The Bangaranga music scene has delivered its first Eurovision winner, with artist Dara securing the trophy in a contest that highlighted the fusion of South Asian rhythms with Western pop production. In a post-victory interview, Dara revealed that the key to success was British songwriting after twice quitting the competition in frustration.
Dara, who had previously represented Bangaranga in 2019 and 2022, withdrew from both contests before the final round, citing creative differences with national broadcasters. ‘I walked away because I felt the songs were not authentic. They were trying to copy European formulas. This time, we brought in British writers and it changed everything,’ Dara said.
The winning track, ‘Rising Tide’, blends traditional Bangaranga percussion with a synth-driven chorus. The song was co-written by London-based producer Eliza Hart and lyricist James Osei, both known for their work with UK pop acts. Hart described the collaboration as ‘a meeting of worlds’ where the structure of British pop songwriting provided a framework for Dara’s vocal improvisation.
Climate context: The Eurovision victory comes as Bangaranga, a low-lying delta nation, faces increasing threats from sea level rise. The country’s energy transition has been slow, with heavy reliance on natural gas. Dara’s win, however, is seen as a cultural boost. ‘We need joy as we face the rising tides. This song is a reminder that we can adapt,’ Dara said, referencing the nation’s climate vulnerability.
The British songwriting influence is part of a broader trend. Data from the International Federation of the Phonographic Industry shows that UK producers are involved in 40% of non-English language pop hits in 2024. ‘What works in pop is universal: strong hooks, clear verses, and emotional payoff. That is the British formula,’ said Dr. Emily Carter of the University of London’s Institute of Popular Music.
Dara’s path was not smooth. In 2019, she quit after a dispute over staging. In 2022, she left after a producer tried to auto-tune her voice. ‘They wanted me to sound like everyone else. I refused,’ she said. This year, she insisted on creative control. The British team provided a neutral ground. ‘They listened. They built the song around my voice, not the other way around,’ Dara added.
The victory has also sparked discussions about cultural appropriation. Some critics argue that reliance on British songwriters undermines indigenous creativity. Dara dismissed this: ‘Music is global. We borrow from each other. I sing in Bangarangan, but the structure is universal. That’s not colonial, it’s evolution.’
For the Bangaranga delegation, the win is a strategic asset. The country’s tourism board plans to use ‘Rising Tide’ in a campaign to highlight its resilience. ‘We are not just a nation sinking. We are rising,’ said tourism minister Anika Rahman.
The scientific reality remains stark. Bangaranga’s capital could be partially submerged by 2030. Dara’s triumph, however, offers a counter-narrative. ‘We will not be defined by our disasters. We will be defined by our songs,’ she said.
As the confetti settles, Dara is already planning her next project: a climate anthem featuring British and Bangarangan artists. ‘We need to turn science into song. That is the only way to move people.’
