During the night when Miki Núñez edged María Escarmiento in the Eurovision race, a clear idea resurfaced: there are artists who prefer not to go to the festival, even as they value the visibility and prestige that such a format affords. The 2019 showdown had made the contrast undeniable: one artist took the bid seriously while another arguably diminished the appeal of the winning song. That tension has lingered, and it resurfaced with Benidorm Fest, as the lineup for its third edition was revealed on a Saturday, with a notable twist: the participants are established stars who can truly hold their own on stage.
Three seasoned vocalists, widely recognized and with substantial reach, are reportedly eager to join the Alicante showcase without needing to pursue a broader European audience first. This reality is hardly surprising in today’s musical landscape. Some artists want to appear at Benidorm Fest while steering clear of Eurovision’s broader spotlight, a sentiment echoed by executives and performers alike who feel the contest has seen years of debate and mixed reception. The chorus of opinion includes those who argue the fault lies with the format, not the performers, and who see Benidorm Fest as an opportunity to celebrate music on its own terms. The names behind these discussions collectively amass well over ten million monthly listeners, backed by strong sales, chart positions, and a robust touring schedule.
One artist notes that Benidorm Fest represents a premier platform in Spain for presenting material—an event that is impeccably curated and professionally managed—yet the decision to participate remains personal. The conversation underscores the influence of top figures who have shaped the current Spanish music scene, including Rigoberta Bandini, Tanxugueiras, Chanel, Blanca Paloma, Rayden, and Vicco, who is nearing a hundred million streams on Spotify. Another participant adds a different perspective: music, at its core, is about feeling rather than competition. Even with a formal ranking at Benidorm Fest, the atmosphere is described as one of shared joy, not rivalry, and certainly not a measure of failure as one might fear from a Eurovision result.
Want to rethink the competition format?
The three artists wonder whether a future rule adjustment could shift the dynamic. They point to other festivals where winners gain more agency over their projects, suggesting that the governing rules could evolve into a choice rather than a obligation. A familiar comparison is made with the Sanremo festival, where the winning act has the right to decide how their project is developed and presented. The Stadio group’s experience in 2016 is cited as an example: after receiving substantial support, they chose not to pursue Stockholm, explaining that their career trajectory did not require that particular stage. They noted that if younger acts were starting out, they would be eager to explore opportunities there.
Francesca Michielin, who achieved notable success with a strong showing and a clear national imprint, carried the momentum of her generation by embracing her Italian identity and continuing to push her artistry forward. Her ascent, marked by early albums and a steady rise in the industry, demonstrates that strategic decisions can be made with a long-term perspective. The broader takeaway is that regulatory changes in Benidorm Fest would need careful consideration; a shift that would give the winner of each edition final say. That possibility has been queried, particularly to see if it could align the festival more closely with artists’ evolving careers.
Recent inquiries to the national broadcaster did not yield a commitment to altering the rules at this moment. The participants, currently in competition, are aware that the festival winner is expected to advance to a larger stage like Eurovision, and there were no reported concerns about this arrangement. This is a snapshot of a moment when some contestants questioned whether to participate, but the prevailing stance remains that involvement carries responsibility. The field for the upcoming edition includes a diverse slate of artists who will determine who ultimately takes the spotlight. The list of potential performers mentioned in discussions includes Almacor, Angry, Dellacruz, Jorge González, Lyrics, Mantra, Maria Pelae, Marlena, Miss Caffeina, Nebula, Noah, Quique Nice, Roger Padros, Sofia Arm, St. Peter, and Yoly Saa, among others, each bringing their unique voice to the competition. This dynamic underlines Benidorm Fest’s role as a platform that nurtures both established careers and new artistic expressions, while still maintaining a clear pathway to Eurovision for the winner. In the end, the decision to participate remains a personal and professional choice for every artist involved, reflecting a broader conversation about artistic control, public reception, and the evolving nature of national music showcases. The festival continues to attract attention from fans and insiders who are watching to see how Spain’s music scene negotiates visibility, competition, and national identity on a global stage. “Marked citations” accompany the ongoing coverage of these developments to highlight perspectives from multiple industry voices without relying on external links.