There are several ways a country can be represented at Eurovision. The European Broadcasting Union (EBU) allows participating nations to decide how they choose their entrant, offering options ranging from national contests and televised selections to internal picks chosen by a broadcaster or a combination of fan input and juries. Some countries hold large public events that double as national music showcases, while others pick quietly behind closed doors to control the process and minimize misfires. The overall aim is to select an artist and song that can compete on the European stage while reflecting the country’s musical identity.
In Spain this year the format shifted from prior years: Benidorm Fest became the platform to crown the representative. It is a music festival where artists present their best material in the hope of earning tickets to Turin. As a result, Chanel earned the right to fly the Spanish flag, edging out favourites Rigoberta Bandini and Tanxugueiras, who had been widely discussed in the lead up to the decision.
Italy keeps San Remo alive as a national spectacle that has long moved a large portion of the population. The event thrives on a blend of pop stars, actors, comedians and other celebrities who join the lineup each year. Mahmud He returns to the spotlight after a second place finish in 2019, this time accompanied by the rising artist Blanco, making for a powerful duo on the stage that greets Europe in May.
France completed its selection through a process that brought Alvan & Ahez to the fore, a folk-infused duo who will carry the tricolour into the next Eurovision edition. The national choice, framed by France Télévisions, involved a jury of the public and well-known personalities who weighed the twelve songs created by independent singer-songwriters to represent the country on the international stage.
The United Kingdom continues the tradition of selecting a contestant via a televised event on the BBC. This year Sam Ryder emerged as the chosen artist with the song Space Man, a track that has maintained strong visibility across social platforms, especially TikTok, helping to build a broad, evergreen fan base.
Germany also announced its entry through a televised format, with Jendrik Sigwart presenting I don’t feel hate. The song features the ukulele as the central instrument, delivering a message delivered with warmth and humour on a stage designed to engage a wide audience across Europe.
These choices contribute to the so-called Big Five, the group of nations that secure automatic qualification to the Eurovision final due to their long-standing financial support of the event. Beyond them lies a broader field where many countries decide their method through internal selections or public processes. Internal selection appeals to economies of scale and tighter control, aiming to reduce the risk of a mismatch between candidate and national musical identity. This year, the European Broadcasting Union faced a tense moment in relation to Ukraine, influencing the dynamics of participation and public sentiment in several participating nations. The evolving political and cultural landscape continues to shape how each country positions itself in the contest, reflecting diverse strategies that range from open public engagement to careful, low-profile decisionmaking.