A YouTuber who once recorded FIFA videos will now help decide which acts perform for royalty. KSI has been named the new full-time judge on Britain’s Got Talent for Series 19, joining Simon Cowell, Amanda Holden, and Alesha Dixon. He takes the fourth chair from Bruno Tonioli, who is stepping back due to filming commitments in the United States for Dancing with the Stars.
This isn’t a blind leap. KSI tested the seat as a guest judge in Series 18 and made immediate noise. His golden buzzer pick, Harry Moulding, went all the way and won the competition—pocketing the £250,000 prize and a slot at the Royal Variety Performance. The moment did two things: it showed he can spot what plays in a live room, and it proved he understands what catches fire online.
What the shake-up means for BGT
Britain’s Got Talent isn’t just a Saturday-night staple; it’s become a huge digital engine. The last series generated more than 1.5 billion online video views. On broadcast, it remained ITV’s biggest entertainment show of the year with 5.9 million viewers, while streaming on ITVX climbed almost 20% year on year. The launch episode also pulled in ITV1’s largest 16–34 audience of the year to date. That mix—linear dominance plus digital momentum—is exactly where KSI’s audience lives.
ITV’s bet is obvious. He brings reach across platforms where talent shows now compete for attention: short-form video, livestreams, and creator-led clips that travel faster than traditional promos. KSI’s following spans into the tens of millions across YouTube, Instagram, and TikTok. He’s also crossed into mainstream music with multiple UK chart hits and arena shows, and he’s built a reputation for high-energy live performances. That creates a bridge between the old-school variety format and the attention economy that decides what trends by Monday morning.
For the panel, the dynamics shift but don’t break. Simon Cowell remains the taste-making anchor and show creator. Alesha Dixon brings performer instincts and stagecraft. Amanda Holden adds the audience-first perspective that has kept the show welcoming and warm. KSI adds a digital-native lens: an eye for originality that pops in the room and also clips well for social feeds. Expect him to value timing, shareability, and acts that can land a strong first 10 seconds.
Bruno Tonioli’s departure comes down to logistics, not drama. The Italian showman joined BGT after a long run on Strictly Come Dancing and brought fireworks to the panel. But Dancing with the Stars shoots in the US, and calendars don’t always play nice. BGT has a history of rotating its fourth seat while keeping its core trio, and this is another turn of that wheel.
Beyond star power, KSI’s presence could influence the kinds of acts who apply. Creators who blend music, comedy, dance, tech, and visual effects may feel more at home on the BGT stage. Think loop-station performers, stunt-led ensembles built for viral replay, or hybrid acts that layer storytelling and sound design. The show has always prized variety; the next step is variety that travels across screens.
There’s also a business angle. Advertisers want shows that build communities, not just ratings. BGT’s social accounts already churn out bite-sized moments that rack up views long after the credits roll. With KSI on the desk, producers have another amplifier whose posts can spike discovery during auditions and live weeks. Expect more behind-the-scenes clips, judge-cam reactions, and creator-friendly formats that fit TikTok and YouTube Shorts without feeling like leftovers from the TV cut.
- Series 18 online views: 1.5+ billion
- Broadcaster performance: ITV’s biggest entertainment show of the year (5.9 million viewers)
- ITVX streams: up nearly 20% year on year
- Winner’s prize: £250,000 and a Royal Variety Performance slot
KSI’s track record suggests he won’t just reward polish. He’s leaned into acts with a clear story, a hook you can explain in one line, and the nerve to land it live. As a performer, he knows the value of pacing and a big finish. As a creator, he knows the power of an opening beat. Those instincts matter when thousands of acts are fighting for a few spots in the live shows.
How the show is setting up Series 19
Auditions will again sweep across the UK, with Ant & Dec returning to host. The golden buzzer—now a signature of the brand—remains a fast track to the live shows and the national spotlight. Producers have leaned into crowd energy in recent seasons, and the arena-style auditions give big acts the space to breathe while keeping solo performers intimate enough to connect.
Behind the scenes, Fremantle’s entertainment team steers the ship. The series is executive produced by Peter Cornes, with Craig Reid as Series Editor. Commissioning comes from ITV’s entertainment leads Katie Rawcliffe and Lily Wilson. Filming for the new run is due to begin later this year, keeping BGT on its usual calendar of auditions, live semi-finals, and a finale that crowns a winner in front of millions.
The format still matters: BGT is one of the few primetime shows that creates watercooler moments across age groups. Families watch together. Clips ricochet across group chats. International versions pick up standout acts. In a crowded market, that flywheel is rare—and costly to replicate. Adding a judge who can speak fluently to TV viewers and scroll-happy teens is a way to keep the engine humming.
What should fans expect? A livelier judges’ desk, more acts designed for the big stage, and a heavier flow of digital extras. If Series 18 was the proof-of-concept for KSI on the panel, Series 19 is where we see whether that chemistry scales over months of auditions and live shows. The bar is high, but so is the upside: fresh acts, fresher audiences, and another run of moments that break out of Saturday night and into the week.
