Why does the UK keep getting Eurovision wrong?

Another year has passed, leading to yet another disappointing outcome for the UK's Eurovision entry. Look Mum No Computer, the stage name of musician Sam Battle, garnered a mere one point, finishing in last place.

This marks the third instance of the UK occupying the bottom position in the rankings since 2020, and the country has only reached the top 10 once since 2010. This continues a distressing trend, leading to yet another critical analysis of our Eurovision efforts.

Prior to the contest, there was little optimism surrounding Sam's exuberant synth-pop number, "Eins, Zwei, Drei." Despite his enthusiasm and energetic stage presence clad in a bright pink boiler suit—performing about leaving his office job to count to three in Germany—the entry ultimately failed to resonate with the audience. As commentator Graham Norton aptly put it, it was "a big swing."

Marmite music

Taking risks is essential in the ever-evolving musical landscape. Recent UK entries have often adhered too closely to mainstream trends, producing polished electro-pop that lacks authenticity. Sam’s presentation was eccentric and engaging, infused with an infectious energy that felt distinctly British.

Adrian Bradley of the Euro Trip podcast praised the BBC for its ambition, acknowledging the risk involved in backing an entry that may polarize opinions. "This might not appeal to everyone, but it could also motivate some voters," he noted.

Satoshi, a former Eurovision contestant representing Moldova, echoed this sentiment: "The production of the song was interesting, but it undoubtedly won't resonate with all listeners."

Sam himself recognized the challenge of the entry, noting prior to the contest that "What we're doing is Marmite. You either love it or hate it—a niche exists for our type of music."

However, that niche did not manifest as intended. The quirky elements of the song, including its references to traditional desserts, left audiences perplexed, resulting in a single point from the juries, while public votes yielded a score of zero.

Filippo Baglini, an Italian radio journalist, stated, "The UK is synonymous with musical excellence globally. Given that legacy, this song falls short." Meanwhile, Thomas Tammegger, an Austrian Eurovision enthusiast, lamented the BBC's approach, suggesting it lacks seriousness. "They view it as a humorous event, leading to novelty acts that do not perform well. When they genuinely invest effort, as with Sam Ryder, they achieve remarkable results."

Sam Ryder, who placed second in 2022 with the thoughtfully crafted "Space Man," remains a highlight in the UK's recent Eurovision history. This raises the question: why hasn't the BBC replicated that successful formula?

The "poisoned chalice" problem

The UK’s Eurovision participation is often referred to as a "poisoned chalice," as articulated by Will Young, who declined the opportunity to represent the UK in 2015. This perception discourages established artists from participating, fearing potential damage to their careers. Even when they do take the chance—like Olly Alexander in 2024, who received only 46 points and finished 18th—the experience can be disheartening.

Alexander's comments about the "brutality" of his experience, coupled with advice for future participants to seek therapeutic support, underscore this issue. As a consequence, the BBC has leaned more on lesser-known artists. Look Mum No Computer and the previous year's act, Remember Monday, both emerged as independent talents without major label support.

International competitors express disbelief at this perception. Satoshi remarked, "In the UK, there's a negative connotation associated with representing your country? That's concerning." Dara, who won the contest with "Bangaranga," reinforced the idea that prominent artists should abandon their biases about Eurovision. "There's no reason to shy away from embracing this amazing platform," she stated.

A lesson from Finland

The UK’s disdain for Eurovision mirrors a struggle once faced by Finland. Following Lordi's victory in 2006, Finland encountered a challenging 15-year period where they failed to make a significant impact, often not qualifying for the semi-finals.

Katariina Kähkönen, a reporter from Finland's MTV Uutiset, reflected on the national mindset that evolved over the years. However, following the pandemic, Finland turned its fortunes around, achieving notable placements with performances like Käärijä's "Cha Cha Cha."

Matti Myllyaho, producer for Finland's national selection, attributes this shift largely to the unique artistry exhibited by competitors, such as Erika Vikman and her breakthrough song "Cicciolina," which showcased Finland's eccentricities and garnered commercial success.

Reinforcing the importance of owning one's unique traits, Myllyaho noted that Käärijä's rave-metal anthem "Cha Cha Cha" captured international attention, illustrating the potential for success in embracing unconventionality.

Finding a solution

Should Myllyaho find himself responsible for the UK’s Eurovision entry, he would advise embracing the nation's unique quirks and strengths. Achieving success in Eurovision involves aligning numerous factors: a compelling song, a capable performer with a relatable narrative, captivating staging, strong public support, effective promotion, a prime position in the performance order, favorable pre-show buzz, and a measure of luck.

The BBC often approaches the competition almost fully prepared yet stumbles on critical components. As Myllyaho acknowledged, achieving the correct balance is a formidable challenge, as Finland’s recent success demonstrates the benefits of consistent engagement with labels and artists throughout the year.

The BBC may consider fostering stronger connections with record labels and emerging artists rather than relying on familiar figures who have yet to yield favorable results. Engaging music heads from prominent radio stations could provide additional insights into current trends and viable candidates.

As Adrian Bradley pointed out, "If we present a song that lacks appeal at home, it will likely fail to resonate with audiences across Europe."

In exploring potential changes, the BBC could also contemplate adopting a selection method akin to those used by Finland’s UMK or Sweden’s Melodifestivalen, albeit with the understanding that public voting can often yield unexpected outcomes.