AUGUST 2026 | THEY DESERVED BETTER!
Deadline 1200noon CET 26 Aug 2026.
Take a read of the nominations from last month’s activity, and then vote for the song you think really did deserve better.
Try not to vote for your FAVOURITE song - vote for the song you think really did deserve better!
5 points awarded for a valid vote received through the form by the deadline.
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1: Sweden, Felicia, My System, 2026
https://youtu.be/6pmj0jbFKGU?si=ZCAEeYwvPuFXDF2j
Nominated by Verity Wilson. I’m going to go for a recent one here and say Sweden 2026. How it got so looked over is beyond me, a catchy, modern, radio-friendly song with an incredible laser-filled stage show. Her vocal was really strong and it was such a technical performance with a lot of dancing too and just in general really stood out, all to get…20th place and 51 points. I think it’s fair to say that the girly bops tend to cannibalise each other’s scores a little and Bangaranga probably didn’t help Sweden’s score (albeit I’m extremely happy a girly bop finally won) but even so, I didn’t think that Sweden would get pummelled that much, especially by the public. We very rarely see the Swedish public choose something so overwhelmingly and it flop like this so it was a huge shock.
The song and Felicia both deserved so much more love from Europe and I wish that they’d focused a bit more on her backstory, coming from being Fröken Snusk and her first Mello entry a few years ago, to the abuse and cruelty the faced by the man behind Fröken, Rasmus Gozzi. Her being dropped the way she was and then to come out swinging and win Melodifestivalen at the first time of asking, as herself, was an incredible storyline.
Maybe the public just had too many Covid flashbacks seeing her facemask, who knows. But either way, that song and Felicia deserved much better than Sweden’s lowest result since 2010’s non-qualification.
2: San Marino, Valentina Monetta, Crisalide (Vola), 2013
https://www.youtube.com/watch?v=YirZIBi2vnY
Nominated by Lee R. Fans had written off Queen Valentina with her 2012 song, claiming she couldn't sing and that she used auto tune to get through her fluffy social media song. Things changed in 2013 when she debuted the very different mixed tempo masterpiece called Crisalide.
It was a serious song with a serious message unlike the previous year. The staging was appropriately simple with her on the floor singing slowly and deliberately holding a globe of light. It is a dramatic song of liberation and change, breaking free and flying, growth. That is symbolized throughout the performance, with her going to her feet and then shedding her black crisalide, her outer cover to show her bold red dress with the giant sleeves like a butterfly. At the same time the tempo changed to a driving dance beat. L'universo siamo noi. Tutto cambierà. We are at once together as one, and yet we change. We grow. We do not qualify by 16 points. How??
I would have gladly exchanged this song with a certain soft rock performance piece about the environment or the popera song. Waterfall was not even performed by TLC. Her song and performance shined so well, and it had substance and symbolism. #JusticeForValentina Even the robots in 2018 agreed.
3: Spain, Remedios Amaya, Quién maneja mi barca, 1983
https://www.youtube.com/watch?v=1uEUXq--InM
Nominated by Enrique L. “Quien maneja mi barca” blends traditional Andalusian music with modern arrangements. The song became an avant-garde classic after representing Spain at Eurovision in 1983.
The proposal received zero points and this fact stung in Spain, even though the audience in the auditorium connected with Remedios. European judges in the 1980s were not accustomed to the traditional sounds of flamenco or the intensity of her voice.
Furthermore, her record label did not allow her to bring the musicians and 'palmeros' she wanted. She didn’t have the staging in order to convey the magic of flamenco. Apart from that, the performance became famous because she got up the stage barefoot and wore an improvised blue-and-white striped outfit.
Interestingly, Remedios had already worn it for the song's music video. The organization forbidden her from wearing the black dress she had originally prepared in the live show and the shoes she had for the performance didn’t fit with this dress.
Years later, in some interviews, Remedios Amaya has spoken out about the obstacles and hostile treatment she faced from the organizers during her participation in the contest.
4: Finland, Norma John, Blackbird, 2017
https://www.youtube.com/watch?v=Ufba0nOz0fQ
Nominated by David R. Probably still the most shocking non-qualifier to me. The televoters put Finland in their top 10. But, it's the juries that prevented this song to qualify. The song was amazing, and it was performed well without any mistakes.
There were goosebumps worthy moments when watching this. I don't get why the juries didn't like this, especially when there are performers who didn't sing that well. Still mind numbing and heart breaking.
5: Norway, KEiiNO, Spirit in the Sky, 2019
https://youtu.be/Ovt7YGHAj8I?si=6ypDPIsa4R4ghcmV
Nominated by Vladislav T. In my short essay today, I want to argue that Norway deserved a higher placing in 2019. It should have been a clear top-three finish. Even now, seven years later, the band Keiino is very popular not only in Europe but also in America, giving many concerts and appealing to people because they are open, genuine, and sincere.
As for the 2019 Eurovision Song Contest itself, Norway faced a technical issue and unfair treatment from the organizers: during the jury final, as far as I know, Norway's back screen wasn't working, and the atmosphere of the performance was completely off. The delegation submitted a request for a second performance, but it was rejected, which violates Norway's rights to a full and high-quality performance and undermines the competitive selection process.
As a result, Norway receives very few votes from the jury, while winning the audience vote. It's therefore deeply disappointing that, in a competition where every element is crucial, there's no opportunity to correct technical errors that clearly aren't the artists' fault, which undermines the fairness of the scores. Sadly.
6: Bulgaria, Sofi Marinova, Love Unlimited, 2012
https://www.youtube.com/watch?v=WAUAETPcFBI
Nominated by Steven L. At the 2012 Eurovision Song Contest in Baku, Bulgaria was represented by Sofi Marinova with her high-energy ethno-dance track, "Love Unlimited." She narrowly missed out on the grand final, finishing tied for 10th place in her semi-final but losing out to Norway on a tie-break rule. Even after delivering a strong vocal, the juries surprisingly put her second last, which offset the televote putting her ninth. "Love Unlimited" had a wonderful and powerful message of love and unity. The song acts as a beautiful reminder that love and music have no boundaries. To emphasize this, the song’s chorus cleverly loops the phrase "I love you" in 12 different languages including Turkish, Greek, Romani, Spanish, and Arabic. The song perfectly captured the true, inclusive spirit of Eurovision.
What did hurt the entry’s chance at success was the staging. She was on the massive stage in Baku completely alone without any backing dancers or props. Even with that, Sofi commanded the room with immense charisma and truly enjoyed herself performing the song. Most impressively, she delivered her powerhouse, strong live vocals without wearing an in-ear monitor. Singing completely without an earpiece in a cavernous stadium is a high-wire act few artists would dare attempt, yet her timing and pitch remained flawless.
Driven by pure talent and a message of global love, Sofi Marinova undeniably deserved a spot in the grand final and a higher placing.
7: Portugal, Bandidos do Cante, Rosa, 2026
https://youtu.be/kWXyEWtB7KM?si=xyi4tNyh5mLomPYt
Nominated by David D. Bandidos do Cante deserved to qualify for the Eurovision Song Contest 2026 Grand Final with their beautiful entry, "Rosa." The song offered something genuinely different from many of the louder, more theatrical performances in the first semi-final. By blending the traditional sounds of *Cante Alentejano*, a UNESCO-recognised singing tradition, with modern production, Portugal presented an authentic and emotional performance that celebrated its musical heritage.
The group's flawless harmonies, heartfelt delivery, and elegant staging created a calm atmosphere that stood out amid the high-energy entries. Rather than relying on pyrotechics and props, "Rosa" connected through beautiful visuals, warm lyrics, and memorable vocals.
Although the competition was fierce, "Rosa" was a touching reminder that simplicity, authenticity, strong vocals and cultural identity deserve a place in the Eurovision Grand Final.
8: Switzerland, Paolo Meneguzzi, Era Stupendo, 2008
https://youtu.be/VSonPYns_nI?si=Tm3z54uYCTM3mpxC
Nominated by Edward T. Italy walked away from Eurovision in 1998, and for twelve long years, Italian pop—and the Italian language—all but vanished from the Contest. Paolo Meneguzzi was one of the few artists who kept that flame alive. A major star in Italian pop and a Sanremo regular, he came from the Italian speaking part of Switzerland: the perfect bridge between a country that had left and a contest that desperately missed its Italian heartbeat.
So, when Switzerland announced he would compete in 2008 with an Italian language song, Era Stupendo (“it was amazing”), it genuinely felt like a moment. The track is uplifting, warm, and beautifully bittersweet—a burst of optimism at a time when the world was deep in economic turmoil.
Even the word "volare" glides through the chorus, a knowing wink to Italy’s most iconic Eurovision and Sanremo moment.
Despite a strong performance, Switzerland didn’t reach the final. Maybe the staging didn’t capture the song’s emotional lift. But the impact was real: Italy returned three years later, when we finally felt the Italian Eurovision heartbeat again in Düsseldorf. Eurovision also reunited with Sanremo, the forerunner and model for our beloved contest.
For me, Era Stupendo is everything a Eurovision song should be—melodic, heartfelt, and instantly cheering. In short: it was amazing! If you want to celebrate the spirit of Italy’s return and the joy this song still brings, give it your vote!
9: Germany, Joy Fleming, Ein Lied kann eine Brücke sein, 1975
https://www.youtube.com/watch?v=-J5LirwOmy4
Nominated by Evan S. In my opinion, Joy Fleming’s “Ein Lied kann eine Brücke sein” is the best Eurovision song of all time. It has all the makings of a soul classic, only it happens to be sung in German. It’s peppy, it has a killer hook, and it’s sung by a brassy broad with an uncanny resemblance to Shelley Winters whose belting brings down the house. Only five songs from the 1970s made last year’s ESC250, but (alongside three winners and a global breakout hit) “Ein Lied kann eine Brücke sein” was among the five whose legacy has survived a half century of familiarity, a testament to Joy’s infectious energy. And yet, at Eurovision 1975, the song finished in 17th place. Out of 19. I repeat… Seventeenth. Place. Out. Of. Nineteen. Entries. With THAT song. With THAT vocal. With THAT performance. And people wonder why I don’t trust juries…
Joy Fleming is easily the most robbed contestant in Eurovision history. She deserved better! Much, MUCH better.
Also nominated by Ricardo A. As a longtime Eurovision fan, and the kind of fan who adores the older and vintage contest, the final placement of this song in 1975 is one of the biggest misunderstandings for me in the entire history of the contest.
And it is for every possible reason: 1) When you watch the entire festival, this is one of the standout songs. 2) Joy's performance and vocals are outstanding. 3) And of course, the song is an absolute master piece, one of the best that Germany has ever sent to the festival. Fun, vibrant, electric, with a powerful build-up.
What's most surprising me is that in this year, the first where each jury voted for 10 songs, only 3 out of 18 countries voted for it. Really? Equally surprising is the fact that it was Germany's worst placement until 1991 (when more than 20 countries were participating each year).
Personally, this is the year in which I think the best songs came from what are now the Big Five. Italy and France are fantastic, I love Spanish song and UK is a good top2,,, but Germany would have been a superb winner. Yes, Germany deserved top1. But on the contrary, Germany was 17th out of 19 countries, with only 15 points, so they absolutely deserved better.
10: Poland, Alicja, Pray 2026
https://youtu.be/NRTkNIyT_S0?si=c4EsBH4FofGusEjE
Nominated by Manuel L. Alicja deserved better because “Pray” had the kind of live power and emotional impact that usually pushes a Eurovision entry higher. It was vocally strong, memorable, and ambitious rather than safe or forgettable.
The song also stood out stylistically. Instead of blending into the crowd, it mixed ballad intensity with modern production and a dramatic build, which gave it a clearer identity than many competing entries.
The semifinal result proves the point: finishing 2nd with 247 points showed that a lot of viewers and juries already saw it as one of the night’s best performances. A drop to 12th in the final feels less like the song collapsed and more like the final scoring didn’t fully reward what was on stage.
In short, Alicja gave a performance with real technical skill, emotional weight, and replay value. That combination usually deserves top-tier respect, not a finish that looks modest on paper.
11: Finland, Linda Lampenius & Peter Parkkonen, Liekinheitin, 2026
https://www.youtube.com/watch?v=CmPkrjTtrwE
Nominated by Maeve B. There was so much hype leading up to the contest, mainly because the violin duet was so beautiful and unique. Pete's voice was so emotional and the staging was perfection!
12: Switzerland, Alice - Veronica Fusaro, Alice, 2026
https://youtu.be/ujoHtVkrx54?si=J7L8Zr38oHIXH3JV
Nominated by Tayen B. I thought that the indie rock vibe of the song was fantastic, and kind of an underserved taste in Eurovision overall. Then there is that amazing staging- I mean, Wow. Stunning. The evolution of the red rope motif throughout was perfect. When They didn't make it in during their semi, I was crushed.
Also nominated by T.J. T. So I don’t really have to go back too far to think about a Eurovision entry that deserved better… we just have to go back to May 2026…
In the second semi final in Vienna, we saw Switzerland, and Veronica Fusaro with her entry Alice, come in 9th place with both the public and the jury, yet somehow come in 11th place overall. The math doesn’t seem to math, but somehow mathed, with Cyprus squeezing into the final with a 10th place finish in the semi.
Going into the contest, the song kind of felt a little “meh” to me, coming somewhere in the middle of my overall ranking, however after seeing the rehearsal, the staging REALLY elevated the performance. I dare say that the staging for Switzerland was second only to Bulgaria, in elevating a very mid song overall to an unforgettable feast for the eyes. The early rehearsal footage almost made it seem like the red rope “cage” was a little too much, however that just wound up being a small portion of the package toward the end of the song. The guitar solo, “acrobatics” of working through the rope maze, and spelling out the song’s title on the floor at the end of the performance, really pulled me in and did an excellent job of selling the entry.
Although the bookies got the NQ prediction right in the end, the 9th place finish with the juries and public is nothing to snark at. It deserved better.
13: Malta, Miriana Conte, Serving, 2025
https://youtu.be/povnGP6k0sI?si=GMO-RlSozULrTs-8
Nominated by Helen P. Serving by Miriana Conte somehow only ranked 17th in the 2025 Eurovision final. This song had it all–a catchy melody, clever wordplay, a fun performance, and incredible vocals.
I adore puns and dual meanings in all artforms, and the way that the original lyrics for the song “Serving Kant” takes the Maltese word “Kant” for singing and perfectly blends it with the meaning of “serving c***” makes the lyrics cheeky and wild and elevates the song.
The performance itself highlights just how much of a queer anthem this song is, with the flashy and bright visuals and the fabulously entertaining backup dancers. Miriana Conte blew her vocals out of the park, going even bigger and better than the studio version, in my opinion. She has such a phenomenal stage presence, and I could feel the kant she was serving on that stage from across the world on my sofa where my own kant was sat.
I don’t think “Serving” should have dethroned JJ’s “Wasted Love,” but it definitely should have placed close to the top.
14: Romania, Alexandra Căpitănescu, Choke Me, 2026
https://youtu.be/TpMQ6dhcvvE?si=lplIermTd-vlO1Lj
Nominated by Angel A. Alexandra Căpitănescu's dynamic entry, "Choke Me," earned my praise for its powerful vocals and dramatic rock staging, ultimately securing a 3rd place finish and an impressive 2nd place in the televote at the Eurovision Song Contest. Plus I choose her to send her my good luck message, and I want to go to Romania, haha, lol.
Unrivaled Vocal Power: Căpitănescu is a classically trained vocalist who won Season 11 of Vocea României. Her ability to belt out powerful rock notes live without sacrificing tone was widely praised as some of the strongest vocal work of the year.
Theatrical and Energetic Staging: Her performance combined elements of symphonic rock and pop, featuring theatrical staging that captivated viewers. I loved her commanding stage presence.
A Relatable and Emotional Message: While some initially debated the title, Căpitănescu explained that "Choke Me" was a metaphor for the debilitating anxiety and pressure we place on ourselves. The song served as a bold dialogue between a person's inner doubts and their true, confident self.
15: Ireland, Lesley Roy, Maps, 2021
https://youtu.be/FY2rxbZNvZ0?si=RZVjW8L3uV9hP21c
Nominated by Danie T. There are not many things more stressful than performing on live TV, and unfortunately for Lesley Roy, she also had to deal with a broken camera.
Her 2021 song “Maps” was about a longing for home and was a perfect fit for the first contest after the world stopped for COVID19. While a lot of people were quick to judge the vocal, the whole staging concept for the song was actually “something never seen before”.
Fredrik Rydman - who also worked on Sweden’s winning entry in 2015 - produced an innovative mix of physical effects and moving parts all done live with no camera tricks as Lesley travelled through the scenes. For me, the whole thing was completely mesmerising and visually gorgeous.
And yes, the vocal was wobbly at times, but was sung with a pure heart and she gave her all. Sadly on the night, “Maps” came dead last in the semi with only 20 points, with Australia’s televote and jury votes making up a quarter of the total it received. Maybe us Aussies saw the merit in it, and I honestly think others should too.
Now, I may be biased as I’m still in contact with Lesley years later, but “Maps” is still one of my favourite ever Irish entries and deserves another look.
16: Montenegro, Tamara Živković, Nova Zora, 2026
https://youtu.be/_Xo12vfHqtk?si=V47UGm6TsHl4IZB2
Nominated by Darren. This was a great song! Good melody, nice beat, really catchy. The ESC semifinal performance was fantastic - well choreographed, and I loved the Goth costumes. It definitely deserved to go on to the final.
17: France, Dan Ar Braz & L'Héritage des Celtes, Diwanit bugale, 1996
https://youtu.be/3-DuuDQff7o?si=NaZWc_llSStNBuYc
Nominated by Tarrant F. The year was 1996, and the competition was fierce in what, in my opinion, was one of the strongest contests ever. In the wake of 3½ consecutive Irish victories, Celtic fever had gripped the juries of Europe: the Voice ran away with the win, and Celtic-adjacent I evighet and Den vilda filled the podium.
And down in fifth last came Dan ar Braz. A genuine Celtic ballad. Everything we love about that type of song: harmonies, traditional instruments (tin whistle and uillean pipes), and authentically sung in France's Celtic language of Breton (during France's 1990s obsession with singing in its non-French official languages). A beautiful and lasting piece, entirely within the juries' then-zeitgeist – finishing fifth from last with a meagre 18 points. In context and in an absolute sense, deserved better.
18: Iceland, Greta Salóme, Hear Them Calling, 2016
https://www.youtube.com/watch?v=7xQxQRdZasQ
Nominated by Niall D. There have been many shock non qualifications over the years however in my opinion the biggest shock of all was in 2016 when Iceland’s entry Here Them Calling by Greta Salome failed to qualify for the Grand Final.
The song and performance ticked all the boxes for a great Eurovision entry. Greta's performance created a dark fairy-tale atmosphere that perfectly matched the style of the song. It was original, artistic, well performed, and visually compelling. Greta performed in front of an interactive screen which featured shadow images of hands, birds and people and at one point she splintered into pieces which made for a very clever visual effect. The song was very popular with fans in the lead up to the Contest and was assumed to be a definite qualification.
Iceland performed in the first semi-final in 16th position which is viewed as a favourable position from which to qualify. However sadly it was not to be. When the 10 semi finalists were announced, Iceland was not among them. Not only did Greta miss out on a qualification – she missed out by quite a large margin. Iceland received a total of 51 points from the jury and televote. The song that came 10th (Croatia) received 133 points.
Iceland combined atmosphere, strong vocals, and innovative staging to create a performance that many fans believed was a sure qualifier. Despite this, it fell well short of qualification, proving that Eurovision results do not always reflect a song's r popularity outside of the fan community.
19: Germany, Sarah Engels, Fire, 2026
https://www.youtube.com/watch?v=KnKVUztvN3M
Nominated by Nicholas S. Sarah Engels’ “Fire” deserved a much better result because it combined strong vocals, polished staging, and a memorable, radio-friendly pop sound that stood out in the competition. Sarah delivered the song with confidence and emotion, while the energetic choreography and professional production made the performance feel complete from start to finish.
Although it may not have been the most experimental entry of the year, it was the kind of uplifting, accessible song that appeals to a broad audience and showcased Germany at a high level.
Considering the overall quality of the live performance and its commercial appeal, finishing near the bottom of the scoreboard felt far harsher than the entry deserved.
20: Denmark, Tommy Seebach Band, Under stjernerne på himlen, 1993
https://www.youtube.com/watch?v=78dtcIfJ4kQ
Nominated by Joe N. This is a heartwarming lullaby dedicated to Tommy Seebach's then-young child Rasmus (who later did his own version as an adult). Seebach, a two-time ESC veteran, had gone through some personal turmoils prior to 1993, and the hope was that a good showing would help revive his career. Instead, it finished in the bottom-five, condemning Denmark to relegation from the following year's contest. Seebach never really recovered, and he died of a heart attack ascribed to his prior alcoholism ten years later.
If this song had finished at least in the top fifteen, where it belonged, who knows how differently things might've turned out for one of Denmark's most beloved singer-songwriters in the long run? It's touching, catchy, gorgeously-orchestrated, and for so many reasons, both it and its performer deserved better than they got.
21: Ukraine, Go_A, Shum, 2021
https://www.youtube.com/watch?v=lqvzDkgok_g
Nominated by Johnny K. For me, it’s Go_A. “Shum” completely caught me off guard because it sounded like nothing else that year. I love when a country leans into its own culture instead of trying to send another radio pop song, and Ukraine absolutely nailed it. I’m also a sucker for a good bell in a song, and then a tempo change is just insane. It starts out almost hypnotic and then suddenly takes off. I still get goosebumps every time.
Fourth place is nothing to complain about, but I really thought it had winner potential. I was even rooting for Monokate in this year’s Ukrainian national final because I’ve been a fan ever since Go_A. The giant green “Muppet” jacket from “Shum” shouldn’t have worked, but somehow it became one of the most iconic Eurovision looks ever.
That’s the kind of performance I love: something that’s completely original, a little weird, and impossible to forget.
22: Netherlands, Edsilia Rombley, On Top of The World, 2007
https://youtu.be/k2IPKCOixtE?si=DDnv-fBos_nolNXK
Nominated by Sascha S. When I think of songs unfairly denied a place in the Eurovision Grand Final, Edsilia Rombley’s “On Top of The World” for the Netherlands 2007 immediately comes to mind. Despite being one of the favourites among many Eurovision fans today, the song failed to qualify from the Semi-Final, eventually finishing a disappointing 21st out of 28.
Over the years, the song has become something of a fan favourite, shown by the number of times it gets played at Eurovision discos with its polished pop sound & catchy chorus.
Edsilia delivered a truly fantastic performance. She looked completely at ease on stage, performed with confidence, and produced excellent live vocals. The song felt authentic and perfectly suited to the time. Having already represented the Netherlands in 1998, she brought a wealth of experience and professionalism to the Eurovision stage.
The staging was equally impressive for 2007. Supported by outstanding backing vocalists and well-executed choreography, the performance felt polished without relying on unnecessary gimmicks. The lighting, camera work, and overall presentation complemented the song beautifully, creating an engaging 3 minutes that could easily have held its own in the Grand Final alongside many of the eventual qualifiers.
Since 2007, Edsilia has remained a devoted supporter of the Eurovision community, regularly appearing at Eurovision events in the Netherlands and continuing to embrace her fans. Although “On Top of The World” fell short of reaching the Grand Final, it remains one of my all-time favourite Eurovision entries, and I look forward to hearing it.
23: Spain, Amaia y Alfred, Tu Cancion, 2018
https://www.youtube.com/watch?v=28oMEFgSoyk
Nominated by Mike W. This is the most beautiful song. Every time I hear it, it still makes me cry.
Wonderfully performed, without bells and whistles - just two people professing that they are each other's song.
In a year of BIG loud, brash songs (Toy, Fuego, La Forza) I feel like this deserved better than 23rd spot.
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