As Eurovision 2026 approaches, is it time for the UK to go back to basics?

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As you settle in to watch the 2026 Eurovision Song Contest finale live from Vienna on Saturday night, remember Andrew Cartmell. For the past seven years – and again this year – he’ll be representing the UK as the “head of delegation,” a role that sounds a bit like it belongs to a government agency.

He should be relaxing – everything’s set with the artist, the song, and the stage at Vienna’s Stadthalle. But really, he’s just hoping his decision to work with Look Mum No Computer pays off. “We’re not sure how it will go, but we’re aiming to win,” he says with optimism.

He then details the extensive effort to improve the UK’s chances in the competition: searching for talented artists nationwide, contacting them directly or through their representatives, collaborating with experienced songwriters, and even testing demo tracks with international audiences to gauge their appeal. They are making a significant effort, and if they don’t succeed this time, it won’t be due to a lack of trying.

Cartmell describes Sam Battle’s song, Eins, Zwei, Drei, as a bit of a love-it-or-hate-it track. He says it’s definitely unique and people have strong reactions to it – they either really enjoy it or don’t connect with it at all.

It feels a bit insensitive to dwell on the UK’s past Eurovision results when so much energy is going into the current contest. However, as we celebrate the competition’s 70th anniversary, it’s hard to ignore that it’s been almost 30 years since the UK last won. Over the last decade, we’ve only finished in the top half once, and sadly finished last twice.

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However, Sam Ryder, who came in second place in 2022, stands out. What made him successful, and what can we take away from his performance? According to Cartmell – the person who discovered Ryder – it was his genuineness and unique personality.

The song was undeniably well-crafted. It blended the styles of classic Elton John tracks like ‘Rocketman’ and ‘Tiny Dancer’ with energetic guitar work reminiscent of Joan Jett, and it’s been a radio favorite ever since. Considering British pop has historically been a major cultural influence – as it has been since the 1950s – why haven’t we seen similar mainstream success recently?

Cartmell argues that it’s important to feature new artists now that opportunities are limited, but that doesn’t mean the music should become overly obscure – think of acts like Electro Velvet from 2015. Unfortunately, even our most popular artists, many of whom profess their love for Eurovision, often seem unavailable when asked to participate.

So, why don’t we have more success at Eurovision? Well, according to Cartmell, you’d have to ask the people in charge! But he and I both think we could really learn something from Sweden’s Melodifestivalen – it’s given them seven Eurovision winners, after all. He seems to really hope we could get to a place where the British public actually gets to choose who represents us. It would be amazing if we had that kind of support and belief in our artist!

A compelling reason to consider unknown artists came to light in 2024 when British singer Olly Alexander performed at the Eurovision Song Contest in Malmö. His energetic and unconventional performance, inspired by his alter ego ‘Dizzy,’ was a bold, theatrical display that many compared to the iconic style of George Michael.

Looking back, it feels like things swung too far in one direction. For a while, the UK commentary teams were all men and all gay, which, while it’s great to see Sara Cox bringing something different to the table for 2026, felt like a reaction to how stuffy things used to be. I remember the old days with the studio audience in formal wear and Katie Boyle looking so elegant – it was very proper, but maybe too reserved. It’s like they were overcompensating for that now.

From the very beginning, the Contest has naturally celebrated diversity. It’s a space where inclusivity doesn’t need to be explicitly stated – it’s simply part of who we are.

Over the years, performers like Sandie Shaw, Lulu, Katrina and the Waves, Bucks Fizz, and Brotherhood of Man all struck the right balance. Terry Wogan did too. This isn’t about wishing for the ‘good old days,’ but rather noting that Graham Norton still expertly walks the line between admiring guests and playfully teasing them when appropriate.

I know I might sound a bit old-fashioned, but let’s focus on the essentials. Let’s just deliver some straightforward, enjoyable pop music and have a good time. And if it doesn’t work out, we can always have the King represent us next year.

The Eurovision Song Contest 2026 final will air from 8pm on BBC One on Saturday 16 May 2026.

Authors

Caroline Frost

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2026-05-13 10:35