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Eurovision Song Contest to launch in Latin America

The Eurovision Song Contest is set to launch in Latin America, as the global expansion of the brand continues.

According to the organisers, the European Broadcasting Union (EBU), the 2022 Eurovision Song Contest generated high content views in Latin America.

Argentina, Brazil, Chile and Mexico were among the top-performing markets for non-participating nations – one of which will be selected as the host city for Eurovision Song Contest Latin America.

“Following on from the launch of the American Song Contest, and with plans underway for Eurovision Song Contest Canada next year, the European Broadcasting Union is thrilled to be now working with Voxovation on bringing the excitement and magic of the Eurovision Song Contest to Latin America,” says Eurovision Song Contest executive supervisor Martin Österdahl.

“The unique Eurovision format finds new fans across the globe every year and we can’t wait to expand”

“The unique Eurovision format finds new fans across the globe every year and we can’t wait to expand the brand in this hugely diverse part of the world.”

Eurovision Song Contest Latin America will be produced by Voxovation, the producers behind American Song Contest and Eurovision Song Contest Canada.

Peter Settman and Greg Lipstone of Voxovation’s producing team, adds: “Fans across Latin America have consistently shown up and showed out for the Eurovision Song Contest brand, and Eurovision Song Contest Latin America is the embodiment of that fervent passion, as well as a continuation of the broad vision we, the producing team, have for Eurovision as a global brand.”

The Eurovision Song Contest is the world’s largest live music event, with over 180 million people tuning in across linear and digital channels in 2022.

The contest has launched the global careers of a wide variety of artists, including most recently Italian winners Måneskin as well as Celine Dion, ABBA, Julio Iglesias and numerous others.


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Thousands attend Eurovision Song Contest 2021

Organisers have hailed as a success the grand final of the Eurovision Song Contest, which, with 3,500 Covid-negative live music fans in attendance, was the biggest indoor pilot event held in the Netherlands to date.

The 2021 contest, the first since 2019, concluded at the 16,500-capacity Ahoy arena in Rotterdam on Saturday (22 May), with Italian band Måneskin crowned the winner for their song ‘Zitti e buoni’. In total, 26 countries made it to the final, with all but one (Iceland’s Daði og Gagnamagnið, one of whom tested positive for Covid-19) performing live from the arena on the night.

This year’s competition took the form of a pilot show, welcoming an in-person audience as part of the government-approved Back to Live series, coordinated by pan-industry body Fieldlab Events. To gain entry to the arena, everyone involved – including performers, fans, country delegations, press, staff and crew – had to register a negative Covid-19 test in the previous 48 hours, and then get tested again once on site at the dedicated Eurovision test pavilion (pictured).

Eurovision Test Pavilion

In addition, social distancing was enforced throughout the venue, while masks had to be worn whenever people moved around the arena (even performers on their way to the stage).

As a Fieldlab event, no persons deemed to be at risk, such as the elderly, were eligible to apply for tickets – which caused some controversy in the run-up to the show, with former Eurovision winner Getty Kaspers (of Teach-In) among those to criticise the ‘no over-70s’ rule.

“The Eurovision Song Contest is a turning point for me”

Among the fans who were successful in getting tickets, the atmosphere at the Ahoy was celebratory. “Everyone is decked out in flags and costumes with a lot of glitter,” one attendee, Deuss, tells public broadcaster NOS. “The atmosphere is cheerful and exuberant. People here feel that they are the lucky ones.”

Jolanda Jansen, director of Rotterdam Ahoy and a spokesperson for Fieldlab member Alliance of Event Builders, says seeing the arena full of staff and fans was her highlight of Eurovision week.

“The moment that moved me the most was seeing all our colleagues happy at work again,” she tells Tubantia. “We’ve come a long way; 2020 was a terrible year. We had to let 40% of the workforce go.

“The Eurovision Song Contest is a turning point for me. From now on it will only get better.”

According to Dutch economic minister, the provisional results from the second phase of Fieldlab/Back to Live events are positive. The full results, which follow the similarly positive findings from the first test events in February, will be announced in the near future.


This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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Eurovision Song Contest becomes Back to Live pilot

This year’s Eurovision Song Contest in the Netherlands will take place as a government-backed pilot event with a small in-person audience, a Dutch minister has announced.

Arie Slob, a minister for media under culture secretary Ingrid van Engelshoven, tells De Telegraaf that it will be possible to admit thousands of fans to Eurovision, which returns this spring after cancelling in 2020, by bringing the contest under Fieldlab Evenementen’s Back to Live, a series of pilot concerts, festivals and other live events which has been running since February. The most recent Back to Live events, two test festivals held at the Lowlands site in Biddinghuizen, took place on 20 and 21 March.

Currently, it is hoped a maximum of 3,500 people a day will be admitted to the 16,426-capacity Rotterdam Ahoy arena from 18 to 22 May, though plans are subject to change should the coronavirus situation deteriorate.

As with previous Back to Live trial events, fans will only be permitted to enter the Ahoy after testing negative for Covid-19.

“We welcome this decision by the Dutch government and the possibility that we can invite fans to join us”

In total, there will be nine shows, including rehearsals, for Eurovision 2021, the 65th edition of the pan-European song contest.

“We welcome this decision by the Dutch government and the possibility that we can invite fans to join us as we bring the Eurovision Song Contest back in May,” says Martin Österdahl, Eurovision’s executive supervisor.

“We will consider the options now available and announce more details in the coming weeks on how we can safely admit audiences to the Ahoy venue in Rotterdam should the situation allow. The health and safety of all those attending the event remains our top priority.”

“The fact that we now have the opportunity to plan for a Eurovision Song Contest with an audience again is something we could only dream of [previously],” the contest’s executive producer Sietse Bakker tells public broadcaster NOS. “We are grateful to the cabinet and to Fieldlab Evenementen for this perspective and the confidence they have placed in us.”


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Unsung Hero: Fabian Müller, Castello

He studied law but readily admits that he found working in the live entertainment sector far more enjoyable, so he dropped the law degree and underwent training as a specialist in event engineering.

“Straight after that I pursued further qualifications to become a master for event engineering,” he tells IQ, while he later added qualifications such as the Professional Certificate in Event Safety & Security Management from the International Training Centre for Crowd & Safety Management (IBIT) to boost his professional credentials.

“I basically began working in the live entertainment sector when I was 14. At the time, apart from going to school, I did casual work as a temporary helper for event [organisers] and wedding DJs. However, I quickly noticed that there was more than just bouncy castles and DJs, and after a short while I began to work as a helper for a local service provider before commencing my studies and training.”

Having completed his training, Müller became self-employed and worked as a technician and operator in the lighting trade before kickstarting his career at one of the world’s biggest events: “My first job as freelancer was as a light technician at the Eurovision Song Contest in Düsseldorf,” he reports.

“I was fascinated by the opportunities at D.Live, a company that operates all event venues of a metropolis is unique in Europe”

His relationship with D.Live started through work at then-parent company Düsseldorf Congress Sport & Event GmbH on behalf of a local event organiser and venue operator, meaning his first contact with the company was as a client.

“I therefore knew Michael Brill, our CEO,” explains Müller. “When Michael went to D.Live, I was fascinated by the opportunities offered there – a company that operates all event venues of a metropolis is unique in Europe.

“They also have a team brought together from all over Germany, with each one of them an expert in their own field. However, what was really special for me was the common interests shared by all colleagues – the love of their profession, the love of live music, and the dynamism, which really impressed me right away.”

A native of Düsseldorf, Müller’s first concert experience was at the Mitsubishi Electric Halle (then called PhilipsHalle), so coming full circle to putting on shows and concerts in the venue is particularly pleasing.

“My personal highlights have been when I went against recommendations and the success proved that I had been right”

“Each of our venues tells a tale of my personal history,” he says. “As a matter of principle, I put 100% of my efforts into working for D.Live. Nevertheless, you will see me every year with one or two bands as production manager at festivals or on medium-sized tours.

“I find it extremely important to collect new experiences, to see what other people are doing and to support colleagues. And if we are really honest about it… you can’t and don’t want to completely give up touring.”

Müller admits that taking on the seemingly insurmountable is his favourite aspect of working in production. “My personal highlights have been when I really put my heart and soul into projects, went against the recommendations of others or even had to face up to people who wanted to prevent something, and at the end of the day, the success proved that I had been right,” he says.

“One of these highlights was undoubtedly the Horst Festival in Mönchengladbach, which – as an outdoor, free festival – was completely organised and staged by volunteers to enable their fellow citizens to enjoy culture.” He also cites ARAG Big Air, a ski and snowboard event, as another highlight, while the recent drive-in shows in Düsseldorf are another project that he is immensely proud of.

“Every task was a challenge with the drive-in cinema…there were no references or tips that we could have fallen back on”

“Every task was a challenge with the drive-in cinema,” he states. “We developed a completely new product and we were the first in the world to stage drive-in concerts. There were no references, experiences or tips that we could have fallen back on.

“We had to consider various issues, such as lines of sight from cars, distances between the vehicles and heights of stages. After all, the windscreen of a passenger car always restricts the field of vision.

“The whole behaviour of fans travelling to the show was new. Who comes? When do they come? We discovered that the first step taken by guests was going to the toilet, since some of them had already spent hours in their cars. But there were also new learnings with regard to the productions.

“Here, occupational safety was once again highlighted from another perspective. Issues such as distancing rules and, in particular, measures to protect crews against infection were constantly relevant. One of the great things about our profession, namely sitting together with the crews and drinking a beer after the show, was suddenly forbidden.”

“The amount of work required has considerably increased, while possible capacities have decreased exorbitantly”

Müller and the D.Live team had to persuade the on-stage talent to participate in public announcement tasks. “We had to urge the artists to motivate the guests to stick to the applicable rules… and not lose sight of corona.” And he reveals that fan interaction took on another dimension during the vehicle-centric shows.

“There are few possibilities for communication and reaction from inside the car. To protect local residents from noise during the cinema, we had to ban honking the horn and develop an app that enables interactive clapping, cheering, rejoicing and laughing, and which can be integrated in the transmission sound.”

Addressing the pandemic situation that led to the necessity for the drive-in shows, Müller notes, “Corona accompanies us everywhere. Unfortunately, that will remain so for a long time and we currently do not expect that the market will be able to settle down by the middle of next year or recover its former strength.

“Nobody regarded themselves as being too good to do something on behalf of the event”

“Every event that we are considering is looked at from the perspective of current findings and regulations. The amount of work required has considerably increased, while possible capacities, which I always refer to as ‘our currency,’ have decreased exorbitantly.

“Despite this burden, my employees perform excellent work. The way my boys and girls put their hearts and souls into implementing the drive-in cinema at lightning speed was incredible. Everyone did everything: nobody regarded themselves as being too good to do something on behalf of the event.”

He adds, “The set-up phase particularly reminded me of ‘the good old days.’ It was all just a super experience. And, as a team, the time once again brought us even closer together.”


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