Just twelve days before Russia’s invasion began, the National Public Broadcasting Company of Ukraine hosted its sixth edition in Kyiv. The gala selected the country’s Eurovision entrant, a process that stirred intense debate. While the crowd favored Kalush Orchestra through televoting, a professional jury later showed a different preference by backing Alina Pasha. Some Kalush Orchestra members accused the broadcast of vote-tacking. Amid rising anger, a young rapper who had crossed into occupied Crimea for a wedding in 2015 and did so under pressure ultimately stepped back from the event. The organization faced pressure to invite a proxy artist to represent Kalush Orchestra, the audience’s favorite. Months later, the group’s powerful rap-folk anthem Stefania remained a leading favorite among eurofans, repeatedly appearing atop bookmaker lists.
“I’ll always come to you on rough roads / He’ll let me sleep, he’ll let me sleep, through heavy storms / He’ll raise his two fists like a bullet, as my grandmother used to rap.” These lines, spoken by Oleg Psiuk, leader of Kalush Orchestra, accompany Stefania. The track blends traditional folk, hip-hop, and electronic sounds, highlighted by an infectious flute motif. Psiuk explains the song, written for his mother, grew to symbolize resilience and hope for the Ukrainian people, a tribute to what Ukraine has endured since the bombardments began. In mid-March, Psiuk told Reuters that no matter the circumstances, the group would aim to be useful to Ukraine. The path to Turin proved difficult for the sextet, who were unsure they could perform at the Pala Alpitour on the eve of the competition. Yet they advanced from the first semi-final and earned a warm reception from Turin’s audience, securing a spot in the grand final.
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In the early weeks of conflict, Psiuk paused his music and joined volunteers in Lviv to help deliver medicines and other aid to people fleeing the fighting. He explained that he could not enjoy Eurovision while loved ones faced danger, describing a girlfriend preparing Molotov cocktails in a bunker hundreds of kilometers away. The troupe rehearsed remotely, staying connected via the internet. Recognizing the significance of Kalush Orchestra’s Eurovision participation for Ukraine’s image abroad, the government granted special permission for a European tour, including stops in Madrid and Israel, where they recorded postcard segments for the contest. The group donated proceeds and continued performing at Eurovision, framing the opportunity as a chance for Europeans to experience Ukrainian culture more closely. On April 2, during the team’s first reunion in Lviv, members publicly confirmed their readiness to travel to Turin.
Kalush Orchestra, the side project led by Oleg Psiuk, is based in Kalush, a city in Ivano-Frankivsk region in southeastern Ukraine, roughly 600 kilometers from Kyiv. The group was formed in 2019 by Psiuk along with multi-instrumentalist Igor Didenchuk and MC Kilimmen. After releasing the second music video Ty Gonysh in 2019, Kalush secured a deal with Def Jam Recordings, paving the way for collaborations with influential acts. Kalush released their first album Hotin in 2021, and later expanded into the Kalush Orchestra project, fusing rap with Ukraine’s folk traditions. This period coincided with rising tensions in the region, underscoring the role of music in national identity and cultural resilience.
3 wins in 19 years?
In recent weeks, Stefania has surged to the front of the pack as the likely winner, ahead of entries from Sweden, Italy, and the United Kingdom. While professional juries from various countries may favor acts like Cornelia Jakobs with Get Me Closer, Mahmood & Blanco with Brividi, or Sam Ryder with Space, the public televote’s emotional and symbolic weight could tilt the result in Stefania’s direction. This would mark Ukraine’s third Eurovision victory in the competition’s 19-year span since 2003, following Ruslana in 2004 with Wild Dances and Jamala in 2016 with 1944. The Russian government criticized Ukraine’s submission, arguing it carried political overtones. The European Broadcasting Union determined there was no explicit political message within Stefania, though the controversy remained a topic of debate among observers and fans alike.