The Real Eurovision Winners: Streaming Data Reveals Who’s Still Popular

It’s that time of the year —the 2025 edition of the Eurovision Song Contest has arrived. The 69th edition takes place in Basel, Switzerland, with semi-finals on May 13 and 15, and the grand final on May 17, 2025. Swedish entrants KAJ are the heavy favorites, ahead of JJ from Austria and Louane from France.

But who really wins Eurovision? The trophy may go to one artist each year, but the real test begins after the confetti settles — in record sales, streaming stats, radio spins, and cultural impact. Eurovision is many things at once: a celebration of European diversity, a beacon for queer joy and identity, a sometimes-subtle (and sometimes not) stage for political subtext, and a reliably glitter-soaked spectacle that keeps evolving with the times. Some hate it, some love it, but every spring, we can’t help but keep an eye on this iconic show.

What started in 1956 as a talent showcase meant to unite postwar Europe – and yes, a direct riff on Sanremo Festival, let’s face it – has transformed into a global media event, driven as much by televotes, headlines, and fandoms as it is by the songs themselves. Countries once sent unknown singers to make a name for themselves; now they often send local pop stars or strategic crowd-pleasers.

So, which winners have stood the test of time? Let’s cut through the noise and look at the numbers — ranking Eurovision champions by their current Spotify monthly listeners. Some names will surprise you, others have never left the stage.

The Big 3: Eurovision’s Kings and Queens

Let’s be honest, most Eurovision winners fade into kitschy nostalgia or national trivia night answers. But a select few don’t just win the contest, they go on to become legitimate household names. On Spotify, three winners stand way above the rest: ABBA, Céline Dion, and Måneskin. Each was already successful locally when they won, but Eurovision pushed them to global heights.

ABBA (1974) – 32.8 million listeners

ABBA reinvented Eurovision altogether. When they hit the stage in Brighton in 1974 with Waterloo, flashy outfits, and an irresistible hook, they felt like aliens beamed in from the future. Eurovision had never seen anything like it.

From 1956 to 1973, 17 of the 21 winners were solo female artists, and none were mixed pop groups. But after ABBA, groups like Teach-In (1975), Brotherhood of Man (1976), and Bucks Fizz (1981) followed their lead.

Today, ABBA is still one of the most-streamed legacy acts in the world, huge from the UK to Latin America to Japan. Even Americans who tried to resist for many years ultimately fell in love with the Swedish group. Their run of hits like Dancing Queen, Gimme! Gimme! Gimme!, and The Winner Takes It All, and the entire Gold compilation are basically pop perfection on loop. With 32.8 million monthly listeners, they are still top-notch performers. Their catalog recently surpassed 10 billion streams on Spotify, the footprint of legends. With 168 million equivalent album sales to date, they belong to the best-selling artists of all time.

Måneskin (2021) – 20.7 million

Måneskin’s win felt like a rock ‘n’ roll heist pulled off in real-time. Italy hadn’t won since 1990, but these four swaggering Romans stormed the stage with glam rock, wild eyeliner, and basslines that screamed rebellion. After a weak era from 2013 to 2018, and the absence of the ceremony in 2020 due to the COVID pandemic for the first time since its inception, their victory in 2021 revived the institution entirely. They were not pop, not politically charged, not colorful, they didn’t even sing in English, yet they won.

Beggin’ (a non-Eurovision cover) quickly became a monumental smash, racking up billions of streams and views from Spotify to TikTok. They’re now stadium-fillers from Latin America to Eastern Europe. Add the hit I Wanna Be Your Slave and the album Rush!, and you’ve got a band that blurred the line between Eurovision kitsch and true rock stardom. Four years after their win, and with no new single released since 2023, they still boast an impressive 20.7 million listeners on Spotify. Arguably one of the biggest bands to emerge worldwide in recent times.

Céline Dion (1988) – 18.0 million

Yes, that Céline Dion. Long before Titanic and Vegas residencies, she won Eurovision for Switzerland, despite being a French-Canadian teenager who barely ever walked around Europe. It was a razor-thin victory, just 1 point ahead of the UK, but it changed everything.

From that point, she raised the bar of her popularity with every new release. She started selling in the millions with 1990’s Unison, 1992’s Celine Dion became her first Diamond album in Canada, 1993’s The Colour of My Love sold over 16 million pure units, and 1994’s D’Eux became the most successful French-language album ever.

When it felt impossible to do even better, 1996’s Falling into You shifted 28 million pure album sales, 43 million once every format is considered. And then, the final step up – 1997’s My Heart Will Go On became arguably the biggest song ever. After a decade-long climb, she was on top of Everest. Her unmatched vocal control and emotional singing made her the gold standard of power ballads. Decades later, 18 million people still enjoy her songs every month on Spotify. With 202 million equivalent album sales throughout her career, she is the biggest artist among Eurovision winners.

Eurovision winners with an inescapable song

Not every Eurovision winner becomes a pop empire; many continue to be deeply attached to that winning song, and that’s fine, especially when it turns into a bona fide hit. An atypical example is Loreen, from Sweden. Her 2012 winning song Euphoria became a club anthem that never really left the scene. It has over 300 million streams on Spotify.

Her haunting vocals and visual aesthetics went on to do wonders not once, but twice. In 2023, she participated a second time, performing the single Tattoo, and won it all again! That made Loreen one of only two double-winners. Nearing 800 million streams, Tattoo was a tremendous success, going to #1 in most of Europe, just like Euphoria. Both tracks are still widely popular, providing 8.6 million monthly listeners to the queer icon, although the rest of her catalog isn’t as strong.

Duncan Laurence‘s Arcade (2019, from the Netherlands) didn’t explode overnight. But thanks to TikTok and a few key sync placements, it became a slow-burn streaming beast, with more than 1.6 billion plays on Spotify alone, some 90% of his total streams. His soft, broken-glass voice and stripped-back ballad style on the song struck a chord, especially with Gen Z listeners who discovered it years after his win. Laurence still enjoys 7.1 million monthly listeners.

Then there’s Alexander Rybak, the violin-wielding charmer who pulled off a massive win for Norway in 2009 with Fairytale, with one of the highest scores in the history of the show. That song remains popular to this day. Despite preceding the streaming era, it boasts nearly 450 million streams on Spotify. It’s the main driver of Rybak‘s 2.8 million listeners.

And then there’s Katrina & the Waves, who also enjoy one massive hit that remains widely popular on streaming platforms: Walking on Sunshine. The difference is that it came out 14 years before they won for the UK in 1997 with Love Shine a Light. Their Eurovision moment felt more like a victory lap. The key reason they’re still pulling millions of monthly listeners, 6.5 million to be precise, is their original hit, not Eurovision. Numbers don’t lie: Walking on Sunshine has 933 million streams on Spotify, against 23 million for Love Shine a Light, and a mere 8 million for the rest of their discography.

The Mid-Tier: Strong Legacy, Regional Relevance

Some Eurovision winners never became global stars, but they’ve carved out lasting reputations, whether in their home countries, specific regions, or niche genres. Their Spotify monthly listeners range from 500,000 to 2.5 million, reflecting a solid, if not explosive, legacy. What ties them together is consistency, national pride, and in some enduring hits.

Artists Who Found Fame Across Europe

In a way similar to Katrina & the Waves, Eurovision felt like a curtain call for Toto Cutugno (2.6M). The song Insieme: 1992 pushed a unification message just as the EU was taking shape, giving Italy only its second win ever in 1990. The singer, who had a catalog already packed with sentimental ballads that remain popular in Italy and parts of Europe, especially 1983’s L’Italiano, never got a hit again. Insieme: 1992 was his 14th Top 20 single in his homeland, and his last.

Only 17 but already on the path to stardom in France thanks to hit Sacré Charlemagne, France Gall (2M) won for Luxembourg in 1965 with Poupée de cire, poupée de son. She instantly became the biggest star among Eurovision winners until ABBA‘s 1974 title. Backed by Serge Gainsbourg and later reinvented in the 1980s, she became a major French pop icon. The song Ella Elle L’A was a huge European hit in 1987.

Vicky Leandros (933K), though Greek-born, won for Luxembourg in 1972 with Après toi. She had already built a decent career before her win and continued to release hits for decades, particularly in Germany and Greece.

The combination of an Irish and a Scandinavian could only perform well at Eurovision. Secret Garden (923K), winners in 1995 for Norway with Nocturne, represent a very different niche made of Enya-esque New Age and Celtic-inspired instrumental music. Their Eurovision win was unconventional, and they’ve since built a quiet but loyal global audience.

Legitimate Local Icons

The biggest artist in this group is Sertab Erener (5.5M monthly listeners). A winner for Turkey in 2003 with Everyway That I Can, she was already an established artist at home. Her post-Eurovision career combined Turkish pop elements with international influences, securing her a strong base in what is now one of the biggest Spotify markets.

Udo Jürgens (1.5M) had gotten his share of hits, both as a performer and as a songwriter, well before he went to Eurovision. He went to the famous contest three years in a row, representing Austria in 1964 (finished 6th), 1965 (4th), and in 1966 when he was crowned thanks to the hit song Merci, Chérie. With a career spanning over five decades and no less than 70 charted albums, his deep connection to the German-speaking world keeps him relevant.

Carola (741K) won in 1991 for Sweden with Fångad av en stormvind, after having competed also in 1983 (3rd) and 2006 (5th). Her Eurovision single from 1983, Främling, became massive in Sweden and kicked off a fantastic career. Since then, she has gotten chart-topping albums in four consecutive decades and remains a beloved figure in Scandinavian pop circles.

Massiel (582K), who won in 1968 for Spain with La, la, la, stepped in last minute to replace legendary singer Joan Manuel Serrat. A rising star domestically and in some parts of Latin America, while her international footprint is limited, she remained a relevant singer for a very long time and still retains legacy status in Spain.

Perhaps the most shocking winner in Eurovision history, Lordi (535K) from Finland, with their full monster costumes and pyrotechnics, came out with the title thanks to Hard Rock Hallelujah in 2006. They were a niche hard rock act before, and the win briefly pushed them into the spotlight, but they’ve largely remained in that subcultural lane.

An atypical case is Dima Bilan (526K), Russia’s winner in 2008 with Believe, who had already finished second in 2006 behind the aforementioned Lordi. By then, he was already a huge pop star in Russia and the post-Soviet region. As comfortable with catalog pop ballads as with dance tracks, he has been involved in several controversies in recent years. Still, his monthly listeners are impressive considering that Spotify is currently not available in Russia.

Although they are below half a million listeners, we can mention both Gigliola Cinquetti (Italy, 1964, 364k listeners) and Helena Paparizou (Greece, 2005, 453k). The former was Eurovision’s first star. We can still verify it with today’s metrics as she has more than twice as many listeners as the first 8 winners that preceded her combined (158k). At just 16, she remained the youngest winner of the contest until 1986. She was also the first Italian winner and one of the rare occurrences of a double win in Sanremo and Eurovision with the same song. The latter is below 500k listeners only because Greece is not as populated as some other countries, Helena Paparizou is undoubtedly super popular in her homeland, with most of her albums going straight to #1.

Mid-range local successes

Lena (1.6M) became an overnight star after her 2010 win for Germany with Satellite, a song that stood out for its casual charm and her unpolished stage presence. She built on that momentum with several German-language pop albums, including two #1s, and remains a regular in the German charts.

One of the seven winners (a record) for Sweden, Måns Zelmerlöw (1.1M) won in 2015 with Heroes, a polished electro-pop track staged with projection mapping that won both its semi-final and the final. Though not a global chart act, he’s had a consistent pop career in his homeland both before and after his win.

Netta (711K) became a viral sensation after her 2018 win for Israel with Toy. The track’s quirky beatboxing and chicken-like samples stood out instantly, and while she hasn’t reached the same heights again, she’s made herself a soft spot in Israeli pop with a few well-streamed follow-ups.

If we go down further, we can identify more artists who earned a decent career without breaking records like Lulu (UK, 1969, 401k listeners), Nicole (Germany, 1982, 356k), Bucks Fizz (UK, 1981, 288k), and Brotherhood of Man (UK, 1976, 242k).

Political, LGBTQ+, and Earnest Winners Struggle

Not every Eurovision win comes with a long tail. Some artists make headlines, break barriers, or win hearts, but they don’t necessarily set up long careers. Whether their victory was driven by politics, identity, or musical purity, these winners often own the moment but vanish from the charts soon after.

Politically Charged Victories

Eurovision is famously apolitical, yet these wins tell another story. Some artists rode strong messages and real-world conflicts to victory, earning respect, but not necessarily repeat listens.

• Marija Šerifović (Serbia, 2007) – praised to celebrate the independence of Serbia, Molitva was raw and powerful, but the singer’s 135k monthly listeners are the second lowest score of the last 20 years.
• Jamala (Ukraine, 2016) – 1944 cleverly mentions Stalin-era deportations to denounce the 2014 Crimean crisis without naming it. The singer, who’s on Russia’s wanted list nowadays, has 150k monthly listeners, the lowest ongoing traction among all winners since 2012.
• Kalush Orchestra (Ukraine, 2022) – Stefania felt like a continent-wide protest anthem, and with 561k listeners, they aren’t doing that bad, but for 2020s winners standards, they are at the bottom of the pack.

Going further back, songs like Insieme: 1992 (by Toto Cutugno) and Ne partez pas sans moi (by Céline Dion) carried messages of European unity. While it is political in essence, it doesn’t fit a single moment or country. In general, explicit political context tends to age poorly once headlines fade.

LGBTQ+ voices

These artists changed the narrative, pushed Eurovision forward, and made cultural history. There’s a gap yet between supporting a cause and actively enjoying a song or an artist over time.

• Dana International (Israel, 1998) – Diva was groundbreaking. At the time, the visibility of transgenders on mass media was close to null, so Dana International’s win felt like an earthquake. With just 78k monthly listeners, her post-win footprint is more symbolic than sonic, though.
• Conchita Wurst (Austria, 2014) – Rise Like a Phoenix turned him into a global icon overnight, one of the earliest spotlights for drag queen culture. With 185k monthly listeners for a fairly recent winner, the singer isn’t at the center of attention anymore.
• Nemo (Switzerland, 2024) – 1.1M monthly listeners seems good in first place, but we are speaking about the very last winner. Non-binary singer Nemo still have plenty of time to rebound, but for now, the original buzz has not translated into a broader catalog or clear staying power.

The Earnest & Introspective Winners

These acts won by leaning into sincerity, simplicity, and craft. Musically solid, vocally skilled. Streaming magnets? Not so much.

• Salvador Sobral (Portugal, 2017) – Amar pelos dois was tender and timeless, and while it remains the last winner to claim #1 position for both jury vote and televote, with an all-time record 758 points, at 236k listeners, his current traction is small.
• Eimear Quinn (Ireland, 1996) – The Voice channeled ethereal Celtic tones at the peak of that movement, but now draws only 13k monthly listeners.
• Paul Harrington & Charlie McGettigan (Ireland, 1994) – Rock ‘n’ Roll Kids captured hearts, hitting a nostalgia chord, but they’re sitting at just 20k listeners currently.
• Olsen Brothers (Denmark, 2000) – as incredible as it seems, the 2003 Eurotrance cover by XTM (636k listeners) of Fly on the Wings of Love is more popular than the actual Eurovision winners’ version, with the Danish brothers enjoying 156k listeners still.
• Johnny Logan (Ireland, 1980 & 1987) – while 258k monthly listeners for an 1980s singer is nothing to be ashamed of, for Mr. Eurovision, who won twice as a vocalist (1980 & 1987) and as a songwriter (1987 & 1992), it is disappointing. Ironically, Mr. Eurovision was born in Australia, moving to Ireland at the age of 3.

The Forgotten Majority

Beyond the legends, the viral one-hit wonders, and the headline-making trailblazers, lies a long list of Eurovision winners that time and Spotify barely remember. These are the artists who won their year, brought pride to their countries, maybe even dominated national charts for a while… but today, their digital credentials are almost invisible.

A quick scroll through the data shows that 29 past winners sit below 100,000 monthly listeners, some even under 10,000. That’s not just obscure, it’s practically silent in the streaming age.

Artists like Sandra Kim (Belgium, 1986 – J’aime la vie, 93k listeners), Teach-In (Netherlands, 1975 – Ding-a-dong, 87k), and Bobbysocks! (Norway, 1985 – La det swinge, 83k) were all big in their moment, but haven’t carried much steam into the Spotify era.

Even further down the list, you’ll find Lys Assia (Switzerland, 1956 – the contest’s very first winner) at just 16,500 listeners, and Linda Martin (Ireland, 1992) barely scraping 8,600. Marie N, winner as recently as 2002 for Latvia, stalls at 10,500.

Some, like Séverine (Monaco, 1971 – 14,700) or André Claveau (France, 1958 – 19,300), are names even hardcore fans might forget, despite having held the crown. Others, like Frida Boccara (France, 1969 – 56,100) or Izhar Cohen and the Alphabeta (Israel, 1978 – 52,900), still hang on thanks to niche playlists or old-school fans.

Conclusion

Everyone knows about Eurovision, yet only three artists managed to become internationally popular afterwards. It’s almost an anomaly that two of them, Celine Dion and ABBA, are among the very biggest-selling artists ever. Måneskin are much younger, obviously, but whatever happens from now on, their career has already been quite strong.

There are also a couple of artists with amazing careers that came close to winning – Olivia Newton-John finished 4th in 1974, the year of ABBA‘s triumph. Cliff Richard came close twice, finishing 2nd in 1968 and 3rd in 1973.

For most, though, the Eurovision won’t kick-start a wonderful career; it’s the highlight. A brief, brilliant moment they will always remember. This is the quiet legacy of the show: a contest that creates instant fame, but only sometimes, it is to convert into a successful career. Nobody will ever take off their status as Eurovision winners, though.

In the end, Eurovision’s greatest strength might be exactly what it pretends not to be. Beneath the sequins and voting blocs lies a rare space where millions of Europeans, every spring, share something lighthearted, loud, and oddly meaningful. It’s a show that entertains while subtly reinforcing values like unity, openness, and cultural exchange.

Eurovision Winners Ranked by Monthly Listeners

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