While the music industry as a whole continues to be male dominated, the Eurovision Song Contest is a more diverse business. Between 1956 and 2022, the juries and the audience have overwhelmingly supported female talent as most of the winners have been women women, the European Broadcasting union says.
The social, economic, cultural and, of course, musical impact of the Eurovision Song Contest beyond the live TV shows has been illustrated for the first time in a new report from EBU´s Media Intelligence Service.
2022 the gender ratio of artists was almost perfectly balanced: 17 were all female acts, 18 all male while the others were mixed groups and genderless space wolves? Winner was Ukrainian Stefania but because on the Russian war against Ukraine, it has recently been decided that the 2023 contest will be held in the UK.
”Some momentous and widely popular acts have contributed to boost LGBTQ+
acceptance across Europe; from Israeli singer Dana International (the first openly trans person to take part in the Contest) to Iceland’s 2022 participants Systur, who used their platform to raise awareness of trans issues”, the repot says.
”The many LGBTQ+ acts and allies we see on stage every year, contribute towards the Eurovision Song Contest continuing to stand as a symbol of an open, tolerant and united Europe.”
”So it’s good news all round for the world’s largest live music event! And with the ongoing development of the Canadian, Latin American and Asian Song Contests, the Eurovision brand and its impact looks set to grow and grow”, EBY proudly concludes.
The report shows that as the biggest live TV and online event in the world, the 66th Eurovision Song Contest was watched by 161 million people, over 3 shows, and across 34 markets. On top of this there were 75 million unique viewers on YouTube across all official Eurovision Song Contest content in 232 territories.
57% of Turin’s tourists during the event weeks 2022 were coming solely for the Eurovision Song Contest, and over €702 million in advert revenue was generated by 119,000 online articles about the shows.
The 40 competing songs had this summer been streamed over 544 million times. 40% of the 2022 entries featured a language other than English, with 16 different languages being used in total.
The Top 3 most streamed songs in the run up to the Contest (from January until the Grand Final):
Brividi – Mahmood & BLANCO (Italian): 169 million streams
Stefania – Kalush Orchestra (Ukrainian): 58 millions streams
SloMo – Chanel (Spanish): 36 million streams
Immediately after the Contest, a total of 6 Eurovision songs appeared on the ‘Billboard Global 200 (excluding US)’ chart:
SPACE MAN – Sam Ryder (#37)
Stefania – Kalush Orchestra (#39)
SloMo – Chanel (#79)
Hold Me Closer – Cornelia Jakobs (#132)
Give That Wolf A Banana – Subwoolfer (#165)
Brividi – Mahmood & BLANCO (#194)
”Rosa Linn’s entry Snap also found success a number of months after the Contest thanks to its popularity on TikTok”, the EBU report says.
During the 2022 Grand Final, over half the possible viewers aged 15-24 were watching. This is 4 times higher than the channel average in primetime.
More than 29 million unique viewers watched Eurovision Song Contest content on YouTube in the lead up to the event, with a further 33 million new viewers joining in during the event week (having not watched any 2022 content in the weeks prior).
The Contest continues to boom on other platforms too, with TikTok leading the pack.
TikTok 9.2 million engagements
Instagram 6 million engagements
Twitter 2 million engagements
Facebook 1.7 million engagements