Germany’s Eurovision Final Says “Team Effort”… but the Audience Is Still on the Bench

Germany promised a reset.
After last year’s very hands-on approach, this season’s Das Deutsche Finale 2026 was presented as a friendlier, fairer, more collective way of choosing an entry for Eurovision.

In theory, it’s a move away from the Stefan Raab-shaped universe that dominated the previous selection. In practice, though, the audience might want to check how much influence they’re actually getting before popping the confetti.

From “Chefsache” to “Teamsache”… sort of

Last year, the German preselection bent itself around one central figure. Decisions were concentrated, rules shifted mid-season, and viewers were largely invited to watch politely until the very end.

This time, SWR talked openly about doing the opposite. Less ego, more teamwork. A format that feels shared rather than dictated.

Nice idea. Slightly awkward execution.

How the Vote Actually Works (and Why That Matters)

Here’s the key detail.

On 28 February, nine acts will compete in Eurovision Song Contest – Das Deutsche Finale 2026. A 20-member international jury, made up of music professionals from 20 Eurovision countries, will listen to all nine and select just three of them.

Only then does the public step in.

Viewers will vote, yes—but only between those three jury-approved acts. The other six? They leave the stage without ever being tested by the audience at home.

So while this year isn’t a one-person show, it’s still a system where the public is invited late to the party.

Why This Feels Like a Missed Opportunity

Eurovision, at its core, is about balance. Juries and viewers bring different instincts, and the contest works best when both are allowed to speak.

This format breaks that logic.

Six of the nine artists will never know whether the public connected with them. We’ll never know which songs might have grown with viewers, or which could have surprised once the televote opened. For a country that has spent years searching for that elusive “spark”, that feels like information Germany might actually want.

Frustration Waiting to Happen

There’s also a very practical risk here.

If a clear crowd favourite disappears in the first round, the live show instantly becomes tense—and not in a fun way. Viewers don’t love being told their opinion matters, only to discover it matters selectively.

The irony is that SWR didn’t need to set things up this way. A full jury-and-televote combination from the start would have aligned neatly with how Eurovision itself works in May.

Instead, Germany is choosing to filter the choice before the public ever gets to speak.

What Germany Will Never Find Out

The most curious consequence is this: we will never know which act Germany actually wanted to send.

We’ll know which of three the audience preferred.
We won’t know whether one of the six eliminated earlier could have built momentum, sparked conversation, or simply connected better with viewers than experts expected.

For a selection process meant to feel more inclusive, that’s a strange blind spot.

A Step Forward… with One Foot Still Back

This year’s German final is clearly trying to move on from last season’s model, and that’s worth acknowledging. It’s less centralised, less theatrical, and more structured.

But if the goal was to truly bring viewers back into the decision-making process, this format still feels cautious—almost defensive.

Germany wants a team effort.
It just hasn’t quite decided whether the public is fully on the team yet.

And at Eurovision, that hesitation tends to show.

Source: ESC Kompakt