Eurovision Song Contest 2025: Reto Peritz and Moritz Stadler will be the Executive Producers!

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The SRG Executive Board has appointed Reto Peritz from SRF and Moritz Stadler from RTS as co-executive producers for the 2025 Eurovision Song Contest (ESC) to be held in Switzerland. Both will continue in their current roles but will be substituted for a year to focus on the contest.

Organizing the Eurovision Song Contest in May 2025 in Switzerland is a monumental task. Responding to the ESC Task Force’s request, the SRG Executive Board has selected the individuals who will assume overall responsibility for the world’s largest music event. The role of executive producer will be jointly held by Reto Peritz, 51, currently the Director of Entertainment at SRF, and Moritz Stadler, 38, currently the Head of Operations at RTS.

The Executive Board believes these two media managers are ideally suited for the job, bringing extensive experience with the ESC. Reto Peritz has previously served as the Head of the Swiss Delegation and was an elected member of the ESC Reference Group from 2019 to 2021. Moritz Stadler is a long-time employee of the European Broadcasting Union (EBU).

While retaining their current roles within their respective business units, Peritz and Stadler will gradually hand over their ongoing projects until June 2025. This transition will allow them to dedicate their efforts entirely to the organization of the ESC 2025.

 

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Source: SRG-SSR

Eurovision 2024: The 68th Eurovision Song Contest broke all records!

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The Eurovision Song Contest 2024 witnessed unprecedented success across multiple platforms, engaging a vast audience both in Europe and worldwide. A staggering 163 million viewers tuned in to the event through public service media channels, showcasing its widespread appeal. Votes were cast from 156 countries globally, underscoring the Contest’s international reach and significance.

Of particular note is the remarkable youth audience share, the highest on record, indicating the enduring popularity of Eurovision among younger demographics. Leveraging the power of social media, videos featuring #Eurovision2024 garnered an impressive 6.5 billion views on TikTok, marking a substantial increase of 1.7 billion views compared to the previous year’s hashtag. The Contest also achieved a significant milestone by reaching nearly 500 million accounts on TikTok, quadrupling the reach compared to 2023.

Furthermore, the official ESC 2024 playlist emerged as the most-streamed Spotify playlist and featured in the Top 10 Apple Music playlists globally on Sunday 12 May reflecting the Contest’s influence on music consumption trends.

The 68th Eurovision Song Contest (ESC), hosted by Sveriges Television (SVT) in Malmö, brought audiences around the world together on both linear and online platforms. 

The Eurovision Song Contest 2024, organized by the European Broadcasting Union (EBU), reached 163 million people over the 3 live shows across 37 public service media markets.*

The total reach of the Contest increased by 1 million people compared to 2023 and has grown by 2 million since 2022’s Contest in Turin.

The viewing share of the Grand Final was 46.7% – the highest share since 2006 and almost triple the broadcast channels average (17.6%).

Among Youth audiences (15-24 year olds), the viewing share of the Grand Final was 58.6%, the highest share on record and more than 4 times the broadcast channels average (13.7%).

Host country Sweden achieved a similar audience to last year’s edition, with 2.3 million viewers tuning in for the Grand Final.. With 87.3%, their viewing share is the highest recorded for the Eurovision Song Contest since 2000.

Switzerland, who won the Contest for the third time, achieved an average audience of 723,000 viewers across the three linguistic regions, up 40% on 2023. In the three regions, the viewing share was the highest ever recorded.

Germany recorded the highest audience for the Grand Final with an average of 8.1 million viewers watching on Das Erste and ONE. The United Kingdom had the second highest audience with 7.7 million viewers tuning in for the Grand Final on BBC One.

France achieved an audience of 5.4 million viewers, an increase of 1.9 million compared to last year’s edition.

Greece achieved their best audience since 2011, with 2.8 million viewers, more than double last year’s performance.

Ireland had their biggest audience since 2013 with 650,000 viewers, close to double last year’s figures.

Latvia also had the most viewers watching in nearly a decade with 252,000 viewers, more than quadrupling last year’s performance. The viewing share was 61.8%, the highest performance since 2007.

In close to half of the markets (18 out of 37), the ESC claimed over 50% of the viewing share, led by Iceland with 96% and closely followed by other Nordic markets (Sweden 87.3%, Norway 85.5% and Finland 83.1%), Croatia (73.2%) and Lithuania (70.2%).

2nd placed Croatia, who gained their best ever result in the Contest, achieved their highest ESC audience and viewing share on record since 2006, with 1.1 million viewers and 73.2%, respectively.

During the week of the event, 7.3 million unique viewers watched the live shows on the Official ESC YouTube channel, either as they happened or on replay.

Concurrent views of the Grand Final on YouTube peaked at 1.6m, 17.8% more than Liverpool 2023, with record online views of the First and Second Semi-Finals too; nearly 35% of online viewers were aged between 13 and 24.

VOTES FROM OVER 150 COUNTRIES

This year public voting was open before the 3 live shows in non-participating countries and throughout the performances in the Grand Final resulting in viewers from 156 countries casting votes for their favourite songs – 12 more than when Rest of the World voting was introduced in 2023.

Outside the participating countries, viewers in the USA, Canada, Romania, Mexico, UAE, Türkiye, South Africa, Hungary, Slovakia and Bulgaria cast the most votes online.

RECORD ONLINE ENGAGEMENT

Online the Eurovision Song Contest’s digital platforms had another record year.**

486 million unique accounts were reached on TikTok, the ESC’s Official Entertainment Partner, during the event weeks, more than 4 times as many as in 2023.

TikTok also saw a total of 538 million videos views on the official Eurovision account – up 71% year-on-year.

Videos on the platform using #Eurovision2024 have been watched 6.5 billion times – up 1.7 billion on last year’s hashtag.

69 million unique accounts were reached on Instagram – more than twice as many as in 2023.

Videos on the platform were seen 479 million times, 165% up on last year while content on the ESC Facebook page was seen by 23 million during the two event weeks.

42 million unique viewers across 231 countries and territories watched content on the official YouTube channel during the week of the Live Shows.

The Reddit r/eurovision community grew 71.8% in screen views and 27.8% in engagement year-on-year, as users followed rehearsals live and put their questions directly to artists in AMA (Ask Me Anything) interviews.

Additionally, 2.5 million people used the new Eurovision Song Contest app.

Speaking about the record results across the board, Jean Philip De Tender, EBU Deputy Director General said: 

“These incredible numbers show the Eurovision Song Contest’s huge global impact – online, on TV and importantly musically. We’re thrilled to see a growth in the hundreds of millions tuning in to the live shows on EBU Member channels and record-breaking numbers engaging with the songs and artists on our different digital platforms. Our thanks go to SVT who produced over 9 hours of world leading entertainment shows, harnessing the power of public service media to reach audiences around the world.”

Ebba Adielsson, SVT’s Executive Producer of ESC 2024 added:

“I am so proud of our team, who worked with such dedication and passion towards the goal of delivering three fantastic shows for the Eurovision Song Contest 2024. The hosts, Petra Mede and Malin Åkerman, the participating artists, the interval acts and our set and lighting design – we believe it all came together with huge success and took the Eurovision Song Contest to the next level. It is a breathtaking thought that 163 million viewers watched the shows and that people from over 150 countries were engaged in voting, United By Music.”

GLOBAL MUSICAL SUCCESS

The Eurovision Song Contest continues to produce worldwide hits and promote music from across the participating nations in 2024.

In the week following the ESC Grand Final, 9 of this year’s entries were ranked in the ESNS Radar Radio Airplay Chart Top 100***.

The official Eurovision Song Contest 2024 playlist on Spotify was once again the most-streamed Spotify playlist globally on the day after the Grand Final.

Spotify’s Global 200 chart for all streaming across the world also saw 6 entries from 2024 break into the Top 200 on the same day with winner Nemo having the highest entry at #17 and the entries from the Netherlands, Croatia, France, Ukraine and Italy also charting.

On 12 May, the Eurovision Song Contest 2024 was among the Top 10 playlists on Apple Music worldwide.

35 songs from this year’s event have reached the Daily Top 100 on Apple Music in 57 countries worldwide, including 23 countries where they have reached No. 1, and 42 countries where they’ve reached the Top 10.

Winning song “The Code,” by Nemo, has reached the Daily Top 100 in 44 countries, including 13 where it’s reached No. 1, and 29 where it’s reached the Top 10.

On the Official ESC YouTube channel, videos featuring Nemo, including exclusive live performances and interviews, have received 34 million views to date.

According to Shazam’s Radio Spin data, since the Grand Final, “The Code” had the most radio air play globally of all the Eurovision entries, followed by “Mon Amour” by Slimane of France and “La Noia” by Angelina Mango of Italy.

“Always on the Run” by ISAAK was the most-Shazamed song during the live Grand Final.

WIDER IMPACT

Early data and figures from the Host City, Malmö, suggests that 82,000 visitors came to the Eurovision Village during the week of the event.

Fans from 92 countries bought tickets to 9 shows during the event week which included Dress Rehearsals and live broadcasts.

Around 1,100 journalists from at least 54 countries were accredited to cover the event onsite.

The Eurovision Song Contest was hosted by SVT on 7, 9 and 11 May and broadcast in the 37 participating countries, Brazil, Chile, Kosovo, Montenegro, North Macedonia, Peru, USA, and online.

The shows were also broadcast on radio in 11 EBU Member countries.

https://www.youtube.com/watch?v=5DzrRxHYm_0

Source: EBU

EBU Reference Group Chair Reflects on Eurovision 2024

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Bakel Walden, the Chair of the Eurovision Song Contest Reference Group, recently shared his insights into the happenings of Eurovision 2024.

This year’s contest, held in Malmö, Sweden, was not just about music. Despite Switzerland‘s victory with Nemo‘s groundbreaking win for “The Code“, Eurovision encountered various controversies, including Joost Klein‘s disqualification and debates over Israel‘s involvement.

Walden, leading the Eurovision Song Contest Reference Group, oversees a vital committee responsible for shaping the Eurovision Song Contest’s direction. This committee approves contest formats, secures funding, and supervises host broadcasters’ preparations.

In an interview with Swiss news outlet 20 minuten, Walden, also a member of SRG’s Board of Directors, shared his thoughts on this year’s Eurovision. He will play a role in Eurovision 2025 as it returns to Switzerland.

Reflecting on Eurovision 2024, Walden acknowledged its challenges:

“As my first year as chairman, I lack a broad comparison. Yet, many experienced individuals deemed this ESC historically difficult, a sentiment I share after recent weeks and days.”

Despite difficulties, Walden highlighted the contest’s positive impact, noting the shows’ ability to “enthral millions”:

“The preparation was intense, with many highlights and significant pressure. However, the overwhelming joy and gratitude from this year’s ESC, captivating millions, stand out.”

During the winner’s press conference, Walden bestowed upon Nemo and Switzerland the opportunity to host Eurovision 2025. This task typically falls to the Executive Supervisor, Martin Österdahl, who was absent.

Addressing controversy around Nemo’s display of a non-binary flag, Walden affirmed Nemo’s adherence to Eurovision’s guidelines:

“The non-binary flag, alongside participating countries’ flags and the rainbow flag, is permissible. Regrettably, there were some onsite implementation errors. Nevertheless, Nemo acted correctly.”

Responding to Nemo’s assertion that Eurovision “needs a little bit of fixing,” Walden acknowledged room for improvement:

“In our analysis, we must not only focus on Malmö’s positive experiences but also recognize the need for improvement.”

Regarding Joost Klein’s disqualification, Walden supported the EBU’s decision:

“Regrettably, we faced an additional crisis. However, the decision to disqualify Joost Klein was correct. Unacceptable behavior towards a production employee necessitated action.”

Looking ahead to Eurovision 2025, Walden expressed ongoing involvement in the contest’s production and preparations:

“Preparations for Eurovision 2025 are already underway, with many discussions ongoing. Our supervisory board will convene again shortly.”

Walden anticipates the announcement of Eurovision 2025’s host city during the summer, emphasizing the importance of a fair and well-prepared approach.

Eurovision 2025 marks Walden’s second engagement with the Eurovision Song Contest Reference Group.

Source: 20 minuten

Schinas’ letter to the EBU: “Who is the Eurovision Song Contest for?”

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European Commission’s Vice President Margaritis Schinas sent a letter to the management of the European Broadcasting Union (EBU) today, expressing his regret over the prohibition of the EU flag at the Eurovision Song Contest final and demanding explanations.

As the Commissioner responsible, among other things, for cultural policy in the EU, Schinas highlights in his letter to the EBU, that for almost seven decades, Eurovision has embodied the values of diversity and cultural exchange – values shared and supported by the EU. He further expresses “regret” for “the policy applied by the EBU this year to prohibit participants from waving the EU flag during the Eurovision Song Contest final.”

“Such actions have cast a shadow over what is intended to be a joyful event for people across Europe and the world to come together in celebration. Less than a month before the European elections and in times of geopolitical turmoil, with the EU being targeted by malicious and authoritarian actors, the decision of the EBU has contributed to the devaluation of a symbol that unites all Europeans,” stated Schinas in his letter. Conversely, he points out that at the Paris 2024 Olympic Games, “the IOC allowed the display of EU flags in all venues and award ceremonies.”

“The inconsistency in the EBU‘s stance has left me and many millions of viewers wondering what and whose Eurovision Song Contest is,” emphasizes the Commissioner, calling on the EBU management to explain the rationale behind this decision.

The response from the European Broadcasting Union remains to be seen, with voices against it growing stronger day by day after the events in Malmö.

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EBU Takes a Stand on Joost Klein Incident and Backstage Escalations

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Following Joost Klein’s admission of his unlawful and violent behavior towards a female SVT employee, resulting in his expulsion from this year’s Eurovision Song Contest final, the EBU has released a new statement addressing the issue.

The Dutch artist Joost Klein was excluded from the Grand Final of this year’s Eurovision Song Contest following threatening behavior directed at a female member of the production team. Swedish police have investigated the offense, and the case will soon be handed over to the prosecutor for expedited proceedings.

Joost’s behavior was a clear violation of the Contest’s rules, designed to ensure a safe working environment for all staff and to protect the production. While we do not prejudge the legal process, given the circumstances and the fact that the police investigation will be handed over to the prosecutor shortly, it would not have been appropriate for Joost to participate in the Grand Final.

The decision to exclude him was supported by the governing bodies of the Contest – the Eurovision Song Contest’s Reference Group and was unanimously endorsed by the EBU Executive Board, following a thorough internal investigation.

The version of events circulated in some public comments and on social media does not correspond to the reports shared with us and the Swedish Police by staff and witnesses. However, the matter is now subject to legal proceedings, and unfortunately, we cannot comment further at this stage.

We maintain a zero-tolerance policy towards inappropriate behavior at our events and will always take necessary measures to address threats to staff – from whoever they may originate.

However, Joost Klein’s incident wasn’t the only irregular behavior in the Contest’s premises. In light of the escalations that occurred during the past week among various delegations and the complaints received, the EBU issued a relevant announcement:

“We regret that some delegations at the Eurovision Song Contest in Malmö didn’t respect the spirit of the rules and the competition both onsite and during their broadcasts,

We spoke to a number of delegations during the event regarding various issues that were brought to our attention.

The EBU’s governing bodies will, together with the heads of delegations, review the events surrounding the ESC in Malmö to move forward in a positive way and to ensure the values of the event are respected by everyone.

Individual cases will be discussed by the event’s governing body, the Eurovision Song Contest Reference Group made up of representatives from participating broadcasters, at its next meeting.”

While Eurovision 2024 may have already concluded, it seems that the controversies of the competition will follow us for many months to come… We will monitor the situation and keep you updated on any developments.

Stay tuned to Eurovisionfun for all the latest updates!

Controversy Erupts as EU Flags Banned at Eurovision Final

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The European Broadcasting Union’s move to prohibit EU flags during Saturday’s Eurovision final has sparked outrage, with Commission Vice President Margaritis Schinas denouncing it as a boon to “enemies of Europe.”

Expressing bewilderment at the decision, Schinas criticized the timing of the ban amidst upcoming European elections and amidst demonstrations in Tbilisi supporting EU democratic values. Commission President Ursula von der Leyen’s spokesperson also lamented the ban, highlighting the significance of the EU flag alongside national flags on public buildings.

“It’s mind-blowing, what the EBU did,” Schinas told POLITICO’s Brussels Playbook after the song contest’s widely watched conclusion was overshadowed by political controversy.

Schinas questioned the rationale behind the ban and its beneficiaries, suggesting it primarily benefits Euroskeptics and foes of Europe.

“I cannot find the logical explanation for why the EBU is doing this. And what does this serve?”

“Less than a month from the European elections, who wins from banning the EU flag from Eurovision?” the commissioner added. “Only the Euroskeptics and the enemies of Europe.”

The EBU defended its policy, stating it remained consistent with previous years, permitting only flags of participating countries and pride flags. However, Schinas vowed to address the issue with EBU management, seeking clarification.

“I will talk to them. I won’t let this pass,” he said. “I will seek explanations and clarifications.”

In the midst of the controversy, Nemo, a Swiss rapper, emerged as the winner of Eurovision 2024, delivering a powerful message about self-discovery as a non-binary person.

Despite the festivities, this year’s competition in Malmö, Sweden, was overshadowed by geopolitical tensions, with protests and mixed reactions during performances. Reflecting on the event, Nemo humorously noted the mishap of breaking their trophy and suggested Eurovision could use some “fixing” too.

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Source: Politico

The Netherlands: Cornald Maas on disqualification – “F*ck the EBU”!

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AVROTROS earlier on released a statement about the incident that led to the disqualification of Joost Klein from this year’s Eurovision Song Contest Grand Final! The national broadcaster had a serious reaction against the resolution of the issue by the EBU and the frustration never ends!

Cornald Maas has reacted to the disqualification of Joost Klein. The commentator can’t understand why Joost is not allowed to play in the Eurovision final. Cornald Maas is furious about Joost Klein‘s disqualification and on an informal press conference he commented:

“F*ck the EBU!”

Source: nu.nl

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Breaking News: EBU in crisis meeting following strong reactions in the Dutch delegation!

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The disqualification of Dutch artist Joost Klein has provoked strong reactions in the Dutch delegation. The EBU is currently in a crisis meeting, according to information to SVT.

As you have previously read in our past article, Joost Klein and the Dutch delegation have been disqualified from participating in the contest, following an incident with a person working for the production of the contest and a filed complaint.

Currently, the situation is being investigated by the Swedish police and both sides are being interrogated.

Source: SVT Nyheter

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Breaking News: Slimane delivers message about peace during his performance!

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The on-going afternoon preview of the final show has back-to-back surprises for us.

Slimane stopped his performance and delivered a statement instead of singing the last part of his song. The message was:

“When I was a child, I dreamed about music, I dreamed about this dream to be a singer to sing peace. We need to be united by music, yes, but with love and peace.”

At some point, it seemed like his microphone feed was turned off, but then it was on and we could clearly hear him deliver his message. Up until the time of writing, there was no official statement by the EBU about whether there will be implications on the French entry due to this move by the French participant.

We will keep you up to date for more information, stay tuned.

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Breaking News: Bambie Thug didn’t perform at the afternoon preview of the Grand Final!

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Bambie Thug, the Irish representative at the Eurovision Song Contest 2024, has made headlines for their unique style and impressive vocal performance. However, as the afternoon preview show of the Grand Final is on-going it is noticed that they did not perform on stage.

The reasons behind this decision are not clear yet, Bambie earlier posted a story letting their fan know what has happened:

Bambie story

Bambie story

Bambie Thug, known for their ‘goth gremlin’ persona, has been praised for their dramatic staging and has become the first Irish delegate to make it through to the Eurovision final since 2018 and the first non-binary contestant to ever qualify to the finals in the history of the contest.

Their absence from the preview show is sure to be a disappointment for their fans and viewers alike. We look forward to more updates on this situation.

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