The debate over Australia’s presence in Eurovision and Stockholm 2016 threatened to overshadow Bella Paige’s debut at Junior Eurovision. Before rehearsals started in Sofia, news broke that the Antipodean country wold be returning. Sharleen Wright examines the impact on the Contest in Australia and beyond.
As reported by Paul Clarke in regards to his discussions with EBU back in March at the artist announcement, “you know, if you don’t spoil the party maybe we invite you back again?”
And then yesterday, the much-anticipated post arrived. Australia are back for more Eurovision in 2016.
The Announcement
The buzz about Australias’ future role at the Eurovision Song Contest has been lingering from the very first announcement of their ‘one-off’ participation for the 60th, followed by the announcement of inclusion in the current Junior Eurovision event, and reached fever pitch following a tweet from Executive Supervisor Jon Ola Sand on 10th November.
Unlike the previous bombshell, this new announcement of Australian participation comes with no caveat of it being particularly special – certainly there’s no anniversary to mark. Instead the participation is reported as the result of what executive supervisor Jon Ola Sand deemed a culmination of positive feedback from “viewers, fans, press and the broadcasters after Australia’s participation in Vienna”.
In regards to timing, this is not a specifically calculated move by the EBU but rather timed for the local Australian market and included in what is called ‘annual TV upfronts’ – a broadcaster release of the following years’ programming highlights.
So What Do We Actually Know, and What Can We Assume About Australias’ Participation For Next Year?
Some of the main concerns that European fans has with this years’ participation were addressed within the announcement. Australia will not receive similar ‘special treatment’ in 2016, and shall be expected to go through the semi-finals qualification alongside the rest of their normal contest counterparts. This will mean that Australia will likely draw their semi-final allocation early in the New Year with the rest of Europe, and will only be allowed to vote in the one semi-final which they participate in.
Douze Points for Australias’ Return. Image: SBS
Following the ability to reach the threshold of televoting in 2015, it is likely that local fans will be able have their say once more for the semi and final. This would also ensure that at least 1 semi and the final will air live on SBS. Based on previous success ratings-wise however, we expect all 3 shows will have the live telecasts run at 5am on the Wednesday, Friday and Sunday of Eurovision week, as well as the prime-time re-packaged (with additional interview elements) shows that usually air 7.30pm Friday 13th May (semi 1), Saturday 14th May (semi 2) and Sunday 15th May (final).
It is also official that the Australian commentary team for the past 7 contests, Julia Zemiro and Sam Pang, will return as hosts.
Whilst no official statement or rule has been released about what would occur if Australia were to win the contest, it seems probable that the 2015 statement regarding an opportunity to co-host/co-produce with a later chosen European country would still apply. Australia is unlikely to physically host the contest at any point in the future due to the nature of time-zone differences and the tyranny of distance for all other participants.
And what should fans expect Australia to send to the contest in 2016? Based on past experience for Eurovision and similar events, it is likely to be another internal selection. With Australias’ on-stage presence still in its infancy, the known quantity of an highly-experienced and well-known act represents a far greater opportunity to gain a good result, compared to opening it up to a more risky option of public selection where viewers wouldn’t understand or take into account an entrants’ experience of actual large-scale event, stage and audience that Eurovision really requires.
As Australias’ Eurovision Head of Delegation claimed at the Eurovision conference in September, “For us, Australia was riding on a wave of growing excitement for Eurovision and we wanted to deliver something authentic so we chose a big artist. If we were ever invited again, we’d go for an even bigger one”. This statement seems to corroborate our thinking of a big name internal selection once more.
So who could it be? SBS appear to have a long-standing relationship with Sony Music, from where the 2015 entrant Guy Sebastian was sourced, as well as Jessica Mauboy (our 2014 Eurovision interval act), and the likes of Dami Im and Justice Crew who appeared at the Asian Song Festivals. There is also the fact that the entry for this years’ debut Junior Eurovision from Bella Paige was written by Delta Goodrem, another member of the Sony Music roster.
Delta Goodrem ‘Wings’
Focusing in on that local music roster purely with the potential remit of ‘someone bigger than Guy Sebastian’, who is also modern, fitting a Eurovision target audience, it points to 3 acts – Samantha Jade, The Veronicas and Delta Goodrem. All three have had prior European exposure and achieved moderate success in the charts.
Although Samantha Jades’ professional experience and touring in the region wouldn’t match that of Guy Sebastian at this time, she does have a new album due out on 20 November and there is a push already in Europe for airplay. The Veronicas have previously indicated via Twitter that they would be willing to take on the challenge of going to the contest, and are known to be currently song writing and recording in New York. Lastly, there is Delta, who whilst is currently involved in a production of the musical Cats up until the week of Eurovision, does have a recent pan-European hit ‘Wings’ to capitalise on as well as an already established relationship with the contest brand following her link to this years’ Junior Eurovision.
The Fallout
Going back to that initial artist announcement featuring Guy Sebastian in March, and in the infamous words of Taylor Swift, the response of the World to Australia being at Eurovision is “haters gonna hate”.
Examining the overall reaction, the mainstream press appear to have come to an acceptance that Australia is here and a good move for Eurovision. A survey of the readership of The Metro in UK have indicated 76% are in favour of the countrys’ return to the contest. From a participant perspective, 2014 winner Conchita who is currently performing in Australia has given the land Down Under a thumbs up for their return. And head of Swedens’ delegation, Christer Bjorkman commented via the SVT website that Jon Ola Sands’ vision for contest development opportunities and Australia’s inclusion are “exciting and I am positive about the development”.
Conchita Wears the Red White and Blue for Australia Source: Star Observer
It is in the main the fan forums and fan media websites that appear to be on the negative end of the spectrum. Complaints seem focused on the fact that contest is titled EUROvision and should therefore remain a purely European contest, and the overwhelming fear that without a ‘special once-off’ caveat attached to Australia means that the rules and environment have changed to presumably mean any country could enter in the future.
This fear was further propelled by the statement from Jon Ola that this new inclusion heralds “the potential to evolve organically into a truly global event… It remains to be seen what such an event may look like in the long run”.
Taking it on face value, fans believe this means a slew of countries including the likes of China could enter next, rather than addressing the issues that resulted in European countries such as Turkey, Bosnia, and for this year, Portugal missing the event. In answer to this, other factors such as finances and politics which the EBU have no control over are in play.
It seems highly unlikely that there will be a grand change to the event to suddenly become the ‘World Vision’ Song Contest and thus lose its unique identity. Rather it may open it up to further broadcaster relationships for ratings purposes, and the sale of the format to other regions. China who has been an observer at Eurovision for the last couple of years only recently announced it shall host the debut of an Asian Song Contest (as opposed to the currently-run ABU Song Festival) in 2017.
Will we potentially see Guy at Asiavision in the near future? Source: Eurovision.tv
The very short of why we see Australia at the contest despite not being within the European Broadcasting Area and only holding associate status, is its long-standing experience in and appreciation of Eurovision. Australia puts together shows such as quizzes, travelogues, and documentaries; in other words programs that are actually not part of the event itself, for its coverage package. These have in turn added more overall contest-related content for the European Broadcaster Union and its’ members. SBS have more than 30-years of televising the event, Australia has a large European diaspora, and the demonstration of time and resource investment on the ground and viewers genuine love to the contest locally are the very arguments both EBU and SBS point to for why they deserve a place. No other non-European broadcasting country rivals this.
Rather than put this down to an assumption that this is being purely about money for participation, potential ratings and worldwide viewing figures to add to the EBU audit would surely play a part. The average dedicated screen-time for coverage and Australian viewership numbers would outweigh many of its European counterparts. The financial contribution from the Australian inclusion (as well as adding to the overall participant numbers) would also be expected to drive shared hosting/production costs down.
Other fans have jumped on the fact that the press release highlights Australia is not a permanent member. However, who is? The list of participating nations at the Eurovision Song Contest varies and all countries have the ability to opt-in or opt-out each and every year.
What we do know is that Australia is going to bring a hunger to Stockholm, an energy and enthusiasm that respects the Contest, and someone that can possibly eclipse Guy Sebastian’s fifth place.
Whilst no official statement or rule has been released about what would occur if Australia were to win the contest, it seems probable that the 2015 statement regarding an opportunity to co-host/co-produce with a later chosen European country would still apply.
“In case Australia wins the 2016 Eurovision Song Contest, the 2017 contest will be co-hosted by Australian broadcaster SBS and another European public broadcaster, somewhere in Europe”
Source: Eurovision.tv website.
What scares me is that Jon Ola Sand is talking about ‘development’ and not about Australia being the only associate EBU member to participate. Being the weird exception to the strict rule.
Strange things is that Australia is not allowed to become a member according to the own rules by EBU, so they should have an exclusive invitation each year.
Off course people were enthousiastic about Guy’s. What happens if Australia starts to perform badly? Will they be kicked out? Mind you the view rating in Australia (3 million) were only to compensate the declining viewing figures in other countries. EBU should not just add big countries (in population), that’s a short term win only, but stimulate higher quality for the countries who send in crappy entries and face declining viewing figures (like biggies UK, Spain and every now and then France and Germany).
Policy of the BBC seems to be only the viewing figures, not the quality. Sending artists from the past who like to have a comeback, but of which the big public hopes they will fail big time and watch the final to see them fall. Usually the public won’t be disappointed: Blue, Bonnie, Engelbert….
The Netherlands showed last three years that if you send in big names with good entries, you’ll qualify easily and attract double as much viewers for the final. In 2015 they sent a big name (In Holland Trijntje is) with a crappy entry and act, thus not qualifying and falling back to the usual 3 million viewers instead of the 6 million viewers Anouk & Common Linnets attracted.
Qatar radio has applied for membership of EBU as well, and Qatar government (non democratic) will be very willing to pay an awful lot of money just to promote their Airport-hub-to-Asia and for pure propaganda.
What other country is next? China and India have a potential of one billion viewers, if only a small percentage of them watch, the viewing figures of Eurovision will no longer decline, but rise, which is good for commercial interest.
in the early days Eurovision reached 500,000,000 people, immense numbers of records were sold. Nowadays EBU has to total all three shows together to calculate 195,000,000 viewers. Which can be rounded up to 200,000,000 viewers, sounds more magical than 1,95 million, no?
Furthermore, it would be very interesting to see the influence record companies have and check points the artists from the same label collect from the expert juries, and how these expert are directly or indirectly related to the record companies……
So far my concerns. Off course I would love any country to participate in the contest, be it Haiti or Bangladesh. Just fear that EBU is mainly interested in the richer countries.
If EBU wants to start a worldvision, they should start a new organisation like a Worldwide Broadcasting Union and organize that Worldvision Song Contest, not trying to abuse the European Show. That might be killing the concept. And the fans are left with nothing but good memories about the old days.
While I continue to be nonplussed at the increasingly “fluid” and selective interpretation of the contest rules (and the credibility issues that arise as a result), that’s not what has me so perturbed at this turn of events.
My problem is this: They’ve now changed the whole premise of the contest, that premise being a competition among the active members of the EBU.
Instead of the song contest OF Eurovision, it has now made an unmistakeable move toward being the song contest PUT ON BY Eurovision. To use a very American metaphor, it’s like the NFL just invited Notre Dame to be in the regular season rotation because gee, Notre Dame sure likes the NFL.
Bottom line, I’m just not quite as interested in an Unlimited Song Contest That Happens to be Called Eurovision, nor do I think it would have much of a chance of success. I fear that if the EBU actively pursues Mr. Sand’s ambitions, they will dilute the interest level within the current participating countries, without making much headway out here in no-Eurovision-land. Obviously such a transition won’t be sudden, but that’s clearly the direction they’re headed, and I think it’s a bad one.
Side note: I wonder which country misses out on the Final because Australia took their slot, and whether that country will support Australia being in the 2017 edition.
Another side note: Thanks, Sharleen, for pointing out the upfronts thing. The timing of the announcement seems less dastardly now.
Wings did not chart anywhere in Europe. https://en.wikipedia.org/wiki/Wings_(Delta_Goodrem_song)
I have to agree Sharleen, it isn’t common place anymore for broadcasters across Europe to show anywhere near the amount of enthusiasm SBS has demonstrated for Eurovision. A record label backed professional, both marketable and talented with an equally strong songwriting team behind them is the sort of entry I can only dream the likes of the BBC and RTE will ever get close to sending, and yet here we are with a country half way across the world willing to do it once again, and I’m thrilled about that!
Probably one of the pivotal factors regarding Australia returning for 2016 was the Swedish win. If you think about it Bjorkman was gushing about their participation before they’d even hit the stage, namedropping them at Melfest, abetting them in the SVT Eurovision Preview Show, not to mention the fact that Australia received their twelve points too. No wonder they’ve been invited back since Sweden’s hosting.
My guess as to whether we’ll see them back beyond 2016 could come down to a) what sort of result they get and b) the 2017 host country.
I’m putting my Chocolate Penny down (As Ewan says!) on Australia not coming back if they leave Stockholm with a 17th place finish and say if an eastern-bloc country a la Romania or perhaps even Russia were to win. Then again it could still depend on Sony Music’s plans too. If they’re content to bankroll the entry than why not? I’d be happy to see them compete every year 🙂
Martin – thank you for finding the reference regarding what should happen regarding if Australia should win – it indeed confirms what we expected.
Dieter – Wings was high on a number of European airplay charts, including the weekly UK radio playlists over August and September, MTV Europe, and even in the Baltics (where I am currently based) it was on high rotation on local radio. I do agree it wasn’t on ‘formal charts’, however the song is known and received high-attention and praise across Europe.
As stated in the article, I am aware of the criticisms of fans and I can understand where these are coming from. There are some semantics issues – words like ‘active’ and ‘permanent’ certainly feature heavily in the negative response. In my own personal view, I think its perhaps in part down to a poor choice of words on a press release, as well as natural tendency for people who are heavily invested in a passion to over-analyse and over-react to change.
I highly doubt we shall see the likes of crazy entrants like Qatar in Eurovision just as a result of money and viewing figures. There is a long back story and relationship between Australia and Eurovision which all of the suggested countries fans have listed as possibilities simply do not have.
I anticipate Australias’ participation will continue for the forseeable future. Just like every other country though, they can opt-in or out of the contest each year – be it for financial reasons, results, whatever. As it states, no-one is in fact a permanent member. Even the big 5.
Nor is Australia robbing any country of its chances to compete – the playing field is level now – no automatic qualification for them. If they send a good song they will hopefully qualify through the semis. If it is truly the case that most of Europe don’t want them there and wish to demonstrate it, or the entry is dire, they won’t vote for them. Simple as that.
I just hope this article addresses some of the concerns and misconceptions out there.
i think this is a just a distraction to the questioned raised about the ‘Swedish monopoly’ in terms of event management etc.
dami im should represent AUS with a good song she can be killer! she was one of the fav last year but yeah anything.i hope her for the next year!!
As with 2015 Australian fans weren’t consulted any more than European fans were. The issue was remote decision-making by broadcasters. Some commentators didn’t seem to appreciate that last time. Same again for 2016.
Seems the contest is now to change into something broader than it used to be. Australia took some flak for that in 2015 and was something of a guinea pig for the expansion. Might have been better if EBU had spelt out this change of tack in advance – going back to Jessica Mauboy in 2014. Would possibly have spared us some of the more unfortunate outbursts online in 2015. In general European fans might have been more accepting if they (and we) had had a proper explanation.
Now that it’s a fait accompli for 2016, and Australia is slightly less of a novelty at ESC, the tone might be less strident. For Aussie fans though some of the exotic gloss may come off what used to be a fascinating, rather remote spectacle – and paradoxically SBS might lose some viewers. Hard to tell, but it might just backfire here.
There’s also some nervousness that we might not attract entries of the standard of Jessica and Guy who were obviously very carefully selected. Another potential pitfall.
We’ll follow ESC as usual – but with a different and slightly hesitant perspective. Neither happy nor unhappy. Just watchful…..
well thankfully Dami I’m did Australia proud at Eurovision 2016
.So who will Australia choose for 2017, that s on the minds of Paul Clarke, who could ever beat 2016 entry.
It is going o be very hard especially since the Eurovision is not in the australia friendly north Europe and it is in Kyiv, the voting will be a frenzy because of this and OZ may struggle without a good competitor in this unfriendly voting block.
So who should they send, well all I can say good luck, you have already sent your best and brightest and that was Dami I’m, there is no one like her.