BACK in 2014, I remember half joking that one of the reasons I was voting for independence was so that Scotland could have its own entry in the Eurovision Song Contest. Now seven years later, it feels like less of a joke.

This will be the second Eurovision in a row that the UK has come dead last – an embarrassment for Britain that’s only compounded by the fact that they finished this year not only at the bottom but also without a single point from either the judges or the international community.

Everyone knows that the division of votes at Eurovision is as cut along political lines as it is performance – so it felt grimly satisfying to see the UK in such a position having spent the last few years throwing a tantrum in the aisles of global politics (sorry James Newman).

Less satisfying, however, is having to watch Scotland be dragged along behind it, which is why I find my mind returning again and again to that “joke”.

It’s not difficult to get excited about the idea of seeing a post-independence Scotland in Eurovision. In fact, I’d argue we’ve already had a tiny glimpse of it in the joyful Will Ferrell movie Eurovision Song Contest: The Story Of Fire Saga.

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Rachel McAdams stars alongside Ferrell in this genuinely heartfelt love letter to the contest, set across Iceland and Scotland, with Edinburgh pitching up as the host city.

There’s a throwaway line from the fictional Russian contestant Alexander Lemtov introducing the UK entry as the winner of “England’s Got Talent” before prophetically stating “but everyone hates the UK, so... zero points”. The name change-up of the popular ITV show suggests that in this universe Britain may no longer be quite so united... or it could have been the writing team making a dig at the fact that, despite being called Britain’s Got Talent, the judges have repeatedly skipped out on bothering to hold trials in Scotland, instead telling Scots to travel south to take part.

The host city for Eurovision is, traditionally, the capital of the previous year’s winning country, making its Edinburgh setting equally suggestive. While Edinburgh did host Eurovision back in 1973, those were the days before devolution. It’s questionable how much stock we can put in the UK, ever fearful of Scotland’s case for leaving, choosing to let Scotland host a cultural event that would only let the country grow stronger bonds with our European neighbours.

Or maybe I’m reading too much into all of that. The point, however, is that throughout the film we see Edinburgh (and parts of Glasgow pretending to Edinburgh) decked in the contemporary Eurovision branding, the excitement, the crowds – and given my love for the competition, and the burning wreck of our relationship with Europe courtesy of the UK Government, it certainly pulled on something in my heart while watching.

An independent Scotland having our own entry in the Eurovision Song Contest would be to me a powerful symbol of having rejected the narrow-minded and insular politics that have come to define the UK, and which led to that crushing nul point.

Even during the show itself, the UK couldn’t stop itself from reminding European viewers just how much disdain it had for them. While announcing who Britain would be giving their points to, Amanda Holden welcomed the Eurovision team with “bon soir” and “goedenavond”, before quipping: “That is good evening in French and Dutch although I’ve got absolutely no idea which is which.” It landed like a sledgehammer.

How long will Brits continue thinking that feigning ignorance of other cultures and countries is in any way charming? I don’t think for a second that she meant it with any degree of ill intent but it is a perfect example of how unconsciously ingrained British cultural supremacy is in the UK.

Why would anyone vote for a country that thinks knowing more than one language is a bit of a joke or that would erect a massive effigy of Theresa May giving the V-sign across the channel on the white cliffs of Dover just ahead of Brexit negotiations?

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As a member of the “Big 5”, Britain’s place in the Eurovision final was guaranteed without having to audition. As one of the biggest financial contributors to the European Broadcasting Union, their entry to the final was guaranteed without the need to compete in the semi-finals. Given the embarrassing result on Saturday, and Westminster’s increasing hostility to both the arts and anything outwith Blighty, I wouldn’t be surprised to see a change in spending in the near future. If I’ve come to expect anything from the UK’s current shower of politicians, it’s that they aren’t above taking their ball home.

Following independence, I think Scotland would easily be in a position to take the top spot in a future Eurovision. Putting aside the wealth of incredible musical talent in our country, we have everything needed to be a Eurovision hit: an instantly recognisable cultural dress, native instruments, a tartan army of ambassadors who are well liked – and an opportunity for Europe to welcome a friend back after a long absence.

Not that I think Scotland’s first entry should play to our country’s stereotypes, but there’s fun to be had with that. Eurovision entries often walk the line between camp and contemporary, and I don’t think Scotland would necessarily be any different.

Eurovision is mostly a celebration, sometimes a protest and occasionally a naked man making a desperate run across the stage – I think an independent Scotland would be right at home.