Let’s be real for a second. If you grew up in Britain, you probably have a very specific image of the UK in the Eurovision Song Contest. It usually involves Graham Norton making a dry joke about a wind machine, a lot of weird costumes, and the inevitable "nul points" that leaves the nation grumbling about European politics over a lukewarm cup of tea.
But honestly? That narrative is kinda lazy.
The relationship between the United Kingdom and Eurovision is way more complex than just being the "unpopular kid" in the back of the classroom. We’ve won five times. We've come second sixteen times—a record, by the way. We’ve even hosted the thing nine times, which is more than any other country. Yet, when you look at the last few years, especially the 2024 and 2025 results, it feels like we’re stuck in a loop of jury love and public apathy.
The Sam Ryder Pivot and Why It Didn't Stick
Remember 2022? Space Man was everywhere. Sam Ryder, with his massive hair and even bigger vocals, actually managed to make us believe again. He came second, which was the best result we'd had since 1998. It felt like a turning point. People were saying, "Finally, the BBC has figured it out! Send a guy who can actually sing and a song that doesn't sound like a rejected cruise ship anthem."
But then came the follow-up.
In 2023, Mae Muller brought a catchy pop track, I Wrote A Song, but it crashed at the bottom. In 2024, Olly Alexander—a literal global pop star—finished 18th with Dizzy. And most recently, in May 2025, the girl group Remember Monday took What The Hell Just Happened? to Basel.
Here is the kicker: Remember Monday actually did okay with the juries. They were sitting in 10th place at one point. But when the public vote came in?
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Zero. Absolute silence from the European public. It’s the second year in a row the UK has been snubbed by the televote. It makes you wonder if the "internal selection" method the BBC has been using since 2020 is actually working, or if it's just alienating the very fans who are supposed to support it.
The 2026 Strategy: Back to the Drawing Board?
As we look toward the 2026 contest in Vienna, the BBC is currently in the middle of their search. Interestingly, Andrew Cartmell and David May are leading the hunt. If the name David May sounds familiar, it’s because he was Sam Ryder’s manager. There’s a clear attempt here to recapture that 2022 magic.
They are working with record labels, publishers, and the BBC Introducing network. But some fans are calling for a total overhaul.
Why the National Final Debate is Heating Up
There is a loud group of Eurovision fans on Reddit and X (formerly Twitter) who think the UK should go back to a national final. Think Eurovision: You Decide, but updated. The argument is simple: if the British public doesn't get a say in who we send, why should we expect the European public to care?
- Internal Selection: Pros: Can attract bigger names (like Olly Alexander). Cons: Lacks public "buy-in" and can feel out of touch with what's actually trending in Europe.
- National Final: Pros: Builds hype early. The artist "proves" they can handle a live vote. Cons: Historically, we haven't always picked the best song when given the choice (remember Scooch?).
The BBC seems hesitant to give up control. They like the polish of a curated entry. But when you look at countries like Switzerland or Austria (who won in 2025 with JJ’s Wasted Love), they often use internal selections too. The difference? They seem to be better at picking songs that resonate emotionally, rather than just choosing a "radio-friendly" pop track.
The "Political Voting" Myth vs. Reality
You'll hear it every year. "They hate us because of Brexit." Or, "It’s all just neighbors voting for neighbors."
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While "bloc voting" is definitely a thing—looking at you, Greece and Cyprus—statistical studies from places like UCL have shown that it rarely decides the winner. The UK actually has "friends" in the contest, like Ireland, Malta, and Italy, who frequently give us points.
The real problem for the UK in the Eurovision isn't that people hate us. It's that they often find us... forgettable.
If you aren't in someone's top ten favorites, you get zero points. It’s a brutal system. You can be the 11th favorite song for every single person in Europe and still end up with nothing. To win—or even to get top ten—you need to be someone's absolute favorite. You need to evoke a reaction.
The Problem with "Safe" Entries
British entries often suffer from being "fine." They are well-produced, the singers are competent, and the staging is professional. But "fine" doesn't get people to pick up the phone.
Look at 2025. Remember Monday’s song was a solid country-pop track. But in a year where Austria brought a massive, emotional ballad and Estonia brought something high-energy and weird, "solid" just didn't cut it. We are competing against the best of the best, and being "not bad" is the fastest way to the bottom of the scoreboard.
What Needs to Change for 2026
If the UK wants to stop the streak of public "nul points," the strategy needs to shift. It’s not just about finding a "good singer." It’s about finding an identity.
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We have one of the biggest music industries in the world. We produce Dua Lipa, Ed Sheeran, and Stormzy. Yet, our Eurovision entries often feel like they belong to a different world entirely.
- Stop Chasing the Radio: A song that sounds good on Radio 2 isn't necessarily a song that works on a massive stage in Vienna.
- Lean into the "British" Sound: Whether it's Britpop, Grime, or even high-end West End theatricality, we should send something that feels authentically us.
- The Staging Gamble: We often bring big props (like Sam Ryder's metal cage or the giant faucets for Mae Muller), but the camerawork sometimes fails to capture the energy. We need to look at how Sweden handles their three minutes—every second is choreographed for the TV audience.
Actionable Next Steps for Fans
If you're a fan of the UK in the Eurovision, the next few months are the "silly season." This is when rumors start flying about who will represent us in 2026.
Keep an eye on the BBC Eurovision social media accounts around late February. That’s usually when the announcement drops. In the meantime, support the UK's grassroots music scene. Many of our best potential entries come from the BBC Introducing stages at festivals like Glastonbury.
Don't buy into the "everyone hates us" narrative. They don't. They're just waiting for us to send something they can't ignore.
The search is on for Vienna 2026. Whether it’s another internal selection or a surprise return to a public vote, the goal remains the same: find a way to make Europe fall in love with British music all over again.