A surprise EBU survey reveals potential plans for paid premium memberships and guaranteed tickets, while addressing the controversial music vs. politics debate.
Under the banner “Shape the future of the Eurovision experience with Eurofan Voice”, the European Broadcasting Union (EBU) recently sent an official and surprising email to fans around the world, inviting them to participate in a comprehensive survey titled “Eurofan Voice 2026”. The survey aims to examine audience attitudes on a variety of burning issues – from the level of trust in the voting system, through the integration of politics in the competition, to how fans consume content. Yet, it seems the most intriguing part of the survey, and the one that could completely change the rules of the game, deals directly with everyone’s wallets and access to purchasing tickets.
A Eurovision Subscription: Bypassing the Middleman for a Ticket?
Towards the end of the survey, under a section defined as “Your Superfan Eurovision Experience”, the EBU practically examines the willingness of fans to pay for a “premium” status. Respondents are asked what paid benefits they would be interested in receiving through an official “Eurofan Account”. The list includes coveted options such as: guaranteed tickets, priority access to ticket purchases, packages for multiple shows, backstage tours, dedicated hotels for fans, exclusive merchandise, and special discounts.
The truly interesting turn occurs when a user selects an option like priority access, at which point a direct follow-up question is revealed: “What is the maximum amount you would be willing to pay per year for the combination of benefits you selected?” The answer options become very concrete, ranging from €0, through €50 and €100, up to amounts of €500 and more per year.
On the one hand, many fans see this move as a very positive and refreshing development that improves accessibility to the contest. Until now, fans who wanted to dramatically improve their chances of securing sought-after tickets (such as the standing areas in front of the stage) had to pay annual membership fees and register with the official fan clubs, OGAE, in order to compete for internal ticket allocations and packages. Now, the EBU is asking about and proposing a direct and transparent channel for the first time: those who cannot, did not manage, or simply do not wish to take part in local club activities will be able to deal directly with the Eurovision production and guarantee their spot in the arena. On the other hand, there is a fear that this bypass route might harm the historical standing of the traditional OGAE clubs, turning the contest into a product based on a commercialized and expensive model of personal subscriptions.
Music vs. Politics: The Elephant in the Room
The political section of the survey is equally fascinating. Against the backdrop of massive boycotts and the withdrawal of several countries and delegations in the recent season, the EBU chose to place this sensitive issue center stage and ask viewers about it directly. Among other things, fans are asked to rate their level of agreement with the statement: “Artists and performers should not be held responsible for the political decisions of their governments.”
Additionally, respondents are asked what approach is most suitable for international events of this kind: to focus solely on the artists and the music with a complete separation from politics, to balance the artistic and political context equally, or to give the political context more weight. It appears that by collecting this data, the union’s management is trying to establish broad research and scientific backing for its future decisions, aiming to fend off pressures and withdrawal statements from foreign broadcasters that mix politics into a singing competition.
The Voting System: Does the Audience Understand the New Rules?
Another central part of the survey is dedicated to the voting system, which recently underwent a significant upheaval in practice. It should be recalled that ahead of Eurovision 2026, the European Broadcasting Union decided to reduce the maximum voting quota for each viewer from 20 to only 10 votes per show.
This dramatic move, alongside the decision to reinstate the professional juries in the semi-finals, was largely born out of the events of Eurovision 2025. During that year, the Israeli representative, Yuval Raphael, faced intense hostility and booing from anti-Israel elements in the arena and across Europe. In response to her resilience and the powerful performance she delivered on stage, supporters of Israel and Jewish communities worldwide united in an authentic, moving display of solidarity. This massive wave of support translated into a phenomenal first-place finish in the televote with 297 points (compared to only 60 points from the juries). Following this powerful demonstration of the public’s voice, and seemingly to address complaints from various broadcasters, the EBU rushed to change the rules to curb the influence of the audience and reaffirm the weight of the professional juries.
This year, under the new and restricted voting system, we saw the direct impact of the regulations in practice. The Israeli entry reached third place in the televote with 220 points (a slight decrease from last year due to the voting limit), but received an impressive 123 points from the juries – a strong combination that propelled Israel to a highly respectable second place in the Grand Final in Vienna.
Now, the EBU is seeking to check through the survey whether fans fully understand how the updated system works, and how aware they are of the new 10-vote limit. Finally, the key question is directed at the respondents: “How fair do you think the current voting system is?” It seems the union is trying to examine whether the steps it took actually restored trust in the voting system among the general public, or whether they only deepened the gap and frustration between the management and the dedicated viewers at home.
It will be interesting to follow and see if the results of the current survey lead to further changes in the competition rules ahead of Eurovision 2027 in Bulgaria, and mainly – whether next year the option will open to choose to pay for an official “fan subscription” in order to secure a spot in the audience.
Tell us in the comments: Do you think a paid subscription is a positive development that will make the competition accessible to the wider public, or is it excessive commercialization? And what do you think the EBU should do with the political issue in the competition?
Eurovision Song Contest 2026 was held in Vienna, Austria, following the country’s victory at Eurovision 2025 with the song “Wasted Love” performed by JJ. The competition took place at the Wiener Stadthalle, the largest indoor arena in Austria, with the semi-finals held on May 12th and 14th, and the Grand Final on May 16th. This marked the third time that Vienna hosted the contest, having previously hosted the event in 1967 and 2015.
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Noy Yehoyada is an Israeli journalist and content creator at the EuroMix team since 2024, bringing a personal, feminine, and LGBTQ+ voice into the Eurovision sphere. A devoted Eurovision fan since the age of 16, she plays an active role in covering the contest—including on-site reporting at Eurovision 2025 in Basel and across European pre-party events. Alongside her writing and commentary, Noy plans the editorial schedule for the website, closely tracks national selections and song reveals, participates in live broadcasts, and creates digital content focusing on representation, musical diversity, and emotional connections.
Beyond her work at EuroMix, Noy has over six years of experience in the cosmetics and pharma industries, with a background in sales, personal consulting, and managing beauty departments. She enjoys pop, rap, contemporary art, and traveling in Europe—and especially loves songs that make her want to dance, as well as those that tell a story.
