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Eurovision Insight Podcast: ‘You Are An Odious Little Man’ Written by on March 1, 2014 | 1 Comment

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Well that was a fun 24 hours in Euro-land, and I’m kinda glad I waited a bit longer for this week’s podcast. Anyway, the antics in Ireland show there is a huge passion in the RTE team for Eurosong, all they need to do now is harness that energy and direct it to the Copenhagen stage.

News from the United Kingdom as well, with details on the search for a ‘new’ talent via BBC Introducing, and the thinking behind this year’s decision. More on that in the podcast, and in our follow-up article next week once we hear the song on Monday.

Eurovision Insight Podcast: ‘You Are On Odious Little Man’

Eurosong Fever breaks out in the RTE ring,  details from Hungary, Latvia, Spain, Poland and Macedonia. Plus news from around the Eurovision world and some thoughts on the BBC’s approach to 2014, finishing with a bit of an Inception horn and a mashup from Robin Skouteris.

Don’t miss an episode of The Unofficial Eurovision Podcast by subscribing to the RSS feed dedicated to the podcasts. iTunes users can find us in the iTunes Store and get the show automatically downloaded to your computer. We’ll be here for the rest of the new Eurovision season, with podcasts, news, articles, newsletters, and more.

About The Author: Ewan Spence

British Academy (BAFTA) nominated broadcaster and writer Ewan Spence is the voice behind The Unofficial Eurovision Song Contest Podcast and one of the driving forces behind ESC Insight. Having had an online presence since 1994, he is a noted commentator around the intersection of the media, internet, technology, mobility and how it affects us all. Based in Edinburgh, Scotland, his work has appeared on the BBC, The Stage, STV, and The Times. You can follow Ewan on Twitter (@ewan) and Facebook (facebook.com/ewanspence).

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Have Your Say

One response to “Eurovision Insight Podcast: ‘You Are An Odious Little Man’”

  1. Zolan says:
    March 1, 2014 at 14:37

    I downloaded clips of the RTE drama (thanks, Roy), but I couldn’t actually watch them.

    The Beeb’s new approach has definitely piqued my interest, aligning somewhat with idea(l)s raised here before. And I can’t think of anything to add beyond what you’ve already said, except to underscore one point:
    Support the artist.

    I conjecture that public interest will also follow because unknowns via this process would have an aura of special significance greater than Idol Factor-y output, and because there would be reason to believe that these acts have something to offer beyond filling the insert-human-here slot.

    And then you win.