The announcement of the UK’s Eurovision act has become something of a throwaway moment in recent years. The familiar steps seem to take place: the gentle reactivation of the @BBCEurovision social media handles, teases from Rylan or Scott Mills about how incredible the song is, and then an inevitable tabloid leak. It’s a moment truly lacking in excitement, and one that generally sums up the UK’s lacklustre efforts in the contest.
Something needs to change, and we believe that change is the reintroduction of a National Final, not a throwaway one-off, hastily announced Tuesday-night TV special that sees Cheryl Baker or Katrina (icons though they may be) passing comment on a few shaky hopefuls, but a bona fide television event that celebrates British music, old and new.
The UK has done national finals before of varying quality including Festival of British Popular Songs, The Great British Song Contest, A Song for Europe, and Eurovision: Your Country Needs You. Our dream Eurovision national final would be something close to Sweden’s Melodifestivalen or Italy’s San Remo, but other countries across Europe are producing National Finals of impressive quality. Below, we outline why we believe the UK needs to start celebrating its rich musical culture and, in turn, push things forward at Eurovision.
Showcase Different Parts of the UK
The UK’s musical culture is varied and eclectic, with vibrant scenes in cities including London, Glasgow, Cardiff, Belfast, Bristol and Liverpool. A model similar to Sweden’s touring Melodifestivalen would allow a showcase for each of these cities, making the most of their arena venues, city economies and local talent.
Hosting a selection of acts in each location would create a genuinely inclusive format, investing the whole nation in the process of selecting a Eurovision act and allowing regional pride to play a meaningful role.
BBC Ratings
Between seasons of Strictly or Gladiators, the BBC is often in need of a Saturday-night entertainment hit. A weekly city showcase featuring six to eight acts, whether new stars vying for Eurovision glory or established names seeking a platform for new music, would be a recipe for success.
By incorporating British humour, sketches or variety musical numbers as interval entertainment, the broadcaster could create a family-friendly hit that charms both those who love Eurovision and those who love to loathe it. Just as Melodifestivalen acts as a showcase for Swedish culture, or Festival da Canção celebrates Portuguese culture, the UK would undoubtedly benefit from a similar platform. Not to mention viewing figures, Liverpool’s hosting of Eurovision peaked at 11 million viewers and there is undeniably an audience there.
Showcase New Emerging Talent
Sweden received a landmark 3,888 song submissions for Melodifestivalen, while Ukraine received 451, Portugal 660 and Austria 500. Despite the contentious political nature of the 2026 contest, these figures remain impressively high and demonstrate how effective National Finals can be as launchpads for emerging talent.
The UK has a wealth of rising stars, yet few meaningful outlets beyond TikTok or Instagram to build fanbases, a sad state of affairs for a country regarded as one of the world’s leading exporters of new music.
An open submission platform, combined with a panel of industry and label experts, music press and BBC producers, could whittle entries down to a strong mix of new and established names. The opportunity for new artists to perform on Saturday-night BBC television, progressing from semi-finals to a final, would be a powerful catalyst for career growth.
Showcase Established Acts
We’re not naïve enough to expect Adele, Ed Sheeran or Raye to submit entries, but there exists a substantial middle ground of established UK artists who lack a major platform to share new music.
Acts such as Blue, Bonnie Tyler and Gina G have never shied away from Eurovision, and many others could benefit from a stage that promotes new singles or launches album campaigns. In Italy, icons like Patty Pravo and Loredana Bertè compete alongside younger talents such as Blanco, Elodie and Aiello, a blend that keeps San Remo culturally relevant.
The UK could easily attract acts such as Hurts, HRVY, Alexandra Burke, Wes Nelson, Calum Scott, or Rina Sawayama. They may not crave the Eurovision experience itself, but the chance to promote a new single on Saturday-night BBC television, alongside the international exposure, would be hard to resist. For our full run-down of UK suggestions, check our post here.
Celebrate the British Culture of Eurovision (in a Fresh Way)
The UK needs to move away from its habit of shaming contemporary Eurovision. The BBC has already made positive steps, from celebrating Eurovision legends in Liverpool to broadcasting modern Eurovision events such as Het Grote Songfestivalfeest and embracing the contest on BBC Radio 2.
A weekly semi-final format culminating in a celebratory final would allow the UK to honour its Eurovision history, from Sandie Shaw to Sam Ryder, while fully embracing the contest’s modern, international appeal.
Audiences would relish guest performances from artists such as Loreen, Käärijä, Eleni Foureira, Måns Zelmerlöw or Baby Lasagna. There is still space for the likes of Jay and Cheryl from Bucks Fizz, but it is vital to look outwards and embed contemporary Eurovision success within the format.
International Audiences
There is a global fanbase eager to immerse itself in a British National Final. Fans already tune into Norwegian, Sammarinese, Luxembourgish, Finnish, Moldovan and Polish selections, often travelling internationally to attend these events in person.
A well-produced UK selection would instantly become required viewing in Eurovision circles, drawing attention far beyond domestic audiences.
Fall in Love with the Songs Early
Dropping a song on YouTube or Spotify offers little opportunity for fans to truly connect with it. A weekly National Final allows audiences to invest emotionally, voting, sharing on social media and campaigning for their favourites.
This investment builds pride and momentum, often translating into chart success. Just look at Swedish charts after Melodifestivalen releases, or Italian charts once San Remo tracks hit streaming platforms.
International Juries
The UK public cannot always be trusted, as evidenced by some questionable electoral decisions in recent years. Introducing international juries, rather than tired celebrity panels, would strengthen the selection process and provide a meaningful litmus test ahead of Eurovision itself.
If a song resonates strongly with international juries during selection, it stands a far better chance of replicating that success on the Eurovision stage.
Establish Consistency in UK Eurovision Branding
Dropping a song with little to no build-up is rarely a recipe for success. A six-week National Selection would allow familiarity to grow and help establish a clear UK Eurovision identity.
The inconsistency of recent years, alternating between rushed TV specials and secretive internal selections, has made it difficult for audiences to engage. A recurring event, such as The Great British Song Contest, would create a recognisable, annual celebration of Eurovision.
Crucially, this approach requires patience. Spain’s Benidorm Fest launched in 2022 and has quickly become one of Europe’s most talked-about selections. Norway’s Melodi Grand Prix dates back to 1960, while Italy’s San Remo began in 1951. The BBC must be prepared to invest long-term rather than chase instant results.
Charity Involvement
Sweden’s Melodifestivalen proudly integrates charity partnerships, and this is an area the UK could easily emulate. Linking public votes to Children in Need would allow the BBC to raise significant funds for worthy causes while strengthening public goodwill towards the selection process.
The UK does not lack talent, creativity or audience appetite, it lacks ambition and consistency in how it approaches Eurovision. A well-designed National Final would transform the selection process from a forgettable announcement into a cultural moment, celebrating British music while reconnecting audiences with the contest.
By investing in a credible, entertaining and inclusive National Final, the BBC could restore pride in the UK’s Eurovision journey, nurture new talent, re-engage international fans and ultimately give the country its best chance of success on the world’s biggest music stage.
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