Eurovision 2026 Streaming Rankings: The Most-Watched Songs on YouTube & Spotify (Week of April 20–26)

The latest weekly YouTube streaming data for Eurovision 2026 (April 20–26) reveals a fascinating disconnect between what Europe is watching and what the betting markets expect to win. Italy leads the chart by a commanding margin, the betting favourite Finland sits in third, and Portugal has made the biggest leap in streaming history — up 20 positions in a single week.

Here are the complete streaming rankings, the biggest movers, and what this data means for your betting strategy heading into rehearsal week.

YouTube Weekly Chart — April 20–26, 2026

The weekly chart tracks official music video views across all Eurovision 2026 entries on YouTube. This is the most-watched songs chart — not total accumulated views, but views generated in a single seven-day window, which measures current audience interest.

Top 10

#	Country	Artist	Song	Weekly Views	Movement
1	Italy	Sal Da Vinci	Per sempre si	400,111	—
2	Greece	Akylas	Ferto	317,005	—
3	Finland	Liekinheitin	Liekinheitin	222,108	Up 1
4	Cyprus	Antigoni	Jalla	216,969	Down 1
5	Bulgaria	Dara	Bangaranga	210,195	—
6	Israel	Noam Bettan	Michelle	189,288	—
7	Romania	Alexandra Capitanescu	Choke Me	155,467	Up 2
8	Denmark	Soren Torpegaard Lund	For vi gar hjem	149,419	Up 2
9	France	Monroe	Regarde!	145,046	Down 1
10	Albania	Alis	Nan	125,692	Up 1

Full Chart: Positions 11–27

#	Country	Artist	Song	Weekly Views	Movement
11	Croatia	Lelek	Andromeda	115,250	—
12	Moldova	Satoshi	Viva Moldova	114,876	—
13	Serbia	Lavina	Kraj mene	108,608	Down 6
14	Portugal	Bandidos do Cante	Rosa	105,493	Up 20
15	Sweden	Felicia	My System	104,324	—
16	Austria	Cosmo	Tanzschein	92,897	—
17	Georgia	Bzikebi	On Replay	89,045	—
18	Germany	Sarah Engels	Fire	82,445	—
19	Australia	Delta Goodrem	Eclipse	81,583	—
20	Armenia	Simon	Paloma Rumba	74,638	—
21	United Kingdom	Look Mum No Computer	Eins zwei drei	74,469	—
22	Ukraine	Leleka	Ridnym	64,996	—
23	Belgium	Essyla	Dancing on the ice	63,554	—
24	Switzerland	Veronica Fusaro	Alice	63,048	—
25	Lithuania	Lion Ceccah	Solo quiero mas	62,061	—
26	Poland	Alicja	Pray	61,754	—
27	Montenegro	Tamara Zivkovic	Nova zora	60,679	—

The Biggest Movers This Week

Portugal: Up 20 Positions

Bandidos do Cante's "Rosa" has produced the most dramatic streaming surge of the entire Eurovision 2026 cycle. Climbing from 34th to 14th in a single week — a jump of 20 positions — this is the kind of viral momentum shift that demands attention.

What is driving it? Bandidos do Cante are a traditional Portuguese vocal group whose sound is rooted in Alentejo polyphonic singing — a UNESCO-recognised cultural heritage. "Rosa" is not a conventional Eurovision entry. It is raw, authentic, and deeply rooted in Portuguese tradition. The surge suggests that the song has found its audience — possibly through social media discovery, playlist placement, or word-of-mouth recommendation among Eurovision fan communities.

At the betting markets, Portugal remains a long shot. But a 20-position streaming surge one week before rehearsals is precisely the kind of signal that has preceded dark horse qualification runs in past contests. If Bandidos do Cante can translate this online momentum into a compelling live performance at the Wiener Stadthalle, Semi-Final 1 could produce a shock qualifier.

Serbia: Down 6 Positions

LAVINA's "Kraj mene" has fallen from 7th to 13th — a drop of 6 positions — making Serbia the week's biggest loser in streaming terms. The decline is concerning because it suggests the initial buzz around the entry may be fading at precisely the wrong time. With rehearsals starting on May 2, entries want to be building momentum, not losing it.

Serbia still sits comfortably in the chart with 108,608 weekly views, which is a healthy figure. But the trajectory matters, and a sharp decline heading into rehearsal week could signal that the song has peaked too early. Semi-Final 2 qualification is not guaranteed for Serbia, and if the streaming decline reflects a broader cooling of interest, the televote could be weaker than expected.

Romania and Denmark: Both Up 2

Romania's "Choke Me" continues to generate controversy-fuelled interest, climbing to 7th with 155,467 views. Denmark's "For vi gar hjem" — sung entirely in Danish — rises to 8th with 149,419 views, an impressive figure for a non-English entry that suggests Soren Torpegaard Lund's emotional ballad is cutting through the language barrier.

Streams vs Odds: The Great Disconnect

The most striking story in this week's data is the gap between streaming performance and betting positions. Here is a direct comparison of the top entries across both metrics:

Country	YouTube Rank	Betting Rank	Gap
Italy	#1 (400,111)	~10th (2.4%)	+9 positions undervalued
Finland	#3 (222,108)	#1 (37%)	-2 positions overvalued
Greece	#2 (317,005)	#5 (7%)	+3 positions undervalued
Bulgaria	#5 (210,195)	~20th+ (1%)	+15 positions undervalued
Denmark	#8 (149,419)	#3 (11%)	-5 positions overvalued
Australia	#19 (81,583)	#4 (11%)	-15 positions overvalued
France	#9 (145,046)	#2 (12%)	-7 positions overvalued

The pattern is clear: the betting market heavily weights jury appeal, while YouTube streams are a proxy for televote potential. Finland, Denmark, Australia, and France are all priced primarily on their expected jury performance. Italy, Greece, and Bulgaria are streaming monsters whose televote potential is arguably being underpriced.

This creates a fundamental tension in the betting. If the jury and televote align — both favouring the same entry — the favourite wins comfortably. But if they diverge — one entry dominating the jury while another dominates the televote — the combined result can produce surprises. Italy's streaming numbers suggest it has the raw televote appeal to challenge entries that the market rates far more highly.

Do Streams Actually Predict Eurovision Results?

The correlation between pre-contest streaming and final results is real but imperfect. Here is what historical data shows:

• The most-streamed entry has finished in the top 5 in the majority of recent contests
• Streaming correlates most strongly with the televote — the entries people watch online are broadly the entries people vote for
• Streaming correlates weakly with the jury vote — professional jurors evaluate musicality, originality, and vocal quality, not popularity
• Entries from large countries are systematically overrepresented in streaming data — Italy, Germany, France, and the UK generate views from domestic audiences that do not translate proportionally to Eurovision votes
• The biggest predictor of an upset is an entry with strong streams but long odds — these are the songs where the televote outperforms the market's expectations

Italy's position — #1 on YouTube but ~10th in the betting — fits the profile of a potential overperformer. But it is equally possible that Italy's streaming dominance is primarily driven by the massive Italian domestic audience watching a Sanremo winner, and that those views will not translate proportionally to pan-European televotes.

What to Watch as Rehearsals Begin

The streaming chart will shift once more before the contest, and the changes during rehearsal week (May 2–9) are historically the most significant. Here is what to monitor:

• 30-second clip impact. When second rehearsal clips are released (May 7–9), entries with impressive staging will see immediate streaming surges. A visually stunning clip often doubles or triples an entry's weekly views.
• Portugal's trajectory. If "Rosa" sustains its upward momentum through rehearsal week, Bandidos do Cante could become a genuine semi-final dark horse. A regression back to the 30s would suggest the surge was a one-week anomaly.
• Finland's staging effect. The betting favourite is "only" 3rd in streams. If the rehearsal clips for Liekinheitin are as spectacular as expected, Finland could surge to #1 on the streaming chart — and that convergence of streaming leadership and betting favouritism would be an extremely strong signal.
• Australia's stream deficit. Delta Goodrem sits 19th in streams despite being 4th in the betting. This underscores Australia's persistent challenge: limited organic European audience outside the Eurovision bubble. A strong rehearsal showing could close that gap, but if the streams remain low, it suggests the televote component of Australia's result may disappoint.

Betting Implications

For bettors using Betfred or other licensed bookmakers, streaming data offers a valuable analytical edge — particularly when it diverges from the odds:

• Italy at ~40/1 looks underpriced relative to its streaming dominance. Even an each-way or top 10 bet at those odds could deliver value if Da Vinci's popularity translates to a strong televote.
• Greece at ~14/1 is the second most-streamed entry but only 5th in the betting. Akylas's combination of streaming power and televote appeal — backed by Greece's reliable diaspora voting bloc — makes this one of the stronger value plays in the market.
• Australia at ~9/1 carries risk given the 19th-place streaming position. The jury market (where Delta Goodrem is co-favourite) may be a better angle than the outright.
• Portugal at long odds could be worth a small semi-final qualification punt if the streaming surge continues into rehearsal week.

The streaming chart will update weekly through to the Grand Final. Each new data point either confirms or challenges the market's pricing — and for those paying attention, the signals are there to be read.

18+. Please gamble responsibly. BeGambleAware.org

Related Articles

• All 35 Eurovision 2026 Songs Ranked: From Best to Worst with Betting Odds
• Italy at Eurovision 2026: Sal Da Vinci's 'Per sempre si' — Sanremo Winner & Dark Horse
• Finland at Eurovision 2026: Why Liekinheitin Is the Betting Favourite
• France at Eurovision 2026: Monroe's 'Regarde!' — Odds Analysis
• Greece at Eurovision 2026: Akylas's 'Ferto' — Betting Analysis

Frequently Asked Questions

What is the most-watched Eurovision 2026 song on YouTube?

Italy's "Per sempre si" by Sal Da Vinci is the #1 most-watched Eurovision 2026 song on YouTube with 400,111 views in the week of April 20–26. Greece's "Ferto" by Akylas is second with 317,005 views, and Finland's "Liekinheitin" is third with 222,108 views.

Which Eurovision 2026 entry had the biggest streaming surge this week?

Portugal's "Rosa" by Bandidos do Cante climbed 20 positions in a single week — the largest move in the Eurovision 2026 streaming cycle. The entry jumped from 34th to 14th with 105,493 weekly views. Serbia's "Kraj mene" by LAVINA saw the biggest decline, dropping 6 positions from 7th to 13th.

Do YouTube streaming numbers predict Eurovision results?

There is a real but imperfect correlation. The most-streamed entry has finished in the top 5 in the majority of recent contests, and streams correlate most strongly with the televote (which makes up 50% of the final score). However, streams skew toward entries from countries with large domestic audiences and do not capture jury vote potential, which can significantly affect the final result.

Why is the #1 streamed song not the betting favourite?

Italy's "Per sempre si" is #1 on YouTube but approximately 10th in the betting because bookmakers and prediction markets weight jury appeal heavily alongside televote potential. Finland's "Liekinheitin" is expected to score strongly with both the jury and the televote, while Italy's streaming numbers are partly driven by a large Italian domestic audience that does not proportionally translate to pan-European televotes. The 50/50 jury-televote split means jury-friendly entries like Finland, France, and Australia are priced more aggressively than their streaming positions suggest.