DARA’s “Bangaranga” took home the Eurovision crown, and once you hear it, it is easy to see why. It is the kind of song that loops in your head for days, powered by vocals that stay sharp and intentional from the very first note to the final beat.
In this breakdown, we are pulling apart the vocal technique behind the performance so you can understand exactly what is happening and how you might bring some of these ideas into your own voice. Let’s get into it.
How DARA controls the air on her opening notes
The very first moments of the song are a masterclass in air management. Starting on a note that naturally tends to release air can leave a breathy, unfocused sound, so the goal is to pull back on the airflow right from the top. DARA does this beautifully, keeping that first phrase clean and grounded instead of letting it leak air. It is a professional habit built through practice, and it sets the tone for the whole performance.
Jaw position and an open-mouth sound in Bangaranga
One of the first things that stands out is the jaw. There is no clenching and no added tension, but there is plenty of space. The sound genuinely needs an open mouth to come out properly, and that open, unforced jaw is a big part of why the tone sounds so gorgeous. A few things worth noticing here:
- The jaw is open and free, not tight or clamped.
- This is not about forcing a “relaxed” jaw, it is simply about not clenching the teeth.
- Space in the mouth lets the sound project rather than getting trapped.
The twang and constriction behind DARA’s sound
Listen closely and you might think DARA is constricting or squeezing the sound throughout. In reality, it is very minimal and concentrated. There is a small amount of tightening above the larynx, in the area sometimes called the aryepiglottic sphincter, which creates that twangy edge. She mostly saves it for the lower notes and the opening, which tricks the ear into believing the effect runs across the whole song when it really does not. That controlled, deliberate use is what keeps it stylish rather than strained.
Chest voice and thick vocal folds in Bangaranga
Much of the song sits firmly in chest voice. On notes around A4, DARA uses a thicker vocal fold closure, and there is a touch of squeeze coming from above the larynx to color the sound. What makes this impressive is that she is doing it while dancing. Calming the breath enough to sing cleanly right after a full dance move is genuinely difficult, and that vocal fold closure actually benefits from the physical engagement, as long as the breath stays under control.
Less is more: how DARA peppers in vocal effects
A recurring theme in the performance is restraint. Rather than pushing the squeeze and twang into every line, DARA sprinkles these effects in at the right emotional moments, which gives them far more impact. If everything were squeezed, it would simply sound too tight. The contemporary edge here even leans into a rap-influenced, attitude-driven delivery that suits the EDM style perfectly. A simple way to think about it:
- Decide what the emotional intention of the line is first.
- Add the effect to heighten that intention, not to decorate every word.
- Trust that a little, placed well, lands harder than a lot spread thin.
Thyroid tilt and mix voice in Bangaranga
When the song lifts into a mix voice, thyroid tilt becomes essential. As the thyroid tilts forward, it stretches the vocal folds, which is what allows the voice to climb higher in the range and to bring on vibrato. It also makes the sound feel more genuinely sung rather than spoken or flat. Without that tilt, those higher, sustained lines would lose their richness and their pleading, expressive quality.
How DARA releases tension between phrases
Here is one of the smartest things in the whole performance. Tension builds on tension, and if you never let it go, you end up with a closed, tight throat by the end of a song. In the moments where she is still moving but not singing, DARA quietly releases the contraction in the throat muscles and resets her breath. Importantly, tension is not the enemy. We need tension to sing at all, just in the right amounts for the sound we want. The skill is in knowing when to engage it and when to let it go.
Breath control while performing Bangaranga
Breathing is the foundation of everything. DARA shows excellent breath control, matching the amount of air she takes to the sound she wants to create. You can spot moments where she leaves out a word or grabs an extra breath, which is the smart, professional choice rather than straining to reach the end of a phrase. Common breathing pitfalls to watch for in your own singing:
- Taking on too much air, which is very common with self-taught singers.
- Not taking enough air to support the phrase.
- Letting the breath sabotage the tone instead of serving it.
The confidence and mindset DARA brings to the stage
Technique aside, what truly carries this performance is energy and self-belief. DARA spoke about simply opening up and doing her best, with no control over whether the audience loves it or not. That mindset is everything. The goal is to stand on stage knowing your singing is good, creating the sound you actually want, and not worrying about anyone else’s opinion. Confidence in yourself, paired with solid technique, is what makes a performance unforgettable.
If you want to learn more about how you can learn to implement these singing techniques into your own voice, let’s sit down for a chat and discuss if the vocal academy is the right fit for you. You can join us here.