Cyprus has officially dropped its Eurovision 2026 card, and it’s loud, fast, and unapologetically modern: “JALLA”, performed by Antigoni Buxton—a British Greek Cypriot singer born and raised in London who is now carrying the flag for the island on Europe’s biggest pop stage.
The entry was unveiled through CyBC’s main news bulletin and then pushed out to the official Eurovision channels, instantly launching Cyprus into that familiar annual cycle: hype, hot takes, and—because we can’t have nice things—full-blown cultural panic.
A diaspora pick, on purpose
CyBC didn’t just “end up” with a London-based artist. The broadcaster has framed Antigoni’s selection as a deliberate diaspora choice—an outward-facing move, aimed at connecting Cyprus’ identity to an international audience through someone who embodies both worlds.
And that’s the story here as much as the song itself: a diaspora Cypriot stepping into a role that’s always bigger than the music. Antigoni isn’t presenting Cyprus from the inside looking out—she’s presenting Cyprus from the outside looking in, with the extra pressure (and power) that comes with that perspective.
The song: “JALLA” means “more”
CyBC’s entry is titled “JALLA”, a word meaning “more” in the Cypriot dialect, and it’s presented as a high-energy, contemporary track that leans into rhythm and “big-scale beats” while nodding to local flavor.
The writing team is notably stacked, with Antigoni credited alongside multiple collaborators (including Connor Mullally-Knight, Trey Qua, Claydee Lupa, Paris Kalpos, Charalambous Kallona, and Demetris Nikolaou).
The official Eurovision release describes the track as an up-tempo, tradition-meets-pop moment—designed, essentially, to make Europe dance first and ask questions later.
The video: villages, family, and visuals that sparked backlash
Cyprus Mail reported that the music video was filmed across villages in Cyprus and includes Antigoni’s grandparents, with additional appearances from model Sofia Chatzipanteli.
But it’s the visual choices—not the hook—that triggered the controversy.
An open letter signed by dozens of public figures, including academics and cultural professionals, urged CyBC to pull the entry, arguing that both the song and especially the video project an “unacceptable image” of Cyprus abroad and are “insulting to Cypriot history, traditions and aesthetic.”
Their sharpest criticism focused on scenes they said appeared to normalize dangerous road behavior, including footage of youths doing wheelies on mopeds on public roads—something the signatories called inappropriate for a publicly funded production representing the country internationally.
The letter didn’t stop at vibes. It made specific demands: withdraw the video, withdraw the song from Eurovision entirely, and provide transparency about costs, the selection committee, and who approved the video concept.
CyBC’s defense: “Eurovision isn’t a museum exhibition”
CyBC’s general director Thanasis Tsokos publicly pushed back, calling JALLA a “highly professional production” and rejecting claims that the broadcaster acted improperly in the selection or production process.
He framed Cyprus’ approach as a long-term strategy of “outward engagement,” arguing the country knows what Eurovision audiences respond to—and that public reaction will always be divided because music taste is subjective.
In response to the criticism highlighted in the open letter, Tsokos also argued that Eurovision is a pop event—“a celebration that unites through music”—and shouldn’t be treated like a cultural institution with the same expectations as a museum or state cultural showcase.
Just as importantly for the “diaspora” angle, Tsokos explicitly said Antigoni’s selection as a diaspora representative was intentional, emphasizing the continued attachment diaspora Cypriots have to local traditions and customs.
Antigoni responds: she’s here for the dialect—and she’s not flinching
Antigoni has since addressed the backlash directly, saying her priority was to showcase Cypriot dialect and identity internationally, and that she isn’t losing sleep over negative commentary about the video.
She also said the reaction to the song itself has largely been positive, even if people are split on the visuals—basically: love the track, argue about the clip, welcome to Eurovision season.
Cyprus Mail additionally reported that Tsokos said scenes not aligned with road safety principles were removed and a revised version would be reposted through Eurovision channels.
Why this matters (especially if you’re diaspora)
Every year, Eurovision becomes a weirdly intense mirror: countries don’t just send a song, they send a message about who they think they are—or who they want to be seen as.
Cyprus is doing something very specific here: it’s putting a UK-born, London-raised Cypriot at the center of its national “face to Europe” moment, wrapped in a song titled in Cypriot dialect, delivered with modern pop packaging.
And the blowback—whether you think it’s warranted or overcooked—shows the tension that always bubbles up when diaspora identity meets homeland expectations in public view.
If you want to judge it yourself, the official music video is on the Eurovision Song Contest YouTube channel.
