Share this content:

Denmark used to be a powerhouse in Eurovision, but this has changed in recent years, as the nation has failed to qualify for the fourth consecutive year. In this article, we will take a closer look at Denmark’s recent Eurovision journey and explore what went wrong.

Dansk Melodi Grand Prix

Since 2020, problems have been apparent in DR’s method of selecting songs for Dansk Melodi Grand Prix. The clear winner of that edition, ‘YES’ by Ben & Tan, which received more than 60% of the votes, was not initially selected for the competition. That year, DR introduced a new format with a semi-final consisting of three regional groups of three songs each. The selection committee, made up of industry professionals, pre-qualified five songs for the final but did not consider ‘YES’ good enough to make the cut. However, the Danish audience ensured that Ben & Tan qualified for the Grand Final hosted in the Royal Arena. But shouldn’t we raise some questions when a song that won the National Final by such a wide margin almost didn’t make the initial cut of the competition?

Starting in 2021, Dansk Melodi Grand Prix became known as “one of the weakest and least interesting national finals” among Eurofans, as well as the Danish audience, who never hesitated to express their dissatisfaction on social media.

Although DR has repeatedly tried to change the national selection format—by altering the voting system, adjusting the number of entries, bringing back the orchestra, and more—they have not succeeded in bringing Denmark any Eurovision success. All the Dansk Melodi Grand Prix winners since 2021: Fyr & Flamme, Reddi, Reiley, and Saba, failed to qualify for the Eurovision Grand Final.

What has the chef of Dansk Melodi Grand Prix have to say in all this?

In an interview with DR, Erik Struve Hansen’s responses reveal a concerning disconnect between his vision for Dansk Melodi Grand Prix and the current realities of Eurovision. Hansen’s confidence in his strategy, which includes selecting classic pop songs, appears increasingly misplaced.

Hansen stated that the new strategy produced an “insanely strong field,” yet Denmark’s failure to qualify this year suggests a fundamental misjudgment. It seems Hansen is sticking to a formula that no longer aligns with Eurovision’s evolving landscape. The trend at Eurovision has moved away from conventional pop songs towards entries that are original, bold, and distinctive. By continuing to rely on basic pop radio tracks, Hansen risks repeating the same mistakes and missing out on what truly resonates with Eurovision audiences.

Furthermore, Hansen’s acknowledgment of a potential “paradigm shift” in Eurovision sounds more like an excuse than a genuine insight. The shift towards innovative and eye-catching performances has been evident for some time. Hansen’s inability to fully grasp this change indicates a troubling lack of awareness of the competition’s evolving standards.

What should be changed?

If Denmark is to see better results in future competitions, it’s crucial that Hansen and his team reassess their approach. Embracing originality and breaking away from formulaic pop could be key to creating entries that stand out in the increasingly competitive Eurovision arena.

If not something innovative, Denmark could send something more traditional and true to its culture. We’ve seen how much success Rasmussen had with ‘Higher Ground’, a song that reminded many people of the Vikings, which earned Denmark 5th place in the televote. And let’s not forget that the televote is what decides the twenty finalists for the next edition. So why not bring some Nordic and Viking atmosphere back to the Eurovision stage?

Moreover, DR could make changes to the professional jury that selects the songs competing in Dansk Melodi Grand Prix. Perhaps including younger audiences or Eurovision lovers and fans who might ‘broke the code’ and help Denmark regain its former glory.

Erik Hansen made it very clear that Dansk Melodi Grand Prix will remain Denmark’s method for selecting their Eurovision representative, so strategies like an internal selection or collaborating with record companies, artists, or composers are excluded for Denmark in the near future.

Perhaps Dansk Melodi Grand Prix could introduce an international jury. This idea is well embraced by the other Nordic countries and reflects how the actual juries vote in Eurovision. A 50% international jury and 50% televote would be the best and most efficient voting system for Denmark to adopt in their selection process.

In conclusion, for Denmark to achieve better results at Eurovision, a balance between innovation and cultural authenticity is essential. While originality can make Denmark’s entries stand out, drawing on its rich Nordic heritage, as seen with Rasmussen’s success, could also resonate with audiences. Additionally, refreshing the selection process, whether through jury reform or the inclusion of an international jury, could bring new perspectives and help Denmark regain its competitive edge. By embracing these strategies, Denmark could once again become a strong contender on the Eurovision stage.