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.
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.
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.
View oEmbed on the source websiteIt 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?
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.”
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.
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.
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