Eurovision songwriters speak out - new research reveals concerns over recognition and support
The research findings raise important questions about recognition, access, and the realities of working behind the scenes in a globally broadcast competition
Eurovision songwriters report feeling overlooked and marginalised by the contest, a new study by a researcher in the Faculty of Arts, Humanities and Cultures has found.
Working in collaboration with Dr Jenna Doyle – a professional songwriter and a Senior Lecturer in Songwriting and Commercial Music at Middlesex University – Dr Samuel Murray, Lecturer in Music Management at the School of Music, surveyed and interviewed contributors to the Eurovision Song Contest, exploring how songwriters experience and perceive their involvement in one of the world’s most-watched musical events. Their findings raise important questions about recognition, access, and the realities of working behind the scenes in a globally broadcast competition.
“Our research has given us in-depth insight into the experience of writers without whom the contest wouldn’t exist,” Dr Murray explains. “Whilst the contest can create many opportunities for songwriters to gain work, build networks and generate revenue there are many issues that have come to light over how songwriters are recognised for their contributions to Eurovision Song Contest.”
Songwriters sidelined?
Songwriters report feeling that their role in the Eurovision contest final has gradually diminished. While they once received a share of the limelight – including the official trophy – many now receive only a miniature version sent by post, unless they are performing the song as well.
According to the initial findings of the study, 60% of respondents said their songwriting skills were not recognised by the European Broadcasting Union (EBU), which organises the contest. Just under half (55%) felt similarly unrecognised by audiences and fans.
While most writers (80%) said they felt valued by fellow songwriters, only 40% felt appreciated by national broadcasters, who are responsible for selecting entries.
“There were cases in the past where I was asked to finance my entire trip…something I refused to do, as I feel it lacks respect towards the songwriter” – respondent
Behind-the-scenes costs
The findings also shed light on the financial challenges faced by Eurovision songwriters. Over half of those surveyed reported having to self-finance travel and accommodation in order to attend the contest or national finals, with 77% stating that attending Eurovision was not financially viable.
Many also cover the costs of joining songwriting camps – a now-common route into the competition – which provide valuable networking and creative opportunities but comes with personal expense. Despite these challenges, songwriting camps were generally viewed as supportive, collaborative spaces by participants. Their research also indicates songwriting camps as an expected area for growth as a way to produce contest entries.
Selection concerns
The research also highlighted concerns about the opacity of the song selection process, with several respondents expressing frustration over unclear criteria and inconsistent decision-making at the national level. In interview many felt there was no clear criteria presented as to how songs were judged worthy of selection.
Murray and Doyle’s work offers fresh insight into the experiences of a creative community vital to the Eurovision phenomenon – yet often overlooked in the glamour of the final performance.
“Jenna and I’s next steps are to gain more survey responses targeting writers at the 2025 contest and to collect more experience through interviews with a view to publishing a comprehensive report in time for the 2026 contest,” Dr Murray says. “We hope this work can encourage the EBU to consider the role and value of the songwriter to the Eurovision song contest.”
Ahead of this year’s Eurovision final, taking place on Saturday 17 June, Dr Murray has written a piece for the Conversation outlining what to look out for, from colourful and contentious language to unusual song topics.
