Opinion: Four ideas that could help Eurovision Asia succeed

In this opinion piece, new Aussievision contributor Junsoo Lee from South Korea argues what Eurovision Asia should do and not do ahead of the first Contest this year.

Eurovision Asia is finally coming this November, with ten countries set to participate in the inaugural contest in Bangkok, Thailand.

While full details about the contest are still emerging (find out what we know here), I have some suggestions for how Eurovision Asia can become successful while remaining representative of Asia’s diverse and vibrant cultures.

Here are two dos and two don’ts I would recommend for Eurovision Asia based on previous music competitions and what I believe would help the contest succeed.

Do: Offer a cash prize for the winner

https://www.youtube.com/watch?v=Ej9sLMve4ss&t=11177s

Despite the Eurovision branding and support of the EBU, there is a chance the contest could struggle to meet expectations in its early years.

I believe one reason for this is that uncertainty can discourage artists from participating, which in turn could affect the quality and success of the contest itself.

A cash prize for the winner could help offset that risk and encourage more established artists to take part.

We saw something similar happen with the American Song Contest, which arrived with significant publicity but ultimately failed to continue beyond one season.

Spain’s Benidorm Fest introduced cash prizes for both the winning artist and songwriters in 2026. While Eurovision qualification was no longer on offer, the prize money provided another incentive for artists to compete and helped maintain interest in the contest.

A similar approach was taken by Intervision, the Russia-backed song contest. Despite political and reputational barriers surrounding the event, organisers offered a substantial cash prize and still attracted participation from a range of countries, with Vietnam ultimately winning the contest.

While neither contest suddenly attracted the world's biggest stars, I would argue that these incentives helped maintain interest from artists and encouraged stronger participation.

Of course, a cash prize would sit somewhat outside the traditional Eurovision model and is therefore unlikely. However, for a brand-new contest looking to establish itself and attract artists, it may be worth considering.

Especially for a debuting contest, the risk of failing to meet expectations should be offset with incentives for artists beyond exposure alone.

Don’t: Rely on celebrities

https://www.youtube.com/watch?v=whJbWI641BA

This don’t may seem ironic because it essentially has the same aim as giving a cash prize: increasing attention to a new contest.

However, Eurovision Asia should be careful not to rely on celebrity names alone to build an audience.

The American Song Contest featured internationally recognised artists, including Michael Bolton, and was hosted by Snoop Dogg and Kelly Clarkson.

Despite that star power, the contest lasted only one season with disappointing ratings and media reception.

Having famous artists involved is not necessarily a bad thing, but there is no guarantee that recognisable names will translate into long-term success.

If current and relevant artists want to participate, that could certainly be a positive. However, celebrity involvement alone should not be the foundation of the contest.

Furthermore, if a major artist sweeps the contest without giving less-established performers a fair chance, Eurovision Asia risks becoming a battleground of fame rather than creativity and identity.

Mobilised fandoms could also clash with one another and create toxic online drama and cyberbullying, as music survival shows have often done.

Instead, Eurovision Asia should develop a distinct identity by showcasing Asia’s diverse cultures and up-and-coming musicians who are passionate about the contest and what it represents.

Over time, that identity itself could become the attraction for artists, much like the original Eurovision Song Contest.

Do: Allow artistic and social self-expression

Image: Zdfheute

Another hurdle to Eurovision Asia’s expansion and popularity may be the different political and cultural attitudes that exist across the region.

While views on LGBTQ+ representation, women’s rights, and freedom of expression vary significantly across Asia, these issues are often central to how artists choose to express themselves.

In some countries, even personal identity and self-expression can be viewed as political.

For that reason, Eurovision Asia should allow artists a reasonable degree of freedom to express themselves and the messages they wish to share through their music.

Eurovision has often provided a platform for artists whose victories carried significance beyond music alone. Winners such as Conchita Wurst and Dana International became powerful symbols of representation for many people around the world.

Music can sometimes make a genuine impact on conversations around identity, inclusion and understanding, particularly on a show watched by millions across multiple countries.

I believe Eurovision Asia should allow room for those conversations, even if it needs to balance them carefully against the realities of the region.

However, Eurovision Asia would be walking a fine line if it embraced this approach too strongly because of the sensitivities that exist across Asian geopolitics and social attitudes.

Despite facing controversies and setbacks over the decades, Eurovision remains a contest associated with representation, identity and social discussion.

Not allowing any space for those conversations may risk creating a contest that feels overly sanitised and restricts artists’ voices and creative freedom.

Don’t: Introduce a Language Rule

https://www.youtube.com/watch?v=DKd50924Qxs

Finally, Eurovision Asia should not introduce a rule restricting the use of non-native languages.

While the key to Eurovision Asia’s success lies in bringing authentic music that represents Asia’s unique cultures, a language restriction may have unintended consequences.

The Philippines would likely benefit significantly from such a rule if English-language songs proved easier for audiences across the region to understand and connect with.

This would be similar to how Ireland and the United Kingdom benefited from competing in English during periods of Eurovision history, with language accessibility helping songs reach broader audiences.

Ireland’s 1992 winner Why Me? is one example often cited when discussing the advantages of singing in a language understood by much of the audience.

A language rule could also restrict artists from singing in minority languages that are not considered official, ironically limiting linguistic and cultural diversity.

Countries should instead have the freedom to sing in whichever language, or combination of languages, best suits their song.

Artists may choose multilingual entries, minority languages, English, or a mix of all three.

While Eurovision Asia should encourage countries to sing in languages that best represent their culture, this should never be forced.

Allowing linguistic freedom would ultimately give artists the greatest opportunity to express themselves creatively and connect with audiences both within Asia and beyond.

Eurovision Asia will take place on 14 November 2026 in Bangkok.

Read next: Everything we learned about Eurovision Asia during Eurovision 2026

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