Eurovision
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The lineup of songs for the 68th annual Eurovision Song Contest is now set. Ten of the 16 songs performed in the second semifinal on Thursday (May 9) join the 10 qualifiers from semifinal 1 plus the six pre-qualified entries, for a total of 26 songs competing live in the grand final on Saturday (May 11).
Among the 10 new countries joining the list are Georgia, with former American Idol singer Nutsa Buzaladze leading the charge with “Firefighter,” and Switzerland, with Nero’s “The Code” tipped to be the second favorite by the oddsmakers.
Georgia first competed in Eurovision in 2007 and hasn’t performed in the grand final since 2016, when Nika Kocharov and and Young Georgian Lolitaz placed 20th with “Midnight Gold.” The nation failed to qualify from the last six semifinals, but Nutsa has put them back in the running.
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Only seven countries participated in the first Eurovision Song Contest in 1956, including Switzerland, which hosted and won with “Refrain” by Lys Assia. Switzerland won again in 1988 with Celine Dion singing “Ne Partez Pas Son Moi,” so if Nemo can pull off a win, it will be Switzerland’s first victory in 36 years.
The other eight countries to qualify in the second semifinal are Armenia, Austria, Estonia, Greece, Israel, Latvia, Netherlands and Norway. The six countries that were relegated are Alabnia, Belgium, Czechia, Denmark, Malta and San Marino.
The qualifiers from semifinal 1 are Croatia, Cyprus, Finland, Ireland, Lithuania, Luxembourg, Portugal, Serbia, Slovenia and Ukraine.
The six pre-qualified countries are France, Germany, Italy, Spain, United Kingdom and host country Sweden.
results of the competition, with 10 countries out of 15 moving forward into the grand final on Saturday (May 11) and five countries going home. Most notable among the 10 winning countries are Luxembourg, which returned to the pan-European competition this year after a 31-year absence, and Ireland, which holds the record for the most wins with Sweden at seven each.
However, Ireland has failed to qualify for the grand final 11 times since the semi-finals were introduced in 2005. Bambie Thug breaks that spell with “Doomsday Blue,” a self-described “electro-metal breakdown.” Thug (real name: Bambie Ray Robinson) is the first non-binary artist to represent Ireland in Eurovision and will be the first Irish contestant in the competition since Ryan O’Shaugnessy placed 16th with “Together” in 2018.
Thug’s entry is expected to place high in the grand final rankings. If they end up in the top 5, it will be Ireland’s biggest Eurovision success since Marc Roberts’ “Mysterious Ways,” which finished second to Katrina & the Waves winning U.K. entry, “Love Shine a Light” in 1997.
Talia, an Israeli-born singer living in Luxembourg, will be the first person from that small European country, the only grand duchy (a country ruled by a monarch with the title of grand duke or duchess) remaining in the world, to sing in Eurovision since Modern Times placed 20th with “Donne-Moi Une Chance” in 1993.
The other eight countries that qualified for the grand final are Croatia, Cyprus, Finland, Lithuania, Portugal, Serbia, Slovenia and Ukraine. The five countries relegated out, by public vote during the live broadcast, are Australia, Azerbaijan, Iceland, Moldova and Poland.
The oddsmakers have Croatia heavily tipped to win; it would be that nation’s first victory in 30 attempts, although Riva, a band from Croatia, triumphed in 1990 when their country was still part of Yugoslavia.
A second semi-final will be broadcast live on Thursday (May 9). There will be 16 countries fighting for a spot in the grand final top 10 that night: Albania, Armenia, Austria, Belgium, Czechia, Denmark, Estonia, Georgia, Greece, Israel, Latvia, Malta, the Netherlands, Norway, San Marino and Switzerland.
Pre-qualified, and thus able to skip the semi-finals, are the host country (Sweden) and the “Big Five” (France, Germany, Italy, Spain and the United Kingdom), so-named because they contribute the largest amounts to the production budget.
Semi-final No 2 of the 2024 Eurovision Song Contest will be live on Peacock in the U.S. on Thursday, May 9, starting at 3pm EDT/12 noon PDT. The grand final will also be live, on Saturday, May 11 at the same times.
Italy has been in the habit of sending male singers to the Eurovision Song Contest. Perhaps it is because one of the most successful Eurovision songs of all time is Domenico Modugno’s “Nel Blu, Dipinto di Blu,” also known as “Volare,” a No. 1 hit on the Billboard Hot 100 in 1958. (More recently, the co-ed, male-fronted rock band Måneskin won Eurovision for Italy in 2021, propelling them to the global stage and Billboard chart success.)
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Angelina Mango is the first female to compete for Italy since Francesca Michielin placed 16th in 2016 with “No Degree of Separation.” Mango has moved up in the bookmakers’ odds this week, with Italy now the third favorite to win the 2024 contest, behind Croatia and Switzerland. Billboard met up with her in Malmö, Sweden, host city to this year’s competition, to talk about her entry, her career and what’s next.
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What is your own personal history with Eurovision?
I always watched Eurovision with my mom when I was a child because she’s a fan. It was really [not my thing], I have to be honest. I’m not talking about taste or music. I’m talking about experience. It was a surprise when I won the Sanremo Festival and understood the possibilities to come here. [The winner of Italy’s annual Sanremo Festival has the option to represent the country at Eurovision.] I’m very young and I just started a music career, so everything is new. I’m trying to learn a lot from everything and everyone, because this is an experience that happens once in your life. I want to live it all and not forget anything.
As a child, do you remember seeing any particular Eurovision songs or artists that stood out for you?
I really loved MARO from Portugal [with “Saudade, Saudade” in 2022]. Obviously, Loreen with “Euphoria.” We would always watch the TV program and talk about music, because I lived in a house of musicians.
Your father Giuseppe, who went by Mango, had a very successful career, releasing over 20 albums in his lifetime.
My mom was also a professional musician and my brother. When I was two years old I learned how to communicate through music. Music is like a language. When I did pre-promotion for my Eurovision song “La Noia,” I heard other people sing it with different accents and it was spectacular for me, because it doesn’t matter which language you are speaking, it’s just energy. Music really unites people everywhere. Eurovision is an opportunity for people to share music. You can do it alone, but I want to share it and learn from others in different countries.
Along with Eurovision, the Sanremo Festival is one of the world’s best-known song competitions. Why did you decide to enter?
In Italy, Sanremo is like Christmas. Everyone waits for Santa. I wrote “La Noia” and then I thought this is a song that has no regrets. I can take it on the stage with everything in me. So it’s perfect for Sanremo, because Sanremo is a celebration of music and a mirror of what has happened with music in Italy. But I honestly didn’t think about winning, so that was a surprise.
The winner of Sanremo has the option to represent Italy in Eurovision. Was that a difficult choice to make?
I didn’t have to think about it a lot. For me, it was obviously a good choice.
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“La Noia” is a great pop song that sounds like a big hit. When did you write your first song?
I was five years old when I wrote my first song from the beginning to the end. The title was “I Fell in Love With Me” and I wrote it about myself, that I could be a woman without a man and without marriage. These were my thoughts at five.
Did you write the words and the music?
Yes, everything.
And you kept writing songs?
Yes. From that moment on, I couldn’t stop.
What inspired “La Noia”?
I wrote “La Noia” in the studio with Madame and Dardust [Dario Faini], a songwriter and a producer that I really love. I decided to talk about my life and my story. For me, it was very important to have a positive message. Dancing with a crown of thorns is something very important because everyone has a crown of thorns, something bad that has happened in your life, but we can always smile and we can always see positive things and this is something that I learned and I want to share with everyone, especially teenagers who listen to my music.
Is there an album on the way with “La Noia” on it?
I’m very proud of my album because I worked on it a lot. The title is Poké Melodrama. It is a reflection of my personality at this moment. It will be out May 31, and I can’t wait.
When you write songs, what comes first, the music or the lyrics?
It’s totally random. I can’t stop writing during the day. I always think about music. It’s difficult to explain. When I go to the studio, everything is ready in my mind. It’s strange, but it’s beautiful.
Aside from your parents, were there any musicians who inspired you when you growing up?
When I was six years old, I heard Woodstock for the first time and I learned about rock n’ roll. I went to see the Rolling Stones when I was 13. When I was in high school, I started listening to urban music, mostly from Italy..What have you learned about yourself from your Eurovision journey so far?
Today I’m more self-confident. I understand this is what I want to do for the rest of my life.
What can you tell me about your upcoming tour?
It’s a long tour, beginning this summer. I’ll do some festivals with my band, both in and out of Italy. In October, we will do a club tour in Italy, and in November, a club tour in Europe. That’s a big thing for me because it’s the first time I have played music with my band since I was 13 years old. We grew up together and now we are in Malmö. It’s very strange, but it’s beautiful.
Mango will perform “La Noia” in the second semi-final of Eurovision 2024, although she will not be competing on Thursday (May 9). As one of the “Big Five” countries that contribute the most to the production budget, Italy is automatically qualified for the grand final. The second semi-final will be seen in the U.S. on Peacock at 3 p.m. ET on May 9. The grand final will air on May 11 at that same time.
There have been many famous brother acts in the history of rock n’ roll, from the Everly Brothers to the Bee Gees to the Jacksons. Sweden is sending a brother act to the Eurovision Song Contest this year, but Marcus & Martinus aren’t simply brothers — they are identical twins. They will open the grand final on Saturday (May 11) with an energetic performance of their hit single, “Unforgettable.”
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Billboard sat down with the 22-year-old siblings from Norway at their hotel in Malmö, Sweden, host city to this year’s pan-European competition.
As young as you are, you are seasoned veterans, with a career that dates back a decade. How did you get started in the music business?
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Martinus: We wanted always to be football players. That was our dream, and then we started singing together when we were 10 years old. By the age of 12 we had to choose. Should we be serious about music? Should we go all in as football players? Our dad said to us, “Music is fun but football is also very fun.” But music has worked out very well.
Marcus: When we were six, we started in a children’s choir and had a music teacher who made us fall in love with the music. She did an amazing job and three years later, when we were done in the children’s choir, we wanted to do more but we didn’t know how. Then an opportunity came in 2012 when we joined the competition for the Junior Eurovision Song Contest, and we won.
You’ve been in a lot of musical competitions. What are your thoughts about competing with other singers?
Marcus: When we did [Junior Eurovision] we didn’t have any pressure because we were kids and it was for fun and everyone loved everyone there. When we did The Masked Singer no one knew who was under the masks, so we didn’t have any pressure. But then Eurovision is something else. Here you are representing a country and people will have opinions, because they really want their country to win. We try not to read the comments but it’s difficult not to because they are everywhere.
Martinus: We are very competitive people. We play a lot of football, so it’s in our blood that we want to win all the time and we’re brothers as well, so we compete against each other in everything. So I think this year we are the most competitive people in the whole competition, but it’s nice because you’re very focused when you’re on the stage and are very ready. I think that’s just a good thing.
As devoted Eurovision fans know, many artists have represented countries that are not their homelands. Celine Dion from Canada sang for Switzerland; Gina G is from Australia but sang for the U.K.; and you are from Norway singing for Sweden.
Marcus: For us, it was a natural choice because we’ve been working a lot in Sweden the last few years and when the coronavirus came, we were thinking what our next step would be. We had been teen stars for awhile and we needed to get away from that. We’re 22 years old now. We don’t want to be locked in as teen stars forever, and that was very difficult for us in Norway, because they’ve known us since we were 10 years old. We felt like Norway never accepted that we wanted to go further than that. So we thought we should go to Sweden, where they found us later. We signed with Universal Music Sweden. They accepted that we wanted to go past [our teen years] and it feels very natural to represent Sweden because they have helped us through that journey.
When ABBA entered Eurovision, their goal was to break out beyond Sweden and become a global act. Is that one of your goals in the competition?
Martinus: That has been our goals for a very long time and when we joined Melodifestivalen [the Swedish heat to pick the artist and song that will go to Eurovision], that was also one of our goals. If we went to Eurovision, it would be a free ticket to Europe where you can visit a lot of countries. You get a lot of first impressions because people haven’t seen you before. It was a very nice opportunity for us when Eurovision came. We’ve been waiting for this moment and it’s very nice to get back out in Europe.
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What is the genesis of your Eurovision entry, “Unforgettable”?
Marcus: We wrote it from scratch, just like “Air” [the brothers’ entry in Melodifestivalen 2023]. We were inspired by “Air” because a lot of Eurovision fans really liked that song and said if it weren’t for Loreen [and her song “Tattoo”], it would have gone straight through [to Eurovision]. People said they really wanted us to try again. “Air” went well [placing second to Loreen] so we thought we should do something similar, but even more Eurovision. We wanted to make something rougher and tougher, but an upgrade from “Air.” As you know, we’ve been on a stage for 12 years. We want to show that experience on stage.
What is the dynamic of being a brother act?
Martinus: There’s a special bond between us. It’s something else when random people get together and start a band rather than being brothers, because we have this special connection and we know each other. I’m the person in the world that knows him best and the same with him with me, so we have that special connection when we are on the stage. We can feel each other’s energy and we can give each other energy and I think that’s the reason why we have gone so far in our career. We work very well together, even though we’re brothers and fight, but I think that is healthy. We’re brutally honest with each other, which also helps us to get better, because you can say, “You were awful today. What happened?” That helps us a lot and our very special connection helps us as artists as well.
Marcus and Martinus performed “Unforgettable” in semi-final 1 on Tuesday (May 7) but were not competing. As representatives of the host country, they are automatically qualified for the grand final, which will be live on Saturday (May 11). The four-hour show will be live on Peacock in the U.S., airing at 3 p.m. ET.
The brothers have toured Europe with Jason Derulo and will be back on the road starting May 30 with their We Are Not The Same Tour, with 26 dates extending until March 25, including a stop at London’s O2 Arena on March 5, 2025.
For most of his professional career, British singer Olly Alexander has been known in the specific context of his band. Starting in 2012, the singer made up one-third of the U.K. pop group Years & Years, garnering critical acclaim and a massive audience over the course of nearly a decade.
But in 2024, Alexander is ready to truly reintroduce himself, this time as himself. “I loved being in Years & Years and I loved the journey that we all went on. But it just felt like this was the time to really put that all in the past and move on,” he tells Billboard. “It was kind of scary, but that’s always a good thing, I think, to be a little challenged by what’s ahead.”
At the outset of the year, Alexander released his first single under his own name since the group became his solo project in 2019. On first listen, “Dizzy” feels like a natural progression for the 33-year-old singer-songwriter’s sound, boasting a modernized, electro-pop melody that flows like a retrofitted, unreleased deep cut from the ’80s. But “Dizzy” is much more than just a continuation for Alexander — it’s an opportunity to reintroduce himself to a hundreds of millions of new listeners.
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Along with its role as Alexander’s first release under his own name, “Dizzy” also serves as the United Kingdom’s official entry in the 2024 Eurovision Song Contest. With the event’s grand final set to take place in Malmö, Sweden on Saturday (May 11), Alexander will be one of 26 contestants vying for the competition’s top spot. American fans wishing to tun in to the final can do so on Peacock, starting live at 3:00 p.m. ET on Saturday — they can also cast their votes on Eurovision’s official voting website.
For Alexander, performing at the decades-long song contest is a dream come true. “I’ve loved Eurovision since I was a kid,” he says. “It feels like it’s just growing all the time with younger audiences, and I feel like it’s just such an amazing opportunity for any artist.”
The singer says he’s known he wanted to participate in Eurovision for “a few years now,” but that 2024 provided an unmissable opportunity for him as an artist. “I was working on a lot of new music about a year ago, and my producer Danny L Harle was like, ‘Wouldn’t it be great if one of the new songs we’re making could be taken to Eurovision?’” he recounts. “So we just sent a few of the songs to the U.K. Eurovision selection team, and everyone really loved ‘Dizzy.’”
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If there were a checklist for what you expect to hear in a winning Eurovision song, “Dizzy” would tick off nearly every box. The song, written by Alexander and Harle and produced by Harle and Finn Keane, offers an upbeat tempo, glittering synths, instantly memorable vocals and a clear aesthetic vision, as Alexander revels in the bewildering stages of early romance.
“It is probably the best, easiest time I’ve had making music,” Alexander explains of the song. “It felt very harmonious in the studio, because I think Danny and I share a love of a lot of the same references — we were drawing inspiration from a book of medieval poems, from Greek tragedies, from all over. It was such a liberating time spent together.”
With his first performance at Tuesday’s semi-final (May 7), Alexander proved that the time in the studio was well-spent. Taking to the stage at Malmö Arena, the singer and four scantily-clad backup dancers confined themselves to a small set designed after a grungy locker room. With well-timed camera tricks and some creative positioning from Alexander and his dancers, audiences watched the room spin and shift its gravity constantly, giving credence to the song’s vertiginous title.
It’s a memorable performance for the UK, which in recent years has seen its fortunes in the annual competition dwindle. While the country has won Eurovision five times and placed second a record 16 times, their last win came in 1997, with Katrina and the Waves’ “Love Shine a Light.” In 2022, Sam Ryder became the first contestant from the U.K. to earn second place since 1998, while 2023’s entrant Mae Muller finished second-to-last in the final.
While Alexander and the U.K. are not currently favored to win this year’s competition — betting odds currently give “Dizzy” a 1% chance at the top prize — the singer says that the beauty of Eurovision lies in its unpredictability. “There was obviously this long period where the U.K., frankly, had its feelings hurt a little bit by not doing very well,” Alexander chuckles. “But with all this new attention for Eurovision, it’s become a situation where it feels like anything could happen. Things could change in a moment.”
Alexander is referring to Gen Z, and their unabashed love for the event as a campy, dramatic spectacle. Especially after acts like Måneskin and Duncan Laurence earned massive virality on TikTok thanks to their performances, Alexander remarks that success at Eurovision in 2024 looks much different than in its nascent years. “The level of awareness has really been raised by the TikTok generation,” he says. “It’s breathed a bit of new life into the contest.”
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That awareness among younger generations is also bolstered by the contest’s track record of supporting LGBTQ+ voices long before it was popular to do so — past winners including Dana International, Conchita Wurst, Duncan Laurence and Loreen all identify as LGBTQ, which Alexander says isn’t a coincidence. “Yes, Eurovision is an ultimate celebration of joy. But it also just celebrates people for who they are, and can often feel like a safe space in that way,” Alexander explains. “People can really wear their hearts on their sleeves with these massive performances.”
Part of Eurovision’s appeal, Alexander points out, has long been the contest’s seemingly “apolitical” approach — founded in 1956, the original aim of the song contest was to bring Europeans together following the devastation of World War II. Today, the contest’s permanent motto bears that same ideal: “United in Music.”
Yet even with its history of nonpartisanship, Eurovision 2024 finds itself mired in controversy. Israel is set to participate in the annual song competition, despite calls from around the world to bar the country from competing due to the ongoing war in Gaza. Many cited the European Broadcasting Union’s (EBU) 2022 decision to ban Russia from competing in Eurovision after the country invaded Ukraine as a precedent for removing Israel from the 2024 competition, but the EBU’s director general Noel Curran made it clear in a January statement that Israel would be allowed to participate in the contest.
Before he was announced as an entrant in Eurovision, Alexander made his position on the continuing conflict clear — in October 2023, the singer signed an open letter from Voices4 London, an LGBTQ+ activist group calling for an immediate ceasefire in Gaza and referring to Israel as an “apartheid regime.” The letter opened the singer up to a wave of backlash, including an anonymous source for the UK’s Conservative Party telling The Daily Telegraph that Alexander’s selection as the country’s representative at Eurovision was “either a massive oversight or sheer brass neck from the BBC.”
Speaking to Billboard in March, Alexander makes his feelings on the matter clear: “[Israel’s participation] is basically a decision that’s not at all under my controI. All I hope and pray for is peace and an end to the fighting as soon as possible.” As for his signature on the open letter, the singer says he doesn’t regret speaking up. “I wanted to express my solidarity with the people of Palestine. I support a ceasefire, and that was why I signed the letter.”
But just one week after his Billboard interview, Alexander began receiving criticism from those supporting a ceasefire in Gaza. Queers for Palestine, an LGBTQ+ activist organization calling for an end to the ongoing attacks in Gaza, published an open letter signed by over 450 queer artists, activists and organizations in late March asking Alexander to boycott Eurovision. “We share the vision of queer joy and abundance you’ve offered through your music, and share your belief in collective liberation for all,” the group wrote. “In this spirit, we ask you to heed the Palestinian call to withdraw from Eurovision … There can be no party with a state committing apartheid and genocide.”
Alexander ultimately responded — both in a personal message and in a message from multiple other contestants — to the call in April, saying that he would not be boycotting the event, and instead using the platform provided by Eurovision to “call for peace.” In a documentary with the BBC titled Olly Alexander’s Road to Eurovision ’24 (originally aired Sunday, May 5), Alexander spoke at length about his internal conflict with the decision.
“The backdrop to this is actual, immense suffering. It’s a humanitarian crisis, a war, and it just so happens that there’s a song contest going on at the same time that I’m a part of,” he explained through tears. “People should do what’s right for them — if they want to boycott Eurovision, if they don’t feel comfortable watching, that’s their choice, and I respect that, you know? Eurovision is … meant to be an apolitical contest, but that’s, like, a fantasy.”
In his conversation with Billboard, Alexander makes sure to point to the team of people surrounding him and their unyielding help. “I told them that I was going to do this, that it was important for me to use my voice,” he says. “And they said that they would support me no matter what.”
Regardless of how Alexander places at Saturday’s event (the U.K. automatically qualifies for the final as a member of the “Big Five” contributing countries), he remains assured that the path laid out before him can lead to even further success. The singer is currently plotting out his forthcoming new album (executive produced by Harle), which he describes as “very cohesive, and pulled very much from the ’80s, but also veering into ’90s pop.”
With a list of past collaborators including Elton John, the Pet Shop Boys and Kylie Minogue, the singer says he’s learned plenty about what it means to find success in the music business while still remaining true to who he is. “It was nice to understand that you can have a long career, be at the top of your game, and still be a genuinely decent person,” he explains. “To have the insane legendary careers that all of them have had … there’s a reason that all of them are still at the top of their game; they’re so easy to work with.”
He’s also keeping an eye on his acting career — after starring in Russel T Davies’ critically acclaimed period drama It’s a Sin and earning career-first nominations at ceremonies like the Critics’ Choice Awards and the National Television Awards, Alexander says he’s open to continuing to act.
But most of all, Alexander says that win or lose, Eurovision provides him with an opportunity to present his most authentic self to the world at large. “It was right to start this new chapter and do Eurovision all under my own name,” he says. “It really did feel like it’s now or never.”
The first of three live broadcasts of the 2024 Eurovision Song Contest yielded the initial results of the competition, with 10 countries out of 15 moving forward into the grand final on Saturday (May 11) and five countries going home.
Most notable among the 10 winning countries are Luxembourg, which returned to the pan-European competition this year after a 31-year absence, and Ireland, which holds the record for the most wins with Sweden at seven each.
However, Ireland has failed to qualify for the grand final 11 times since the semifinals were introduced in 2005. Bambie Thug breaks that spell with “Doomsday Blue,” a self-described “electro-metal breakdown.” Thug (real name: Bambie Ray Robinson) is the first nonbinary artist to represent Ireland in Eurovision and will be the first Irish contestant in the competition since Ryan O’Shaugnessy placed 16th with “Together” in 2018.
Thug’s entry is expected to place high in the grand final rankings. If they end up in the top five, it will be Ireland’s biggest Eurovision success since Marc Roberts’ “Mysterious Ways,” which finished second to Katrina & the Waves winning U.K. entry “Love Shine a Light” in 1997.
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Talia, an Israeli-born singer living in Luxembourg, will be the first person from that small European country — the only grand duchy (a country ruled by a monarch with the title of grand duke or duchess) remaining in the world — to sing in Eurovision since Modern Times placed 20th with “Donne-Moi Une Chance” in 1993.
The other eight countries that qualified for the grand final are Croatia, Cyprus, Finland, Lithuania, Portugal, Serbia, Slovenia and Ukraine. The five countries relegated out, by public vote during the live broadcast, are Australia, Azerbaijan, Iceland, Moldova and Poland.
The oddsmakers have Croatia heavily tipped to win; it would be that nation’s first victory in 30 attempts, although Riva, a band from Croatia, triumphed in 1990 when their country was still part of Yugoslavia.
A second semifinal will be broadcast live on Thursday (May 9). There will be 16 countries fighting for a spot in the grand final top 10 that night: Albania, Armenia, Austria, Belgium, Czechia, Denmark, Estonia, Georgia, Greece, Israel, Latvia, Malta, the Netherlands, Norway, San Marino and Switzerland.
Pre-qualified, and thus able to skip the semifinals, are the host country (Sweden) and the “Big Five” (France, Germany, Italy, Spain and the United Kingdom), so-named because they contribute the largest amounts to the production budget.
Semifinal No 2 of the 2024 Eurovision Song Contest will be live on Peacock in the U.S. on Thursday starting at 3 p.m. ET/noon PT. The grand final will also be live, on Saturday at the same times.
Nutsa Buzaladze received raves from the American Idol judges when she competed last year on season 21 of the long-running television talent series. Eliminated from the top 12 on April 30, 2023, the singer from the nation of Georgia didn’t sit still. This week she will perform on another televised song contest when she represents her country in the Eurovision Song Contest, which normally reaches a worldwide audience in the hundreds of millions.
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One year after interviewing Nutsa in Hollywood during her time on Idol, Billboard sat down with her again, this time in Malmö, Sweden, to talk about her life since then and what will be the biggest moment of her career so far.
When we talked last year in California, I suggested you sing for Georgia in Eurovision, and here you are. What have the last 12 months been like for you?
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First of all, American Idol was the biggest thing I’ve done in my life. They gave me an open door to new opportunities. Like Lionel [Richie] said to me, “It doesn’t matter what number, you’re a star.” American Idol was a starter for my international career. Being on Idol makes your life much easier because people look at you and say you’re the real deal. I have an agent in America and he had me perform the National Anthem at a Lakers game and a Dodgers game. I had an amazing summer living in Miami and was in the Hamptons for a weekend when a producer [with Georgia’s national broadcaster] called and said, “Nutsa, we are thinking of having you represent your country at Eurovision. When are you coming to Georgia?”
So you said yes to Eurovision?
I told them I only had one condition: I’m going to be involved with every little detail. And they said, “Yes, for sure. We want you to be at your best. We want you to sing the song that you love to sing.” So I had the freedom to be myself and not someone that they want me to be and that is the greatest thing they’ve done for me. And it’s coming from the director of the broadcast.
You’re singing “Firefighter” as the Georgian entry. Who found the song?
We had an open call. We received amazing songs, and we listened to all 300 of them. We had three favorites, and we chose one that I feel very confident in. “Firefighter” was from Darko Dimitrov, a Macedonian producer who has a lot of experience in Eurovision. The writer of the lyrics was Ada Skitka from Estonia. I really loved the song, but only the chorus. I flew from Miami to Macedonia, and we spent three days in the studio finishing the song. It was a very creative process.
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What does representing Georgia in Eurovision mean to you?
I have loved my country ever since I was a very little girl. Because of my country’s history and our people, I want to make them proud. I want to show the world how great Georgia is and how many talented people we have. We are a very small nation and that makes me more motivated to put Georgia on the map everywhere I can. Because especially in America, they think that Georgia is a state.
You competed on Idol and now you’re competing again in Eurovision. What are your thoughts about the competition?
I don’t really think of it as a competition, to be honest. I do it for my career and I do it to become better and to have more experience, because all my life I wanted to have a career where you can go everywhere and sing everywhere. Not only in my country, but everywhere. I think big competitions give you the possibilities to be heard by millions and millions of people and that’s the main reason I’m doing it. I don’t like to compete with anybody. The only person I’m competing with always is myself, because I always want to do something bigger and better.
What was the main lesson you learned during your run on American Idol?
On American Idol, I realized that I had done hard work before, but Idol is the hardest work. I pushed myself to the limits. When I was in my hotel room, I cried because I was so exhausted from the emotions. By the time we were doing the live shows, it was better. I became friends with the contestants and then I became friends with the crew.
What are your plans for your career after Eurovision?
My new single is coming out on May 12. I shot a music video before flying to Malmö. The song is called “Mother’s Day” and I’m releasing it on Mother’s Day. It’s about my mom and she is in the music video with me. I’m sure a lot of people are going to cry because I love my mother very much and I wanted to have a song about her.
What else lies ahead?
There is other news I haven’t told anybody, so I’ve saved it for Billboard. I’ve been invited to audition for Broadway on May 11 [the same day as Eurovision]. So I need to go to New York as soon as possible for that.
Can you tell me for what show?
I don’t think they want me to. It’s a modern musical. The character that they want me to play is very near to who I am in real life and the voice of that character in the songs is my style.
Nutsa Buzaladze will sing “Firefighter” in the first semi-final of the 2024 Eurovision Song Contest on Tuesday (May 7) in Malmö, Sweden. The live broadcast can be seen in the U.S. on Peacock at 3 p.m. ET. If “Firefighter” is one of 10 songs from the 15 semi-final entries that qualifies for the grand final, she will perform the song again on Saturday (May 11). That four-hour show will be seen on Peacock, also at 3 p.m. ET.
Hundreds of songs have been entered into Eurovision Song Contest since its inaugural competition in 1956, but only a dozen have ever reached so much overseas popularity as to chart on the United States Billboard Hot 100. Rare as it may be, though, a handful of original songs — which are submitted for competition by […]
At last year’s Eurovision Song Contest, Graham Norton identified him as “Mr. Eurovision” and said he just calls him “the boss.” While almost everyone on the production team for the Eurovision Song Contest does their work behind the cameras, the European Broadcasting Union’s executive supervisor Martin Österdahl is visible every year on the live broadcast. When it comes time to reveal the votes of the participating countries, the hosts turn to Österdahl to confirm that the votes of the juries and the public are checked and that there is a verified result. He then tells the hosts that they are “good to go.”
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Before he was named executive supervisor in 2020, Österdahl was executive producer of the Eurovision Song Contest in 2013 and 2016, both produced by Sveriges Television (SVT) following Sweden’s victories in 2012 and 2015. He has also produced past versions of Melodifestivalen, Sweden’s televised national final to select the country’s entry for the annual Eurovision competition.
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To find out what to watch for in the 2024 contest airing next week, Billboard talked to Österdahl via Zoom to get a preview of this year’s 68th edition of the popular pan-European event.
How are things in Malmö with just a few days to go before the two semi-finals and grand final of the 2024 contest?
The rehearsals are going really well. All the delegations are here now. I wish the world could see what the atmosphere is like. People are hugging, high-fiving. It’s great to be together again and great to be getting the job done.
What are five things we should be looking out for this year?
The first thing is that for the first time ever, we are finally going to see the Big Five and the host country perform full-length performances on stage [in the semi-finals], which is great. We’ve never done that before, as you know. It will give more entertainment to the viewers and more value to the fans, so I think that’s a great change.
In recent history, the Big Five (France, Germany, Italy, Spain and the United Kingdom – the five countries that contribute the most to the production budget) don’t have to compete in the semi-finals to qualify for the grand final, so we would only see snippets in the two semi-finals. Why was this change made?
We’re very much about the even playing field and we have felt from time to time that the Big Five perhaps had a disadvantage. We’ve looked at ways to correct that. The Big Five have been doing much better recently, but still we feel the time is right to make this change now. And it has to do with [the second thing to watch out for].
That is to increase the engagement in this show. For an entertainment show in Europe, we have a lot of young viewers. We’re quadrupling the channel average when it comes to reach and the youth segments, which is fantastic, but the voting system is quite old fashioned with SMS [texting] and televoting and also the fact you had to wait for two hours before you can cast your vote. So we’re trying out this new thing this year where you can vote in the grand final from the very top of the show. If you see something that you like, you can cast your vote, which is something that is more in line with the behavior of young people today, who are used to interacting straightaway with the shows.
We introduced the rest-of-the-world vote last year and we’re increasing the window for that to be 24 hours before the show, so that people in Asia and in South America don’t have to sit up and watch this live on Central European Time. We get votes from 180 countries around the world in the show, so we want to embrace that love for Eurovision in other parts of the world.
How did that rest-of-the-world vote work last year?
Very well. We do a show called the Junior Eurovision Song Contest as well and we’ve had an online voting platform for that. We did a show in Warsaw a couple of years ago during the darkest days of the pandemic, so we couldn’t have the delegations on site. There were pre-recorded performances from the different countries. And then we had a studio in Warsaw where I sat with the presenters and the interval acts and Polish TV did a great job with that.
But when we saw the online voting come in, it was a real eye-opener for me, because there were 12 participating countries as opposed to 40 in Eurovision and it’s a kid show. We saw the votes coming in from 180 countries around the world on this European kids’ show. It was amazing, so I thought, “We need to tap into this.” My expectations are high when it comes to the engagement here.
Does the fact that U.S. viewers can watch live on Peacock greatly increase the number of people watching?
Yes, the engagement from the U.S. is great. The United States is the second biggest ticket buyer [for the live shows]. If you forget about [host country] Sweden, the biggest country of ticket buyers is the U.K. followed by the U.S. Amazing, right? We have ticket buyers from 89 countries coming to Malmö.
And what is the third thing we should watch out for?
Celebration. We have so much to celebrate this year. Sweden has taken the number one position now alongside Ireland with seven wins in history. Loreen is only the second ever female artist to win twice and she and Johnny Logan are the only artists to have won twice, so we’re celebrating that. And of course, it’s 50 years since ABBA won with “Waterloo” and we’re going to celebrate all these things in the show, so that’s another one to look out for.
How exactly are we going to celebrate “Waterloo” and ABBA in the show?
There’s an easy reply to that. Tune into the show and you’ll see.
I didn’t think you were going to give that one away. And the fourth thing to watch out for?
Number four, you should look out for the new hit phenomena. When I started working on Eurovision a long time ago, we used to refer to the classics like Celine Dion and ABBA when it came to who had the international global hits from this show, but that’s not the case anymore. We churn out international hits every year and you’ve probably seen the success of Duncan Laurence, Rosa Linn and Måneskin. That’s a really exciting trend with modern day Eurovision and I think it’s going to continue. It’s a really strong field this year.
Alright, you’ve given us four things to watch out for. What is the fifth?
Number five is that we’re going to have a really exciting climax to this show. The Eurovision Song Contest voting sequence is arguably one of the longest, but also one of the most nail-biting sequences of any show on TV and I think this year we don’t really have one standout favorite. We’ve got a couple who are talked about a lot but not that one standout. So I think it’s going to be exciting this year and I think it’s going to lead to a really exciting climax.
Speaking of the voting sequence, do you track the ratings on different parts of the show, and if so, how does this part of the contest do?
Normally the voting sequence is the most viewed part of the show.
In the past, some years were runaways and we knew who the winner was going to be long before the final vote was cast. Other years we didn’t know until the last moments.
When Loreen first won in Baku [in 2012], everyone knew 35 minutes before the show ended that she was going to win, because you could do the math. But we still had to go around all of these countries and listen to their 12 and 10 and eight points. It seemed this show deserved a better climax, so that’s when we made that change [to report the juries votes first and add in the public voting at the very end] and now it’s all down to the very last delivery of points.
One last question. As an EBU official, how would you describe your interaction with the production team, which is from the host broadcaster.
My job covers a lot of different areas, but when it comes to the production, this is a co-production between 37 different national broadcasters in Europe and beyond and as such it needs a central coordinator or supervisor for the whole thing and that’s me. That means I have final say in all questions, including all of the show content. I work very closely with the producers every year. My main mission is to transfer knowledge and best practice. Of course, this year it’s special, because the knowledge is already here and it’s my old team. We work together really well.
Viewers in the U.S. can watch the 2024 Eurovision Song Contest live on Peacock (and on demand). The first semi-final will air on Tuesday, May 7 at 3 p.m. ET. The second semi-final will air at the same time on Thursday, May 9. The grand final will also air at the same time, on Saturday, May 11.
Just two weeks after Olly Alexander rejected calls for him to withdraw from and boycott the 2024 Eurovision Song Contest over Israel’s inclusion, the European Broadcast Union has issued a statement denouncing the “harassment” of Eurovision artists for the same reason.
The statement, which was delivered by Jean Philip De Tender, deputy director general of the EBU, began with an acknowledgment of “the depth of feeling and the strong opinions that this year’s Eurovision Song Contest – set against the backdrop of a terrible war in the Middle East – has provoked.”
De Tender then turns his attention to the “targeted social media campaigns” launched against certain Eurovision artists, saying, “The decision to include any broadcaster, including the Israeli broadcaster Kan, in the Eurovision Song Contest is the sole responsibility of the EBU’s governing bodies and not that of the individual artists. These artists come to Eurovision to share their music, culture, and the universal message of unity through the language of music.”
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Earlier this year (Jan. 30), several Swedish artists signed an open letter calling for Israel’s exclusion from Eurovision, writing, “Allowing Israel’s participation undermines not only the spirit of the competition but the entire public service mission. It also sends the signal that governments can commit war crimes without consequences.”
That same month (Jan. 11), more than 14,000 Finnish artists joined Icelandic artists in signing a petition calling for Israel to be banned from the competition. “It is not in accordance with our values that a country that commits war crimes and continues a military occupation is given a public stage to polish its image in the name of music,” read the petition, which all threatened the absence of a Finnish delegation at this year’s Eurovision should the EBU not weigh in on the matter.
Directly addressing the controversy, the EBU’s statement reads, “While we strongly support freedom of speech and the right to express opinions in a democratic society, we firmly oppose any form of online abuse, hate speech, or harassment directed at our artists or any individuals associated with the contest. This is unacceptable and totally unfair, given the artists have no role in this decision.”
The EBU has explanations for the reasoning for the inclusion of Kan, Israel’s eligibility and their response to potential protests available on their website.
“The EBU is dedicated to providing a safe and supportive environment for all participants, staff, and fans of the Eurovision Song Contest,” the statement continued. “We will continue to work closely with all stakeholders to promote the values of respect, inclusivity, and understanding, both online and offline. We urge everyone to engage in respectful and constructive dialogue and support the artists who are working tirelessly – on what is a music and entertainment show – to share their music with the world.”
The 2024 edition of Eurovision is slated to take place in Malmö, Sweden between May 7-11. Last year’s victor was Sweden’s Loreen, who sang her way to the winners’ circle with “Tattoo,” which hit No. 2 on the U.K. Official Singles Chart.
Click here to read the EBU’s full statement.
Expectations are growing as the 68th edition of the Eurovision Song Contest, scheduled for May 11, approaches. This year, Spain will be represented by the duo Nebulossa, formed by singer María “Mery” Bas, 55, and keyboardist and producer Mark Dasousa, 47.
Owners of an electro-pop project with an ’80s touch, Nebulossa has stood out from the start for its unique style, releasing several singles and an album, Poliédrica De Mí — home to songs such as “Anoche,” “Glam” and “Armada Roja” — with which they have been able to tour stages all over Spain.
Although their music career began in 2018, their union as a couple goes back more than two decades, during which time they have formed a solid family with two children and have undertaken other business projects. Specifically, Mark stands out as a recognized producer in the Valencian alternative scene through his company Atomic Studio, while Mery runs an aesthetic beauty clinic that she inherited from her mother.
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Since their victory at Benidorm Fest 2024, where they won over the audience with their song “Zorra,” Nebulossa’s rise has been meteoric. The duo never expected to find themselves representing Spain at Eurovision when they started out. However, fate had other plans for them. In fact, Mery submitted the candidacy to Benidorm Fest without telling Mark: “I thought it was a good opportunity, a way to make ourselves known, but I didn’t think that everything that has happened would happen,” she tells Billboard Español.
After their victory at the Benidorm Fest, an unexpected controversy arose around the title of “Zorra,” as many felt that it was inappropriate for Eurovision (zorra in Spanish slang roughly translates to slut). However, María Eizaguirre, director of communication of RTVE (the Spanish radio and television corporation), counters that the song is in accordance with the current regulations — and, in addition, the European Broadcasting Union (EBU) has given it its approval.
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The success of “Zorra” speaks for itself. In a period of almost three months since its release on December 15, 2023, it reached more than 10 million plays on Spotify. “It is very big what is happening with ‘Zorra’ and the controversy is behind us. We are slightly on the margins with the networks and we have been focused on what we had to be; we have not been affected almost at all by the controversy around the song,” adds Mery.
“The song comes from an experience, it’s an emotion that Mery had inside that she wanted to get out, so people got the message and liked it,” adds Mark. “Our intention was simply that, there was no premeditation. When we were selected we decided to go with it and have fun; we still have the same attitude. We are enjoying this, we are of an age now, which is something the song also talks about, ageism, and we take things differently. Everyone is free to have their own opinion.”
Thanks to the success of “Zorra,” Nebulossa teamed up with Gloria Trevi for a new remix of the song that they recorded in Miami and premiered on March 15 at Radio City Music Hall in New York City, in front of 6,000 people, closing the Mexican artist’s show. “The anecdote is incredible, because María tells us: ‘I have managed to get Gloria Trevi to come and record the song tomorrow,’” Mark recalls. “So from one day to the next we set to work to find a studio, Gloria lent herself to this and came, something that was very cosmic, very magical; everything aligned. And so one thing led to another. Then, when we were proposed to go to Radio City Music Hall, we didn’t have to think about it for more than two seconds, obviously.”
Gloria Trevi and Nebulossa perform at New York’s Radio City Music Hall on March 15, 2024.
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As the Eurovision 2024 date approaches, Nebulossa is preparing to face its biggest challenge yet. With “Zorra” as its introduction letter, the duo is ready to conquer the stage in Malmö, Sweden, and bring their music to international audiences. Throughout April, the pair will travel to London, Amsterdam, Stockholm and Rome as part of the official pre-Eurovision festivities, to which they are eager to see the public’s response. But first, they will pass through Madrid and Barcelona, aware that “it is a tour that many emerging artists would like to live, especially with the people’s acceptance,” says Mark.
Regardless of the competition’s outcome, the duo from Alicante, Spain is grateful for the experience. “We already feel like the winners of hearts of so many people who have told us that they identify with our message. I think the song itself is already a winner,” Mery reflects. Mark adds, “Whatever position we finish in, we would like it to be the best, especially for all the people who are putting their enthusiasm in this, both from RTVE and the audience. We are happy. If we land in a good position, even better, if not, nothing will tarnish us.”
With a steadily growing fan base, they are both ready to continue captivating audiences with their music and unmistakable style. While they have concerts and festivals already booked for the upcoming months, Nebulossa is also poised to drop their EP, Virturrosismo, containing new songs that they had planned to release before Benidorm Fest. But for now, all the focus is on the May 11th date in Malmö.