Benidorm Fest 2026: An Identity Crisis Without the Eurovision Grand Prize

Spain - Ekhbary News Agency

Benidorm Fest 2026: An Identity Crisis Without the Eurovision Grand Prize

The 2026 edition of Benidorm Fest, traditionally Spain's gateway to the Eurovision Song Contest, has been met with lukewarm reception and sharp criticism, underscoring a profound identity crisis. With the absence of the coveted Eurovision grand prize, the festival appeared to lose its core purpose, devolving into a mere television spectacle devoid of the musical substance it was meant to celebrate.

RTVE's decision not to participate in this year's Eurovision final, citing objections to Israel's involvement, was a courageous move, widely lauded by significant segments of the public and critics alike. It was a clear stance reflecting commitment and ethical considerations. However, this decision inadvertently exposed a harsh reality for Benidorm Fest: its near-total dependence on Eurovision as its primary draw. Without this ultimate incentive, the event's allure diminished, shifting the focus to questions regarding its artistic and economic viability.

Over the years, Benidorm Fest has progressively transformed from a genuine song competition into a lavish television production, where visual spectacle and elaborate staging take precedence over the intrinsic quality of the songs themselves. This trend, vividly exemplified in previous editions such as Chanel's "SloMo" performance in 2022—which, despite its performative brilliance, lacked musical depth—reached its zenith in the 2026 edition. The emphasis on recruiting specialists in scenic embellishment, such as Sergio Jaén, responsible for designing some of the stages, clearly signals this distorted priority. Instead of seeking authentic musical talent or supporting innovative songwriters, the festival seems to chase superficial glamour, resulting in a collection of songs described by critics as "soulless" and "outdated."

The disparity between what was presented and what could have been was glaringly obvious at the finale. While Tony Grox & Lucycalys's song "T'amaré," widely deemed "weak" and "trite," secured the victory, there was a broad critical and public consensus that the true winner should have been Rosalinda Galán. Her innovative entry masterfully blended traditional copla with modern rave music. Her song was "audacious, original, with lyrics superior to the rest, and a vocal performance full of nuance and power." Yet, inexplicably, the judges failed to place her among the top three, despite significant public support. This discrepancy raises serious doubts about the judging criteria and its independence, reflecting a clear undervaluation of genuine and innovative talent.

The lyrical quality of most participants, with few exceptions, was deemed "minutely irrelevant" and "full of commonplaces." A song like, "Let's go out tonight together. / I promise there won't be a single damn reproach. / Have two tequilas, because today we want to splurge. / Cheers, it's gone, and now who wants a man?", performed by María León and Julia Medina, in no way reflects the immense richness and diversity of contemporary Spanish music. While the festival overlooks creative artists such as Rodrigo Cuevas, Guitarricadelafuenta, Valeria Castro, Rusowsky, and many others, it instead offers a collection of songs that are "soulless, devoid of originality, cut from a simplistic, antiquated pattern."

The investment of 150,000 euros for the winner, part of an overall budget estimated at four million euros, raises questions about the value of such expenditure in the absence of the festival's ultimate goal. This sum, which could easily double or triple within the "Eurovision circus" through tours, galas, and sponsorships, appears meager and ineffective when the festival is merely an internal event. Can Benidorm Fest truly survive without the grand prize of participating in Eurovision? The likely answer is no, as it was built on that very foundation. Perhaps it would be more prudent to redirect this substantial budget to support genuine Spanish music within RTVE—music that moves the soul and evokes emotions—rather than clinging to an event that lacks identity and quality.

In conclusion, Benidorm Fest 2026 appears to have been a revealing turning point. It demonstrated that the festival, in its current format, is unsustainable without the Eurovision impetus. It serves as a call for a comprehensive reevaluation of the festival's objectives, and perhaps for its dismantling and reconstruction into something more authentic, something that truly serves Spain's diverse and vibrant musical landscape, rather than merely being a faded mirror of an absent international event.

Ekhbary News Agency