybe that’s epic enough!
6. Randajad (2009)
The song is strings-driven, mystical, and mysterious, never crossing into creepy or uncomfortable. The instrumentation itself is notable and whatever the auditory version of eye catching is (“ear catching” feels weird to write!). The urgency in its instrumentation is cleverly balanced with soft vocals. It’s amazing that pop/rock songwriter Sven Lohmus wrote this - it’s almost too epic to be true (heh).
7. Keelatud Maa (1997)
You’ll notice the same singer elsewhere in the list, higher up, but Maarja-Liis shows her talent in this song as well. (Get somebody who loves you the way Estonians love a good double-vowel, and you’ll be set for life.) There isn’t a ton to say about it, but it’s well performed and beautiful enough to be quite listenable. Also, she was 16 here? What? At 16, I was in math and driver’s ed, not Eurovision!
8. Once in a Lifetime (2000)
I’m not sure why singer Ines is wearing a cowboy hat here, but we were deep in the throes of Coyote Ugly fever in the USA, and perhaps this had also extended to Estonia. The song is pleasant, upbeat, and catchy, if not soul-searching or deep. According to YouTube comments (horrible way to start any sentence), Ines was dating future winner Tanel Padar at the time. I love that she had him as a background singer. I am not sure how happy he was to do the “cheesy hand gesture” dancing, but it gave him stage experience that paid off a year later!
9. Runaway (2002)
Goodness knows how I found various Eurovision mini documentaries online, through the years, but perhaps they find me (let’s go with that!). Swedish singer Sahlene inspired indignation for not being homegrown talent, and it didn’t help that the chorus’s melody is close enough to that of “I Believe I Can Fly.” (R. Kelly might want to sue, but these days, he’s a bit busy and “trapped in the closet.”) Even with the unintentional-but-unavoidable plagiarism in mind, the song is catchy, and Sahlene is doing her very best to be lovable onstage.
TED Talk? 18th place in the semifinal? Song I still listen to? Well, it’s two of those!
Image from the depths of Wikipedia, via Google Images
10. Play (2016)
I am still bummed that this got last place in the semifinal, even understanding that it was a super competitive year, and that his “card trick” gimmick did not read well on camera. (I think there was too much eye contact as well for viewers, but we live and learn!) The song is an upbeat Bond villain number, and it’s engaging and pleasant to listen to. Juri Pootsman has a lovely velvety voice, and I wouldn’t be mad if he did a series of Rat Pack covers at some point. No pressure. But we need it.
11. (Nendest) narkootikumidest ei tea me (küll) midagi (2024)
Here’s one of the titles that definitely required a copy/paste job, and perhaps it would even for Estonians themselves. The song is something the Brits would call “cheeky,” probably before they head on a “stag trip” to a Baltic country they hadn’t yet researched, all while hearing this song everywhere they drink. I like how the two combined bands here don’t take themselves or their song too seriously. While it grates after a bit, it’s a fun song where they keep repeating that they aren’t into drugs, while the song’s audience (I think?) is supposed to be skeptical.
12. Rockefeller Street (2011)
MATH TEACHERS HATE HER! Well, the numbers 1, 2, 7, and 3 aren’t in order, but they sure are in this silly little song. The fun part is that it barely matters. Getter Jaani is so excited to sing this song, and though it comes off a bit Junior Eurovision, this girl is committed to the bouncy, math-avoidant song in a commendable way. I don’t think New York even has a Rockefeller Street, and overly naïve songs about this city always make me chuckle. Still, it’s hard not to smile hearing this song, which has since become a meme in its own way, apparently.
13. The Lucky One (2021)
This is high up, and unlike La Forza, it is very much not art. The lyrics are cliché, and the forced attempts at a triple rhyme (unbelievable/unbeatable/a miracle) might make you question my sanity. But I like the instrumentation and Uku Suviste’s voice. He makes you think he believes these sub-par lyrics, and it seems he is putting his theatre training to use. We love transferrable skills!
That’s crazy - I was about to wear this same dress to the grocery store today.
Photo lovingly grabbed from Metro.co.uk
14. La Forza (2018)
It’s basically sacrilegious to rank an opera song, fully in Italian, this low, because it’s like, do you not appreciate art? I do, and I appreciate Elina’s voice, and I even appreciate the commitment of projecting images onto an impossibly long dress. But it’s not a song that stays stuck in my head or feels as impactful as the songs above it, so here it lands. She’s probably the best singer on this whole list, though!
15. Eighties Coming Back (2002)
A bit of historical context, because that’s what we do here: This year’s national final was decided solely by a jury, but the organizers also chose to reveal the televote afterward, which would have given the victory to pop-rock band Vanilla Ninja. (I only learned this recently, but I can’t help finding that kind of dangling a little harsh, especially since the band was barely out of high school!) If nothing else, though, the fact that Estonia produced two standout songs in the same national final is a reminder of just how consistently this small country punches above its weight musically. The Britpop-forward sound of “Eighties Coming Back” is lots of fun, aided by nostalgia. The chorus gets a bit repetitive, and the verses are nothing special, but it remains a great song “of its time,” with a feel reminiscent of the late-’90s/early-2000s UK music scene. All it’s missing is Ali G.
16. Nagu Merelaine (1994)
It might be odd to call a song cozy, but here we are. Its verses aren’t super interesting. However, if you hold off until the chorus, the melody is its own reward, as is Silvi Vrait’s brassy voice. I’m not sure it needs a key change, but maybe we just need to ride the titular “seawave” of this song and surrender control.
17. Mere Lapsed (1998)
It’s not an exciting song, but it’s pensive and beautiful. Koit Toome is young here but still lends a great deal of gravitas to things. It’s calm without being boring!
18. Et Uus Saaks Alguse (2013)
This is not enough of a memorable song where you’d sit upright in bed in the middle of the night, remembering its lyrics or melody. Even so, it’s a pretty ballad with a talented singer, without any goofy gimmicks. It trusts that it will do well on its own, which it did: Sending a non-English song is sadly a risk, but the song’s elegant, understated feel was enough to qualify for the final! Good for her!
19. Hope (2022)
People adored this song in 2022, and I think it’s good, but not amazing. Its “Wild West”/vaguely country aesthetic is not something you see all the time at Eurovision (except the Netherlands, for some reason?). I like Stefan’s deep voice. But the song gets old to me after a bit.
How are we gonna be this serious when most of the chorus is “ooOooOooOOohh”?Image from Images.eurovision.de (odd URL, but no virus yet!)
20. Verona (2017)
The lyrics are decent, and the vocals from Koit Toome and Laura Polverde are great, at least to my ears. But the song isn’t memorable, to much of an extent, and the overly serious way they present the song makes it almost uncomfortable. In the song, they keep saying that they’re lost in Verona. Did anyone ever find them?
21. Diamond of Night (1999)
One of the main things that stands out in the performance is the well-intentioned singer, Evelin Samuel, looking directly at the camera with very wide, bright blue eyes. I’m part of Blue Eyes Gang, so “game recognize game,” but even I would’ve mixed up the camera angles a bit to avoid seeming like I’m staring at 200 million people without stopping. Anyway, the song itself is pretty, with an almost mystical (yet still mainstream pop) vibe. It isn’t as memorable as higher-ranked peers, but I respect her commitment to singing…and eye contact. You can’t call her avoidant!
22. Partners in Crime (2007)
I find the song decently catchy, though its lyrics are not going to make you sit up in your chair and confuse them with Bob Dylan’s words. But it’s good, though not great, and Gerli’s voice is compelling. It feels a bit awkward that she didn’t qualify for the final that year, and her brother not only qualified a few years prior, but won all of Eurovision. I am not sure how those family dinners went after her performance, but I’m sure they worked everything out emotionally since then.
“You get back here!” But actually…dancing while singing and not being ticklish? Wow!
Image pilfered from BBC One
23. Amazing (2014)
Having this title sets up the song unfairly – it is good but not amazing, in terms of “staying power.” I also find the lyrics “do you hear me screaming” a bit unsettling, though it’s clear they weren’t intended as such. The song is more fun to hear while watching the live performance, when Tanja shows she can sing beautifully while dancing in a way that would exhaust most people. Credit where it’s due!
24. Through My Window (2006)
Distractingly, the main guitar riff here is the exact same as the one in “Does Your Mother Know?” The knockoff vibe is so strong from that repeated moment in the song that it overshadows much else. It’s a fun song, but Does Your Mother Know that ABBA might feel litigious at one point?
25. Siren (2010)
This one is ~*~experimental. It’s meant to be a bit off-kilter and unique, so it’s definitely not going for anything mainstream in tone or presentation. The song is itself interesting, but at least for me, I grow tired of it quickly. “Give me strength to carry on,” he sings, and…yeah. You’re the one who said it!
26. Storm (2019)
It’s another one of those moments when you’d love to convey that Eurovision has better lyrics one would think, and then you get a Swedish person brought into Estonia for this (not the first time!), to sing, “a storm like this can break a man like this.” 😐 The song is late 2010s in its approachable EDM/guitar mixture, but it never breaks out of the cliché box, nor do its lyrics do much other than make you a little bit frustrated. The UK sent a better song called Storm just one year prior, making this even more derivative.
27. Espresso Macchiato (2025)
Everyone loves this song! But you see…I do not 🤌🏻. I’m not Italian, but even I find “por favore” annoying – “per favore” is correct and right there. Tommy Cash’s meme-tastic song features vocals that attempt an old-timey Italian inflection but wind up sounding whiny and Family Guy levels of nasal. I’ll give credit, at least, to his excellent dancing and performance, including a stage invader who seems real at first, only then to be part of his dance.
28. What Love Is (2020)
The chorus is a bit catchy, but almost frustrating in the circular nature of its lyrics and melody. It doesn’t go anywhere, spinning its wheels. It is unlikely that it would’ve qualified if the concert hadn’t been cancelled in 2020. He met a similar fate, though with a better song, in 2021. It’s OK, though, since he stays Booked and Busy, showing off his hometown of Tallinn and playing concerts!
This is definitely one of the songs of all time! 😀
Image from Google Images screengrab
29. Everybody (2001)
Look, it’s great that Estonia won not too long after its debut, and this song featured the first black singer to win. But did it have to be with this song? I am not sure why the two main singers teamed up; it looks like a young man trying to impress his girlfriend’s dad at karaoke, and then the dad joins in (heartwarming ending!). But the song is corny without being endearing. I am unsure why this won, truly, and it’s really one of the worst winners of Eurovision of all time. Estonia has done so much better, so despite not winning since 2001 (yet!), their songs’ quality has truly soared.
30. Let's Get Loud (2005)
It’s never that smart of an idea to invite a comparison to a more famous song with the same title, especially when Jennifer Lopez’s “Let’s Get Loud” is so much better. I don’t understand why they had to add anemic shouts for the ends of each chorus’s phrase, such as the on-the-nose shouting of “shout!” Funny enough, fellow Estonians were representing Switzerland this year, but despite the same origins, the groups’ results diverged significantly, let’s just say. Ah, the duality of man!
31. Tii (2004)
I’m all for celebrating Estonian culture, especially given the country’s long history of fighting to preserve its language, traditions, and identity. That said, this unique performance has never clicked with me. The vocal style and the loosely choreographed line dance leave me with one overwhelming thought: Ma olen segaduses ja natuke hirmul. (“I’m confused and a little scared,” but in Estonian, a language I’ve heard is super easy and quick to pick up!)
32. Leto Svet (2008)
Did they think they could win or even do well with this nonsense? I love comedy, but the comedians behind a band name that is phonetically “Crazy Radio” should actually be funny. It tries to pay homage to the contest’s host of Serbia, which is a nice touch, but the song is so annoying, it makes Ireland’s Dustin the Turkey look restrained and elegant. That is saying something, since Dustin is an actual puppet.