The highly anticipated result of the independent research, regarding all the matters that took place in Malmö, and filled the Contest’s name with a lot of negativity, were given away by the EBU. Read more
The Swiss newspaper Blick reports in today’s publication that next week the EBU will publish the result of the investigation it requested, from an independent researcher.
The conclusion of the investigation into the “Shame of Malmö”, as described in Blick, is to be published in the coming days. The EBU proceeded to conduct an independent investigation into everything that happened inside and outside the Malmo Arena and tarnished the image of this year’s contest.
Blick mentions in its article, on the one hand, that during the week of the final there were several anti-Semitic incidents, while on the other hand several delegations complained about the behavior of members of the Israeli delegation. The highlight of all the negative publicity received by Eurovision 2024 was the moment when a large part of the audience inside the stadium loudly booed the contest’s executive supervisor Martin Österdahl.
We await with interest the outcome of the investigation, which may lead to further developments.
Stay tuned to Eurovisionfun for all the updates
After Nemo‘s triumph in Malmö, Switzerland will have the great honor of hosting Eurovision for the first time since 1989. But when will the Contest take place and which are the most likely days?
According to the Swiss newspaper NZZ, the Eurovision Song Contest 2025 looks set to take place during the week of May 11-18, with the three shows being broadcast on May 13, 15 and 17. If the above dates are the correct ones, the Turquoise Carpet will be held on Sunday 11th May. The other possible dates are May 6th, 8th and 10th, but it’s relatively early.
The cities that have declared their interest in claiming the hosting of the Contest are:
https://youtu.be/CO_qJf-nW0k
Stay tuned on Eurovisionfun for all the news regarding the Eurovision Song Contest 2025, in Switzerland!
Source: nzz.ch
Israel Public Television confirms that an independent investigation has been carried out, on behalf of the EBU, in relation to everything that happened during Eurovision 2024.
The EBU’s external partner conducting the said investigation has already contacted a senior executive of the Israeli public television. According to what KAN reported to Euromix, it is pointed out:
A conversation took place between the management of the Israeli Public Broadcasting Corporation and an external examiner appointed by the EBU. The discussion was conducted in a very positive spirit, with the corporation’s team expressing and presenting their experiences and feelings about the Eurovision 2024 contest in Malmö in a full and transparent manner. During the conversation, the Israeli team also addressed the behavior of certain delegation members towards the Israeli delegation.
The EBU will use the results of this investigation to identify what mistakes happened that brought so much negative publicity, but also to learn lessons for the future.
Stay tuned to Eurovisionfun for all the updates!
Eurovision 2024 was stigmatized by a series of incidents that jeopardized the smooth operation of the show. Joost Klein’s disqualification along with the participation of Israel and the allegations claiming the Israeli delegation members harassing participants marred the 68th edition of the Eurovision Song Contest.
Following the aforementioned, EBU has now confirmed to the Dutch media that an independent investigation on everything that happened in Malmö is underway. As EBU officially stated to RTL Boulevard:
To further strengthen the Eurovision Song Contest, we have asked an independent expert to look at ESC 2024 in Malmö to share insights and lessons with the EBU governing bodies to support the continuous improvement of this global event.
This development is also confirmed by our own sources and exclusive information. RIK, the Cypriot broadcaster, has already expressed its opinions and insights on what happened in Malmö as well as its own thoughts and ideas on what shall be changed in order to strengthen the contest and maintain its “positive” character.
Stay tuned to EurovisionFun for all the news!
Radio Liechtenstein is planning to apply for EBU membership according to Liechtensteiner Vaterland.
Liechtenstein newspaper Liechtensteiner Vaterland broke the news. According to their sources, Radio Liechtenstein is in the process of applying for EBU membership.
In the early 2010s, Liechtenstein showed some interest in becoming a EBU member and competing in the Eurovision Song Contest. Peter Kolbel, former director of 1 FL TV, the only television station based in the state, was very positive about Liechtenstein participating in Eurovision. Sadly, plans for Liechtenstein’s participation were halted after Kolbel’s death four years ago.
The Managing Director of the television station 1 FL TV, Sandra Woldt did not follow the path set by her predecessor. Thus the possibility of seeing the state’s debut in the competition was suspended indefinitely.
Radio Liechtenstein was founded in 1995 and is partially funded by the government of Liechtenstein as its only public broadcaster. The radio station is one of two multimedia companies based in Liechtenstein along with 1 FL TV.
If Radio Liechtenstein becomes a member of the EBU, it will become one of thirteen other full members of the EBU that are only radio broadcasters. However, it would be highly unlikely that Radio Liechtenstein would be able to compete in the Eurovision Song Contest, as no radio broadcaster has ever taken part in the event, as the contest requires a televised broadcast in the participating countries.
Stay tuned to Eurovisionfun for all the updates on Liechtenstein application to the EBU!
Source: Eurovoix
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A few days ago, RTK, the public broadcaster of Kosovo, announced that it plans to participate in the Eurovision Song Contest 2025, taking place in Switzerland. Read more
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.
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.
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.”
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.
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
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
Stig Karlsen, the Head of Delegation for Norway at Eurovision, has called on its organisers the EBU to “stop blaming” others for its own faults.
Eurovision 2024 was shrouded in controversy, with multiple countries complaining about a tense and unsafe environment at the contest. Speaking to Wiwibloggs after the Grand Final, Karlsen says that the EBU need to “be more humble and take responsibility for the damage done”.
Norway was reported to be one of several broadcasters that was threatening to withdraw from the contest this year. In an interview with Aftenposten, the guitarist of Norway’s entry for 2024, Gåte, said that “retiring was on the block until the last second”.
Karlsen, who is the man in charge of Norway’s entry for the Eurovision Song Contest each year, says that the Norwegian broadcaster NRK is “already holding discussions” about what happened. The plan is to then “carry these discussions over to the EBU” when they can.
“There is no doubt that the reputation of the Eurovision Song Contest has been significantly damaged this year, and it is now crucial that the EBU quickly takes action. The EBU needs to stop blaming the delegations and artists for the scandals that surrounded Eurovision 2024, and acknowledge the core problem.”
“The reputation of Eurovision goes hand in hand with MGP and all the other national finals. What the EBU does now is crucial for the future of Eurovision and the national selections as well. However, they need to act quickly. Time is running out for the broadcasters that conduct national selections. Right now, it’s a tough task to get artists, songwriters, partners, and team members to engage and commit to the project.”
This is not the first time that Karlsen has said strong words after the end of a Eurovision. Last year, after the controversial result of Eurovision 2023, Karlsen called for the voting system at the contest to change.
Gåte represented Norway in Eurovision 2024. They qualified for the Grand Final, but finished in last place, scoring 16 points overall.
Stay tuned to Eurovisionfun for all the news about Eurovision 2024!
source: Wiwibloggs
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