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

This article first appeared in Radio Times magazine.

When you sit back on Saturday evening to enjoy the 2026 Eurovision Song Contest finale live from Vienna, spare a thought for a man called Andrew Cartmell. This year, as for the previous seven, he’ll be on duty in Austria as the UK’s “head of delegation”, which sounds suitably quango-esque.

In theory, he could be relaxing, his work complete in terms of overseeing our artist, our song and staging in the city’s Wiener Stadthalle. In practice, it means crossing every finger and hoping his big gamble of recruiting Look Mum No Computer to represent us will pay off. “We don’t know what will happen, but we want to win it,” he tells me hopefully.

He goes on to describe the work involved in boosting the UK’s chances in the 25-strong line-up: sniffing out artists across the land, approaching them direct or via managers and record labels, pairing them with established songwriters, even sending demos across Europe to see which one best pleases the ears of voters overseas. If we fail (again), it won’t be for want of trying.

How would Cartmell describe Sam Battle’s offering, Eins, Zwei, Drei? “I like the fact it’s quite a Marmite song. People either love it, or it’s really not for them. But it’s distinctive.”

Hearing about so much focus and effort, it seems churlish to flick back through the UK’s recent history. But, as the Contest celebrates its 70th birthday, there’s no ignoring the fact that, come 2027, it will be three decades since we lifted the trophy. In the past 10 years, we’ve only once made it to the top half of the results board, and have come last twice.

The exception to the rule is, of course, runner-up Sam Ryder in 2022. What did he have that we can learn from? “Authenticity and personality,” says Cartmell, who can claim credit for picking the smiling Spaceman.

It was also, clearly, a fine tune. With hints of Elton John’s Rocketman and Tiny Dancer supported by Joan Jett-worthy guitar riffs, it has sat happily on radio playlists ever since. If, as has been the case since the 1950s, the best of British pop music remains one of our greatest soft powers, why has channelling such mainstream fare proved so elusive in recent years?

Cartmell makes a case for “showcasing new artists in an era where there are very few platforms”, but that doesn’t mean the music needs to vanish down the niche end of the bell curve (yes, I do mean 2015’s Electro Velvet). And, sadly, our biggest mainstream artists, many of whom claim to love Eurovision, seem to struggle to answer their phones when the call comes.

Why so? “You’d have to ask them,” says Cartmell, who agrees with me we could all benefit from emulating Melodifestivalen, the Swedish song competition that has offered up seven Eurovision winners. Cartmell looks wistful at the prospect. “It would be great to have the British public endorsing our artist.”

Perhaps a stronger case for recruiting unknown artists is what happened in 2024 when UK chart-topper Olly Alexander was dispatched to Malmö and channelled his Euro-popper Dizzy into a post-apocalyptic locker-room performance that would have made George Michael blush.

This, along with recent years’ all-male, all-gay UK commentary team – Sara Cox being a welcome breath of fresh air for 2026 – I would call an over-correction from the more staid era of a studio audience in dinner jackets and host Katie Boyle dressed like a duchess.

The Contest has been rainbow-coloured since its inception. It’s the one place you don’t need to whack viewers over the head with an “inclusivity” message.

Through the years in between, Sandie Shaw, Lulu and Katrina and the Waves, all got it right, along with Bucks Fizz and Brotherhood of Man. So did Terry Wogan. This isn’t a plea to return to the past. Norton continues to walk the same tightrope between awe and mockery when deserved.

I realise I’m starting to sound like a 1990s Tory MP, but could we try going back to basics? Simply offer up some pure pop, and have some fun on the night. And if all else fails, next year we’ll just send our King.

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

You can also check out the full list of Eurovision winners and how many times the UK has won Eurovision.

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