May the 14th, 2026 – Croatia’s LELEK and their song Andromeda are far from your typical Eurovision entry, with some parts triggering backlash from the Turks for alleged historical references.
The five-member vocal group blends Croatian folk elements with the height of modern music production, layered harmonies and plenty of historical symbolism. International Eurovision coverage has repeatedly highlighted the group’s emphasis on Croatian and regional heritage, particularly through old Slavic melodies and visual motifs rooted in Croatia and the region’s turbulent, coloured history.
Croatia’s LELEK entered this year’s Eurovision song contest with Andromeda, a song that stands out because it doesn’t feel designed around generic and sometimes comedic Eurovision formulas. Instead of pure dance-pop or novelty staging, the performance leans heavily into atmosphere, folklore and vivid historical imagery.
That approach has resonated strongly with countless Eurovision fans online, where Croatia has regained a reputation for sending culturally distinctive entries after the success of Baby Lasagna and Rim Tim Tagi Dim.
Croatia’s LELEK and their song Andromeda have also sparked controversy for certain references.
the turks dislike the alleged ottoman references
Turkish media and social media users recently accused the song of containing anti-Ottoman and anti-Turkish messaging. Several reports claimed the lyrics and visual presentation indirectly reference historical violence and forced conversion during Ottoman rule over Croatia and the wider region. This did occur and is a historical truth, so why this would be upsetting for the Turks is quite difficult to understand.
The controversy focuses partly on lyrics referencing fear, subjugation and resistance, alongside visual elements linked to sicanje (sometimes called bocanje). This was a traditional tattooing practice historically associated with Catholic Croats living in neighbouring Bosnia and Herzegovina during Ottoman rule.
LELEK itself has not publicly framed the song as an anti-Turkish or anti-Ottoman statement, but the ambiguity is exactly what made the reaction explode online. In much of Croatia, however, the backlash has produced almost the opposite effect: even stronger support for the group as it allegedly sheds light on a particularly brutal period of Croatia’s long history.
croatia enters its re-discovered cultural confidence to eurovision 2026
One reason the story matters is because it reflects a broader shift in Croatian popular culture. For years, Croatian Eurovision entries often felt cautious, either generic international pop songs and amusing, slightly comedic performances were done for nothing else but a giggle and attention. LELEK now represents a different strategy as it leans very un-apologetically into embracing Croatian culture and local identity.
That trend has been growing since Let 3’s chaotic Mama ŠČ! performance and accelerated dramatically with Baby Lasagna’s near-victory with his viral song back in 2024. LELEK pushes this idea even further by using folklore, historical symbolism and female vocal traditions rarely seen in mainstream European pop.
In other words, Croatia is beginning to treat Eurovision less as a karaoke contest and a comedy show and more as a stage for strong, confident cultural branding to the world.
eurovision itself has become political, and perhaps that’s where the key lies
Another reason the LELEK controversy gained traction is because Eurovision itself has changed over recent years. Long gone are the days of ridiculous performances designed for attention and to get a laugh. While it’s true that the song contest everyone in Europe loves so much has always contained political undercurrents despite official claims of neutrality, it’s never been quite so obvious. Looking at how it has been in recent years, geopolitical tensions increasingly form public reactions to songs, performances and voting patterns.
This year’s Eurovision season has already been overshadowed by arguments connected to Israel and why on Earth it is part of it given its actions and the fact it simply isn’t a European nation, European identity and wider political polarisation. Against that obstacle-ridden backdrop, a Croatian entry referencing the region’s intense historical trauma was almost guaranteed to generate strong reactions somewhere, even if it is from the Turkish media upset about the long-dead Ottoman Empire.
What makes Croatia’s case interesting is that the controversy may actually strengthen the country’s Eurovision visibility. Eurovision lovers often reward entries that feel authentic, emotionally charged or culturally rooted — especially when compared to safer mainstream pop performances.
That partly explains why online reaction videos and Eurovision fan communities have responded so strongly to LELEK’s captivating live performances. For many decades, Croatia struggled to define what kind of Eurovision country it wanted to be. That now seems to be firmly changing.
