Opinion: The one change SBS should make to Australia's Eurovision selection

Image: EBU

Delta Goodrem's success shouldn't stop Australia asking one important question about its Eurovision selection process.

This year, Australia recorded one of the greatest Eurovision results in its history.

Delta Goodrem's fourth-place finish with Eclipse in Vienna delivered our second-highest placing since joining the Contest.

Across 11 appearances, Australia has now recorded three top-five finishes and six top-10s - an impressive record many European nations would envy.

So does that mean we've found the perfect formula? Not quite.

One outstanding result shouldn't stop us asking whether Australia's current selection process gives us the best chance of long-term success.

Since debuting in 2015, Australia has experimented with almost every selection method imaginable.

We began with internally selected household names like Guy Sebastian, Dami Im and Jessica Mauboy before introducing Australia Decides, giving fans a say while showcasing local talent.

When that ended, SBS returned to internal selections, combining established artists with independent performers and alumni of Australia Decides.

Each approach has had its moments, but in the post-Australia Decides era, SBS has recorded two top-10 finishes but also two non-qualifications.

Nothing is broken. But Delta's success shouldn't create a false sense of security.

Finding another artist of Delta's stature willing to commit to Eurovision won't be easy. Coming within touching distance of victory with one of Australia's biggest stars feels more like a once-in-a-decade opportunity than a repeatable strategy.

That's why it's worth asking whether there's one simple change SBS could make to strengthen Australia's Eurovision selection for years to come.

Australia Decides isn't coming back

Ask Eurovision fans what they want and the answer is almost always the same: bring back Australia Decides.

Every year, Aussievision's own polls show overwhelming support for a national final. Fans want to discover new artists, debate songs and have a say in who represents Australia.

But we also have to be realistic. While Australia Decides remains popular with fans, SBS has made it clear there are no current plans for its return.

Speaking to Aussievision in May, Head of Delegation Emily Griggs said the broadcaster's priority is "to give Australian artists the strongest possible opportunity to be showcased on the world stage, with a song that connects at Eurovision", adding that while Australia Decides "was a successful format that connected with audiences, there are no current plans for its return."

That doesn't necessarily rule out a national final forever, but it does suggest fans could be waiting a long time.

Rather than focusing on bringing back Australia Decides, perhaps it's time to think about how Australia's internal selection process itself can evolve.

One thing Australia can do: Open the door

Now we don't know every detail of how Australia's internal selection process works. However, it's understood that artists are largely identified through invitations, industry relationships and conversations with record labels and management.

That's understandable and quite common across many Eurovision broadcasters.

But it also means Australia's next great Eurovision artist or songwriter may never even enter the conversation.

The solution is surprisingly simple: introduce a visible open submission process.

Australia is overflowing with exceptional talent across every genre and generation.

It's also what many fans are asking for. In Aussievision's recent poll on who should represent Australia at Eurovision, one of the most common responses wasn't an artist at all. Instead, many readers simply wanted "someone we've never heard of" or "a new up-and-coming artist".

We can even look at recent history of how this has worked previously.

Without the open submission of Australia Decides, Voyager may never have entered Australia's Eurovision conversation. They were shortlisted without making the final cut for the inaugural national final in 2019. They then travelled to the Gold Coast for the show and built relationships with SBS and the production team.

Four years later, they represented Australia and delivered one of our strongest Eurovision campaigns.

Doesn't SBS already do this?

In fairness to SBS, there is already a pathway for submissions, tucked away on their website.

SBS undertakes an internal selection process for Eurovision 2026. Please note submissions are now closed.

However, we’re continuously on the lookout for talent. If you would like to get in touch with us, please go to entertainment@sbs.com.au.

But very few people know it exists. Compare that with many European broadcasters, which publicly announce when submissions open, promote the process across their websites and social media, clearly explain the rules and actively encourage artists and songwriters to apply.

Australia doesn't need a national final to replicate that openness. SBS should actively promote a genuine open call for submissions.

SBS would still choose Australia's representative internally. Clearly they know what they are doing and have experts involved.

The only difference is that everyone gets the opportunity to knock on the door. Even if they aren't ready the year they submit, they may be able to build towards a top Eurovision performance or song.

The worst outcome is SBS receives a few hundred extra songs to listen to. The best outcome is they discover Australia's next Eurovision star.

Switzerland has already shown it can work

If SBS wants proof this model can succeed, Switzerland offers one of Eurovision's best modern case studies.

Ahead of Eurovision 2019, Swiss broadcaster SRG SSR overhauled its selection process after years of disappointing results. Instead of staging a national final, it introduced an open submission process before assessing entries through a detailed internal selection involving music professionals and audience panels.

The turnaround has been remarkable.

Since adopting the system, Switzerland has produced three top-four finishes, won Eurovision with Nemo in 2024 and reached five of the six Grand Finals held under the new process, only narrowly missing qualification in 2026. And all artists were aged between 21 and 29.

No selection system guarantees success. But Switzerland's experience shows what can be achieved in a format that lies between a simple internal pick and costly national final.

Australian talent is already looking elsewhere

Without a genuine open submission pathway, we're already seeing Australian talent pursue Eurovision opportunities overseas.

Silia Kapsis and Andrew Lambrou have both represented Cyprus.

Australian-Norwegian artist Mileo has competed twice in Norway's Melodi Grand Prix. Nineteen-year-old Sydney singer Sihana Haxhnikaj competed in Albania's Festivali i Këngës last year, while Australian-Swedish singer Kiana competed in Sweden's Melodifestivalen in 2023 when she was just 16 years old.

All of these artists are teenagers or in their twenties, yet they've looked beyond Australia to pursue their Eurovision dreams.

It's not just performers either. Australian songwriters regularly appear in national finals across Europe, including Katrina Noorbergen, who co-wrote Russia's runner-up entry in 2015.

Imagine how many talented artists and writers never even get the chance because they don't know where to start.

A realistic way forward

No selection system guarantees a top-five finish.

Delta Goodrem's outstanding result shouldn't convince Australia that we've found the perfect formula. Instead, it should give SBS the confidence to keep improving.

So let's be realistic and understand a national final is unlikely. So let's keep the internal selection and expert decision-making, just open the front door.

Australia's next great Eurovision act may already be out there; they just need the chance to introduce themselves.

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