Every one of the eleven Eurovision Asia 2026 acts has now rehearsed at the One Bangkok Forum. Thailand’s MANG x DAOU were reported complete on 11 November and Vietnam’s Tóc Tiên took the stage on Wednesday 11 November, closing a list that stood at nine of eleven when this site last counted it. Eurovoix confirmed on 12 November that all artists finished their first rehearsals the day before, and that Thursday is the last day of second rehearsals.
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Key takeaways
- All eleven acts have rehearsed. Four on 8 November, three on 9 November, Malaysia on 10 November, and the Philippines, Thailand and Vietnam by 11 November.
- Tóc Tiên rehearsed on Wednesday 11 November, not on the 12th when the report appeared. Publication date is not rehearsal date, and this week has repeatedly tempted people to treat them as the same thing.
- Eurovoix has published three different dates for the Jury Final in two days — Thursday, Friday and Saturday — and the official Voting Terms give no date at all.
- The official start time is 20:30 ICT / 14:30 CET / 13:30 UTC on Saturday 14 November. Reports still circulating say 19:30 ICT alongside 14:30 CET, and those two cannot both be true.
- The organisers’ stream of official rehearsal photographs stopped after 10 November. Nothing from days four or five has been published.
Thailand and Vietnam close the round
The two gaps this site flagged on 11 November were the host nation and the act that opens the show — the two that matter most to anyone pricing the contest, and the two that had published nothing. Both have now closed, a day apart.
MANG x DAOU completed Thailand’s first rehearsal in a report published on 11 November. The duo brought what is described as an elevated version of their national-final performance, in brand-new outfits in a deep blue. No rehearsal date was given in the report, which is why the table above says “by 11 November” rather than naming a day: the organisers have published no photograph of this rehearsal, and we are not going to invent a day from a schedule. They sing eighth of eleven, after Bangladesh and before South Korea, with “Aroma”. An English-language version of the song appeared on 10 November; the group has confirmed Bangkok stays in Thai.
Tóc Tiên is the better-documented of the two. She took the stage on Wednesday, with the report following on 12 November. The staging has been reworked since The Sound of Vietnam: three lily-pad props that she moves across during the song, and new all-white outfits for herself and her dancers. The photograph that ran with the report is credited to Thanh Âm Việt Nam rather than to the organisers’ own press service. She opens the show from slot one with “EM TIÊN” — “Fairy maiden” — written and composed by Trần Thị Thu Hà.
Opening the show is the slot nobody wants, and the market has never fully decided what to do with it. Vietnam is priced at 3.8% to win but 43.5% for a top-three finish, the third-highest podium price in the field. That is a market saying she will be remembered at the end of the night without being first.
Second rehearsals, and a venue that keeps changing name
Second rehearsals began on 11 November and finish on the 12th. The published images from the first day covered Laos, Malaysia, Mongolia, Nepal and South Korea; the reports do not claim that was the full day’s list, and no running order for rehearsals has been released. A second rehearsal is where an act refines camera shots, lighting cues and costume rather than choreography, so the useful detail from these sessions is almost always what the cameras do, and that is exactly what the clips withhold.
One small thing worth flagging for anyone cross-reading sources: the 11 November round-up places the second rehearsals at the One Bangkok Arena. Every official page, and every other report this week, calls the venue the One Bangkok Forum. It is the same building. This contest has already moved venue once — from the 4,234-seat IdeaLive hall at BRAVO BKK to the roughly 6,000-seat One Bangkok Forum, announced on 21 September — so a second venue name in circulation is worth nailing down rather than shrugging at.
Three different Jury Final dates in two days
Here is the part that should make anyone betting on the jury book uncomfortable. Over 11 and 12 November, the same publication gave the Jury Final three different days:
| Source, by date | When the juries vote |
|---|---|
| Second-rehearsal round-up, 11 November | “Jury Show and live final” on 14 November |
| Day-five round-up, 12 November | Jury Final on Thursday (12 November) |
| Malaysia jury announcement, 12 November | Jurors vote on Friday (13 November) |
| Official Voting Terms, updated 28 August | No date given |
| Official how-to-watch page | No mention of a Jury Final at all |
The day-five report is internally inconsistent on its own terms: it says the jury vote is one day away and also places it on Thursday, which is the day the report was published. We are not going to resolve this by picking the version we like. What can be said from official sources is narrower and more useful: the Voting Terms, last updated 28 August 2026, establish under §8.2 that the Grand Final result is split 50/50 between the public vote and the professional juries, and say nothing about when the juries watch.
The one dated, official fact in the neighbourhood is that the Preview Show runs at 20:30 ICT on Friday 13 November at the One Bangkok Forum, per the organisers’ own ticketing page. In the European contest the juries vote at the dress rehearsal the night before the final, and a Friday preview show is exactly the shape of that event. That is an inference, not a confirmation, and it is flagged here as one.
The start time, for the third time
The organisers’ how-to-watch page says it plainly: “On Saturday 14 November at 14:30 CET (20:30 ICT) you’ll be able to watch the first-ever Eurovision Song Contest Asia via our YouTube channel.” That is 13:30 UTC.
Both of this week’s rehearsal round-ups carry a standing line giving “19:30 ICT (14:30 CET)”. Indochina Time runs six hours ahead of Central European Time, so 14:30 CET is 20:30 ICT. The two halves of that sentence contradict each other, which is a stronger reason to set it aside than simply preferring one source over another. This site corrected itself to 20:30 ICT on 9 November and has held there since. If you are planning around a broadcast, use the official page, and see our UK timing guide or the Australian SBS guide for local equivalents.
The official photographs stopped on 10 November
The organisers’ public media library is worth watching for a reason nobody seems to be using: the press photographers’ filenames carry the shoot date, in the form Selection-DAY<n>-<YYMMDD>. Day two is 261109 and day three is 261110, which puts day one on 8 November and makes the two halves of each filename agree.
That is how this site dated Nepal’s rehearsal to 9 November when the report only appeared on the 10th, and Malaysia’s to 10 November. It is also why the table above can separate evidence from assertion.
As of 12 November the library holds 215 files, and no day-four or day-five photographs exist in it at all. The last rehearsal images are the three filed under 10 November. The only addition since then is a sponsor logo. Whatever the reason — and the organisers have given none — the first-party dating trick stops working from here, so the rehearsal days for the Philippines, Thailand and Vietnam rest on reports alone.
What the market did while this happened
Nothing dramatic, which is itself the finding. Read at 17:04 UTC on 12 November, Polymarket’s winner book has Malaysia at 61.5%, the Philippines at 28.0%, Thailand at 5.0%, Vietnam at 3.8%, South Korea at 2.6%, Laos at 1.9%, Nepal at 1.8% and the remaining four at or below 0.3%.
Thailand and Vietnam both completed a first rehearsal in the window covered by this reading, and neither moved in any way that stands out from the day’s drift. That is now the third consecutive day on which the rehearsal schedule has failed to predict a price move: Malaysia broke out on a day it rehearsed, then gained again on a day it did not, while the Philippines rehearsed and drifted down. A book this thin moves when somebody with a view turns up, not when a camera rehearsal happens.
The one number that did change character is turnover. The six books had been adding money more slowly each day — about $6.8K on 10 November, about $4.8K on 11 November. Between 11 and 12 November they added about $11.0K, reaching roughly $104.0K in all. That reverses a trend this site reported only yesterday, and the honest version is that the slowdown was two days of noise rather than a pattern. Money is arriving faster as the jury vote approaches, not slower.
Postcards, and the last pieces of the broadcast
Postcard filming was reported under way on 12 November. In the European contest the postcard is the forty-second film that introduces each act while the stage is reset, and it is one of the few production elements that can measurably help or hurt an entry: it is the only moment in the broadcast where a performer is presented as a person rather than a performance, and it runs immediately before the vote-deciding three minutes. Filming them two days out is late by European standards, where postcards are usually shot weeks ahead in the host country, but this is a first-year contest compressed into a single night rather than a fortnight of semi-finals.
The organisers also published a round-up introducing all eleven artists on 12 November. For anyone coming to the contest cold, that is the most useful official page of the week, and our own eleven-country guide covers the same ground with each act’s price attached — see which countries are in Eurovision Asia 2026, which also answers the Japan, China, India and Australia question that keeps coming up.
What has not been published is as notable. There is no rehearsal running order, no jury-show timetable, no confirmation of which acts rehearsed on which of the five days beyond what the reports and photographs reveal, and no statement on why the official photography stopped after day three. For a contest whose entire result will be settled on a single published scoreboard, the organisers have been consistently thin on procedural detail all season — only South Korea has released anything resembling a full national-final scoreboard.
What is left before Saturday
- Thursday 12 November — last day of second rehearsals. Postcard filming is under way.
- Friday 13 November — full dress rehearsals, and the Preview Show at 20:30 ICT at the One Bangkok Forum.
- Saturday 14 November — the Grand Final at 20:30 ICT / 14:30 CET / 13:30 UTC, hosted by Woody Milintachinda and Cindy Bishop, free on the Eurovision Song Contest YouTube channel worldwide and on a named broadcaster in each of the eleven countries.
Guest performers are DARA, who won Eurovision 2026 in Vienna with 516 points and topped both halves of the vote there, and Thai singer-songwriter Jeff Satur. Eleven songs, three minutes each, no more than six performers on stage, and a scoreboard built from twenty-one sets of points: ten juries and eleven public votes, the eleventh being the Rest of World vote that viewers outside the competing countries cast.
If you want to vote rather than watch, our voting guide covers the eight free votes, the three-country minimum and the rule that stops you voting for where you live. Every country’s page, running-order slot and live price sits on the Eurovision Asia hub, and the fuller market picture is on our winner odds page.
The honest note
No fixed-odds bookmaker prices Eurovision Asia. The only two venues are prediction markets: Kalshi, regulated by the US CFTC, which opened the first Asia market on 14 September 2026, and Polymarket, which listed the contest on 3 November 2026 and now runs six books on it. Polymarket is not available to users in Great Britain. Every price quoted above is a midpoint between a live bid and a live offer at a stated time, on books where several contracts have no bid at all — see our bookmaker page for why that distinction matters more here than almost anywhere else.