ESC Daily

ESC Daily

San Marino: Search for Lisbon-candidate on the internet

San Marino: Search for Lisbon-candidate on the internet

San Marino will take part in the Eurovision Song Contest 2018 in Lisbon. The state broadcaster San Marino RTV confirmed their participation and says they will look for their act on the internet.

The Head of Delegation of San Marino and the broadcaster have publically debated whether they would continue to take part in the contest. They believe a small micro state has no chance of success at the contest.

Nevertheless, they will take part in 2018 again. More details on the search strategy in San Marino will be revelaed in due time.

Categories: ESC Daily


Junior Eurovision: Belarus will host in 2018

Junior Eurovision: Belarus will host in 2018

Belarus will host the 2018 edition of the Junior Eurovision Song Contest. The EBU has confirmed this news one month before the 2017 edition in Georgia.

In recent years the winner of the contest got the first right to host the next year, but the EBU is now returning to earlier times, where they handpicked the host country themselves.

2018 will be the second time that Belarus hosts the Junior Eurovision Song Contest. It was held in Minsk in 2010 as well.

EBU explains their choice

Jon Ola Sand, the EBU’s Head of Live Events said: “The rule change to allow a host for next year’s competition to be chosen earlier not only gives the host broadcaster longer to prepare what is a huge production but also protects the future of the Junior Eurovision Song Contest.

“We are therefore delighted to announce, before we gather in Tbilisi for the 2017 competition, that BTRC will be the host broadcaster of the 2018 Junior Eurovision Song Contest. BTRC’s application to host was extremely strong, and we have full confidence that they will put the same enthusiasm into the preparations of next year’s event.”

Categories: ESC Daily


Malta: 16 finalists announced for MESC 2018

Malta: 16 finalists announced for MESC 2018

The 16 finalists have been announced in the Malta Eurovision Song Contest 2018. PBS announced them live on the evening news this evening (11th October).

The final 16 participating artists were selected from the earlier list of 30, which were were released in September. The finalists (not announced in any particular order) are as follows:

  1. Dai Laga – Run
  2. We can Run – Avenue Sky
  3. Heart Of Gold – Brooke Borg
  4. Taboo – Christabelle Borg
  5. One Step at a Time – Danica Muscat
  6. Back to life – Eleanor Cassar
  7. Supernovas – Jasmine Abela
  8. Love Renegade – Lawrence Gray
  9. Call 2morrow – Matthew Anthony
  10. Breaking Point – Mikhail Attard & Cherylis Camilleri
  11. Turn it up – Deborah C
  12. Rocket – Mirana Conte
  13. Evolution – Petra
  14. Beyond Blue Horizons – Rhiannon Micallef
  15. Song For Dad – Richard & Joe Micallef
  16. First Time – Tiziana Calleja

Previous participants

In this final 16, 7 have competed previously. Richard Micallef (Edwards) was part of the band Firelight. Rhiannon Micallef competed in 2017 with the song Fearless, also from the 2017 show was Mirana Conte who sung Don’t Look Down. Another participant from 2017 is Deborah C who competed as a duo with Joseph. This yeah she did submit a song with him, but decided to proceed as a solo artists. From 2016 there is Jasmine Abela who sung the song Alive, and Christabelle Borg who sung Kingdom. Brooke Borg competed in both 2016 and 2017. In 2016 she came 2nd to Ira Losco singing Golden, and in 2017 she sung the song Unstoppable.

Categories: ESC Daily


Junior Eurovision: Stage for contest in Tbilisi revealed

Junior Eurovision: Stage for contest in Tbilisi revealed

The 2017 Junior Eurovision Song Contest takes place next month and this week saw the Heads of Delegation meet in the Georgian capital Tbilisi. During the meeting the first pictures of the stage were also revealed.

Sixteen countries will take part in the 15th edition of the Junior Eurovision Song Contest this year, including Australia. Portugal returns to the contest, for the first time since 2007. The contest will take place in the Olympic Palace in Tbilisi, Georgia on Sunday 26th November 2017 at 16:00 CET.

This is the line-up for the contest so far.

Armenia – Misha
Australia – Isabella Clarke – Speak Up
Belarus – Helena Meraai – I Am The One
Cyprus – Nicole Nicolaou – I Wanna Be S Star
FYR Macedonia – Mina Blazev – Dancing Through Life
Georgia – Grigol Kipshidze
Italy – Maria Iside Fiore – Scelgo (My Choice)
Malta – Gianluca Cilia – Dawra Tond
Poland – Alicja Rega – Mój dom
Portugal – Mariana Venâncio – Youtuber
Russia – Polina Bogusevich – Wings
Serbia – Irina Brodic & Jana Paunovic – Ceo svet je naš
The Netherlands – Fource – Love Me
Ukraine – Anastasiya Baginska – Don’t Stop

Another change to the voting procedure

There has been a change in the voting rules again this year. The audience will be able to vote online, which opens on Friday 24th November, and will close on Sunday 26th November. Viewers will have to watch the recap of all the songs before they place their vote on the JESC website. The first round of voting will close at 15:59 CET on Sunday 26th November.

During the live show, the online voting will open again once the last performance has taken place, and will be open for 15 minutes. The final audience result will be a combination of both the pre-show and live voting results. This will then make up 50% of the final vote, with the jury voting being the other 50%.

Categories: ESC Daily


Editorial: Why I get up at 5AM for Eurovision

Editorial: Why I get up at 5AM for Eurovision

Eurovision fascinated me so much, that by 2016, I decided to watch the entire grand final… live. In Australia, this means waking up at 5am, watching the contest through bleary eyes as the sun rises outside. And what a show I decided to watch! 

By: Joshua Mayne

For me, it all started in 2013. The nightly 6pm news bulletin was on the television, and there was a very short segment about the latest winner of the Eurovision Song Contest (that being Emmelie de Forest from Denmark, with her song ‘Only Teardrops’). I downloaded the song the following day, and couldn’t get enough of it for the remainder of the week.

Slowly, I began to learn more about the contest. And when Australia competed for the first time in 2015, it sparked my interest. However it was more than that which really drew me to the contest.

Watching bits and pieces of the show in Vienna from SBS’s broadcast, I was able to see the diversity of music, people and nations, which characterise the Eurovision Song Contest. Many songs including Slovenia’s ‘Here For You’, Sweden’s ‘Heroes’ and Australia’s ‘Tonight Again’ immediately made it into my playlist, on repeat for the following weeks. The contest fascinated me, and I wanted to learn more.

Eurovision at 5AM in Australia

In fact, it fascinated me so much, that by 2016, I decided to watch the entire grand final… live. In Australia, this means waking up at 5am, watching the contest through bleary eyes as the sun rises outside. And what a show I decided to watch! If anything was going to wake me up, it was that brilliant song contest held in Stockholm.

I was encapsulated in the spirit of Eurovision for all twenty-six songs, enjoying the wide selection and high quality of music that Europe had to offer. As I anxiously waited in the living room for the voting to commence, I was reminded that I needed to leave in the next five minutes, to go to a previously planned event.

Fortunately, my ‘crisis’ was averted. I found a live broadcast on SBS radio, which let me listen to the live votes unfolding as I travelled in a car. With Australia so close to victory, my heart rate reached a point it never has before. It spiked when hearing “the country that got the 8th highest score… with 120 points…. is…. Austria!”. I immediately thought that ‘Austr’ was going to be ‘Australia’!

My new passion: Eurovision

The final result didn’t go Australia’s way, but that was beside the point. After what I had seen (and heard), I knew that this contest was for me – my new passion.

Nearing the end of 2016, I integrated my newfound passion for Eurovision into my writing. For the past two years I’d been writing for sites, focusing on football. I sent an opinion piece to ESCDaily about possible artists for Australia at Eurovision 2017, and was fortunate enough to have had it published.

From there, I continued to write further material for the site, learning more about the contest every day. 2017’s contest in Kiev reaffirmed this for me. I was able to follow the preparation, tactics, selections and dramas involved with staging the Eurovision Song Contest. It really has all the interesting aspects that a big sports event should have!


The Eurovision Song Contest is exactly that – a sports event for music. I was first drawn to Eurovision because of its music, and it still entertains me today.

Sam Pang, one of Australia’s former Eurovision commentators for SBS, described the contest as a “food court of music”, a line that has resonated with me. After all, Eurovision offers such a large and diverse variety of artists, songs and composers, each with their unique style or flair. There is something for everyone, and, just like a food court, it can be extremely difficult to choose just one favourite… Watch just one grand final, and you will witness a broad selection of genres, whether it is pop, rock, ballad, alternate, rap, ethnic/indigenous music or even yodelling.

Not only can the music landscape be viewed in one show, it can be viewed across decades (six of them, in fact). Through sixty-two years of the historical contest, the shift of musical genres and styles can be seen. Eurovision acts as the perfect medium for one to view the progression of music in Europe, which, in many cases, is reflective of social change.

There’s not one musical genre that I’ve always listened to. I don’t sit down to listen to rock, or buy an album made by just one artist. Personally, I find that limiting. I open up and listen to a diverse range of music. This is why Eurovision has connected with me.

Generally, the quality of songs competing at Eurovision is high, as they share the common goal of wanting to create the best song possible. There are, of course, exceptions, but nations are there to win, and send their best entries in order to do so. If the song is enjoyable, regardless of its genre, background, performance or artist, I’ll listen to it, and Eurovision is home to an abundance of these kinds of songs.

Sport and Competition

At the age of four, I would pick up the Sunday newspaper, flip straight to the back, and start reading the sport section. I couldn’t read much at that age, but I could understand sport. This strong connection with sport, combined with a love of music, has blended perfectly to form my passion for the Eurovision Song Contest.

I just love sport and the competition it provides. That competition lasts 8-10 months a year! Although many see Eurovision as a one-week, or even one-night contest, it really is a long and gruelling process. Each country must carefully select an artist, a song and the way in which they wish to deliver their entry. And when the voting sequence commences after each country has sung at the grand final, the adrenaline associated with competition starts to kick in.

Olympic games or drinking game?

For some, Eurovision is a serious competition, which plays a vital role in European society. For others, it’s a light-hearted affair, nothing to be taken seriously. Steef van Gorkum discussed this idea in an editorial a few months ago.

Personally, I view Eurovision as a serious competition, but I appreciate how holistically enjoyable the contest is. I started watching because I enjoyed it. And as I continue to learn more, I appreciate and acknowledge the importance of Eurovision in terms of celebrating diversity, promoting acceptance and strengthening bonds within Europe.

Like sport, it is an opportunity for a team (in this case, a nation), to promote themselves in a way they wish. The goal is not only to win, but also to improve the team, and relationships with the teams surrounding them. Sport has the power to do just this. And so does Eurovision, hence, why I’ve connected with the concept so well.


The other aspect of the contest, which makes Eurovision so unique, is the performances. Entertaining, bizarre, boring or plain stupid – Eurovision has it all, and it results in varied reactions across Europe and the world. Some ‘unique’ entries that immediately come to mind are ‘My Słowianie’ from Poland in 2014 and Moldova’s ‘So Lucky’ in 2011…

Then, you can move to other unique entries that focus on social justice (for example, Conchita for Austria in 2014, Sanja Vučić for Serbia in 2016). Each act is presented uniquely to advocate a unique, important message. Eurovision is the perfect, public platform for songs like this.

The unique format of Eurovision blends perfectly with unique entries to create an extravaganza that can question, relate with and support European people. Nowhere else in the world can you find a continent-wide singing competition between nations, where entries vary from soft ballads sung by a jazz artist in a suit to dance songs where singers wear cones on their head. That is quintessentially Eurovision, and I love it. Europe is such a unique place, and Eurovision is the perfect reflection of this.


The Eurovision Song Contest is incredibly rich with history. Created in 1956 as an attempt to unify Europe after two world wars, the contest has played a historic and important role in Europe for over 60 years. The contest has embedded itself as a key aspect of European society. Not only as an entertainment show, but also as an annual historic event.

The evolvement of European society can be seen throughout each decade of the song contest. Values emerge and disintegrate, evident in the entries selected by each nation, and the manner in which the host city stages the show. Changes including language use, technology, voting and judging help to define the history of the Eurovision Song Contest.


Political protests are also prevalent in the contest. There are some that send a clear message or some that are more subtle. Including Jamala’s 2016 winning song ‘1944’, which was heavily disputed. Nations have the chance to represent themselves, and some do that in different ways to others…


Relating back to the idea of Eurovision as a ‘food court of music’, the contest is also a ‘food court of cultures’. Forty-two nations competed at Eurovision 2017, spanning across all corners of Europe. Apart from a lengthy and specific search on YouTube, in which setting can you sample and enjoy music from Finland, Azerbaijan, Australia, France, Ukraine and Germany?

Music enables us to view and appreciate new cultures, improving us as global citizens. Eurovision has not only taught me about European geography, but also the relations between nations, and the values they withhold.

Multiculturalism in Eurovision has captivated me so much. Next year, I will be researching how Australia has projected itself through the notion of multiculturalism in the contest. This will make up my major work in the subject of ‘Society and Culture’ in my final year at high school.

Multiculturalism characterises Europe, and makes it such an incredibly beautiful, diverse and accepting place. Eurovision has enabled me to learn about, appreciate and view the cultures that make Europe the continent it is today.


Eurovision is a genuinely positive event. Some nations utilise the opportunity for different reasons, but overall, this song contest is an enjoyable, fun and happy occasion. That’s exactly the way it should be. Since it’s origins as a contest to unite Europe, the core values of peace, acceptance and entertainment have remained. Even through to the 21st century.

Now, I remember back to watching the 2016 Eurovision Song Contest live at 5am. Belgium was first on stage, with Laura Tesoro performing the disco tune ‘What’s The Pressure’. That one performance contained the essence of Eurovision. Eurovision is a medium to achieve positivity. The main focus of the song – and ultimately, the contest – was positivity, something that the world needs more of. Eurovision, however, already has it. And that is why I love it.

Categories: ESC Daily


Ukraine: Vidbir-format used once again

Ukraine: Vidbir-format used once again

Ukraine will once again use the format with the shows called Vidbir to pick their act for the Eurovision Song Contest. Broadcaster UA:PBC announced this on Twitter.

In 2016 the format gave them Jamala’s song ‘1944’ (pictured above) which ended up winning Eurovision in Stockholm. On home soil, O:Torvald was less successful with a 24th place for their rock song ‘Time’.

Кастинг національного відбору України вже розпочато!
Casting for the #Vidbir2018 is starting now!

— UA:Eurovision (@uapbc) 1 oktober 2017

Because of a lack of funds for broadcaster UA:PBC, commercial broadcaster STB will once again organise and finance the show for the third consecutive year. STB also jumped in for the actual Eurovision Song Contest in Kiev this year, as they were media partner for the event.

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