Just one day after revealing that it would retain the semi-final allocations from 2020, the EBU has dropped another nugget of information about Eurovision 2021. In a press release published on 18 November, the song contest organisers confirm that all 41 competing acts will be required to record “live-on-tape” backup performances.
This is just one of the measures which is being implemented in order to ensure that the show will go on regardless of the COVID-19 situation.
Eurovision 2021: All 41 acts to record “live-on-tape” backup performances
All of the participating broadcasters will need to create a “live-on-tape” recording prior to Eurovision in May. If a delegation is unable to travel to Rotterdam or an artist is forced to quarantine on-site, this will be used in place of a live performance on the Ahoy stage.
The EBU explains what exactly a “live-on-tape” performance entails:
All the participating broadcasters have been asked to record a live performance of their act in their own country. This recording will be delivered prior to the event and will take place in a studio setting. The recording will take place in real time (as it would be at the Contest) without making any edits to the vocals or any part of the performance itself after the recording.
Organisers are branding this move as “OpenUp to Variety”. Thus, unlike Junior Eurovision 2020, broadcasters will not have to meet specific staging guidelines. This is so that the contest can “embrace the artistic freedom, creativity, ambition and style of each of the 41 countries”.
However, it must be stressed that this is merely a backup option. It is hoped that all 41 delegations will be able to travel to Rotterdam and perform live on stage without any issues. This failsafe is to ensure that the show will not have to be cancelled as happened in 2020.
Live-on-tape performances at Eurovison 2021 – FAQs
In addition to the press release, the EBU has also published a series of FAQs on the matter. Here are some of the questions answered.
Do all the live-on-tape back-ups have to look the same in each country?
Rather than trying to impose a strict format for the live-on-tape back-ups, the EBU and Host broadcasters NPO, NOS and AVROTROS decided to fully embrace each country’s diversity in creativity, ambition, and style.
Beyond a set of basic guidelines and minimal limitations, each participating broadcaster will have maximum freedom to create a performance they are proud of and they feel will best represent their country.
How will you ensure fairness when it comes to the live-on-tape recordings?
Before the recording each participating broadcaster will meet with a co-ordinator from the Host Broadcasters and submit a recording session schedule, studio set up, camera plan and signed Declaration of Compliance with the Production Guidelines.
The Head of Delegation must be onsite during the 60-minute recording session of the permitted three takes and, either alone or together with someone who has the appropriate mandate, make the final decision on which take is selected.
A live connection will be set up during the recording to allow the ESC Executive Supervisor and a representative from the Independent Voting Observer (E&Y) and the Host Broadcaster to observe the recording session, to provide assistance and support, but also to ensure the integrity of the Contest.
Who has the final sign off on the live-on-tape recording?
All materials will be checked for approval by the Host Broadcasters and the EBU. The Host broadcasters will perform on a final sound mix and any image enhancements to ensure uniform levels and quality. A copy of that final mix will be sent to the respective Head of Delegation for approval (not to be unreasonably withheld)
Is there a limit on how many rehearsals can take place before the live-on-tape recording?
No, the number of rehearsals prior to the recording session is up to the participating broadcaster.
What are the basic guidelines for producing the live-on-tape recording?
The live-on-tape recording should be produced in line with the Eurovision Song Contest Rules and essentially be a recording of a single 3-minute live stage performance. It should not be a music video.
The back-up should be recorded in a studio or studio-like environment without an audience present or audience sounds.
The use of a recognisable set of an existing protected TV format is not allowed. The recording should be unique and should not be published before the event in May.
What familiar ESC elements can the broadcasters use in their performances?
Each broadcaster may use any of the elements that they would benefit from if they were performing live on stage in Rotterdam. For example (but not exclusively); a multicamera set up, LED video content, projection, pyrotechnics, smoke and wind machines and certain props.
What can’t broadcasters use in their performance?
The live-on-tape recordings should not contain any augmented or virtual reality, overlays, confetti, drone shots, water, use of chromakey or green screen.
Can autotune be used on the live-on-tape recordings?
No, autotune or any other alteration of live vocals, is not permitted on the recording.
Should the live-on-tape performance be similar to the planned stage performance?
Each broadcaster is free to either produce a recording of their planned stage performance or an alternative performance. However, the audio track should be similar.
Can a country submit their national selection performance where appropriate?
No, the live-on-tape backup should be unique recording and not be publicly available before the event in May. A national selection set can be used, however, and similarities are fine.
Will broadcasters be given assistance by the Host Broadcaster in making their Live on Tape recording?
Yes. It is up to each Participating Broadcaster to develop a creative concept for their live-on-tape recording. as they would for their on-stage performance for Rotterdam. The ESC 2021 Contest team will be available to advise, guide and support.
The Contest team will oversee all the creative concepts, lighting, and LED content, to ensure diversity across the 41 acts and to avoid significant similarities.
When do all the live-on-tape recordings have to be delivered by?
Each participating broadcaster must submit their live-on-tape recording by 26 March 2021.
What do you think of the new measures? Are they a good idea? Let us know below.
So it’s better not to go to Rotterdam… especially when you are Russia, Sweden… If you let them do what they want countries that have best abilities (and money) to make a best tv production will have an obvious advantage of not coming. They’ll leave everybody else far behind with their extraodrdinary live-tape-recorded productions full of technology and special effects that any others just can’t afford. Great. ESC is now not even on knees. It’s crawling. Thanks EBU. You killed it. It’s official.
If a back-up performance is used, qualifies, and then goes on to win…is that the same performance three times? Will we get to see any reaction to the win?
I imagine those who can’t travel to Rotterdam will be appearing by satellite in their own green rooms. So… no trophy lifting and a possibly awkward live encore performance. Maybe with images from the taped performance playing from time to time.
How is an ESC observer able to enforce the rules over here in OZ. There is no international travel to Australia until mid next year. If we were that type of country we could cheat our asses off with taping after taping . Travel into Australia is only nationals returning and the only way internationals can fly in is by privately chartered planes and quarantining for 14 days.I can’t see them chartering a plane to the other end of the world for 1 or 2 people then pay for 2 weeks of quarantine in a hotel plus the cost of… Read more »
As mentioned in the article, taping will be live-streamed to the production team of the ESC. Multiple tapings are therefore not possible.
Yes, Australia goes with very different strategy than Europe, but that wouldn’t affect 2021 participation as that can be done remotely. I’m more worried about the long term. Australia and Europe pursue very different strategies (elimination vs suppresion) and it may take years until Australia actually accepts travel to/from Europe. It is likely that Europe will be back to normal in 2022 (hence no remote-participation options) but Australia won’t.
I get why this is being implemented but where is the equity? Countries like San Marino and Moldova are not going to be able to finance a performance set the way the UK or Germany could
Sponsorships for smaller broadcasters. It’s how Serhat was able to deliver a stunning music video for “Say Na Na Na”. The MV was filmed in Turkey. Meanwhile, brand deals helped Eleni and Tamta get their respective music videos made alongside their record label.
Safeguards are in place to allow an even playing field for everyone.
Maybe some smaller broadcasters could partner up with bigger ones. For example, San Marino recording in Italy, making use of the same studio and professionals. This is something EBU should stimulate and facilitate.
Yes! Whoopie! Whole exSoviet counties will record in Moscow with Russian technology and production! Great . I told you… EBU killed it.
Don’t worry for Moldova as long as Kirkoroff is producing 😉 They’ll record it in Moscow, I bet.
Listen new song Alicja Szemplinska Na pamiec
Glad the upcoming year’s Eurovision is secured, let’s all be happy with this! 🙂
I’m glad that this exists as a precaution but I hope they can perform live in Rotterdam itself! The only question I have relates to different recordings for the semis and the final- do they exist. If only one recording is used, it could lead to interesting results (not a criticism, just an observation).
If we want a guarantee that Eurovision 2021 will happen, we needed something like this, so kudos to EBU for thinking carefully. I tend to agree with Robyn, I believe recording in a studio has advantages and disadvantages. Though if for some reason we don’t have an audience, the empty arena could make things colder than a tight studio cut. So, to keep things in the same level, open shots should be avoided. In any case, let’s hope everyone can sail to Rotterdam and that we can have an arena with lots of fans.
What bothers me are the three takes, that’s an unfair advantage for those who perform from home. It doesn’t make sense – acts that perform in Rotterdam will not get a chance to perform three times and pick one of the recordings to be used for the competition.
On the other hand, I’m very happy about the overlay ban and I really hope that will eventually become a rule for the regular ESC performances.
It is expected that all 41 participating countries will film live-to-tape performances so they all have three takes before sending the one they’ll use as back-up.
I know. But those that end up performing live will get one shot, while those that use home recordings get to chose from multiple takes. That is the problem.
I hope the broadcasters release the videos after the contest, if they weren’t used, so we can still see what they would have done
Suuuuuure. They need back up tapes to cut amount of back up singers due to covid. But you can still bring 5 dancers with you. Dancers can’t have corona, right? Idk if they think people are that stupid or that naive to believe this.
What are you even referring to? This article is about backup recording to be used in case the delegation can’t travel to Rotterdam.
Regarding the prerecorded background vocals, that was already planned for 2020 and no one claims it’s related to Covid.
It was not planned for 2020.
The use of back-up vocalists became an optional feature. It was never reduced.
Also arguing about this benefitting the use of another performance feature, i.e. the use of dancers, doesn’t correlate with the option of using backing vocals.
Depends if there is even a need for dancers for the song. The tricky part with an ESC performance involving dancers is that a lot of the time, they’re just there. Plus, dancers sweat too so I think that might pose a health risk just as well as having backing vocals onstage.
Now we know we will have an ESC and that is good! I hope this only stays a back-up plan and that all acts will be on stage!
As I understood this is in case of scenario D. Good thing is that vaccines could come before New Year, so there is a chance we have normal Eurovision, but it’s too early to say anything.
I think that there will be 8-10 thousand spectators. The vaccines will be rolled in gradually, so we will have a semblance of normality but COVID will still spread, as some will still be yet to be vaccinated. I suspect most spectators will be Dutch, British, Belgian and from Niedersachsen and NRW in Germany, with mass travel being phased in slowly.
I highly doubt it will be based on nationality. NL never had restrictions on entry for EU citizens, so if they allow audience, anyone from the EU will be able to come under same conditions.
I hope that free movement will be available for all fans, and that there is no discrimination by nationality, but would some be required to quarantine due to their country’s Covid rate? That’s why I have listed parts of Europe from which you can travel to Rotterdam by car, which will probably account for the majority of a 40-60% crowd relative to 2020’s would be capacity. I hope that this crowd will account for more than just a small range of nationalities, but I think some will still be reluctant to travel too far for what would be one of… Read more »
Even if we get a vaccine 2021 will be restrictions. Less so than 2020 but still.
And you know there are going to vaccine elderly and vulnerable first, meaning that the rest of us will have to wait until 2022 to get it. So I do think we are looking at scenario B which at least is better than scenario D
I think it would be very unfair if some artists could perform in a TV studio, acquaintances next to the stage and having rehearsed several times before, and some would have to get nervous live, all the tension that precedes their performances in a live show.
This is why I predict none of the countries will want to perform live, unfortunately. So to me the news today made scenario D official. :/
Unless the artist has Covid in May, or their country is on strict lockdown (no international travel), I don’t think broadcasters will be allowed to just use their tape and skip the live contest, so your comment about scenario D is a bit premature.
Do you really think artists want to perform in a small TV studio without an audience? Rotterdam has a huge stage with the best possible TV technology and probably a screaming crowd to encourage. I wouldn’t think twice which one I would choose.
Of course I agree for the artists. But for the delegation, putting so much risk in a live performance when you have a pre-recorded tape you have spent time on which can be used… idk. I hope I’m wrong, because a scenario D would be a bit of a disappointment even if it’s still better than nothing.
You honestly think no one wants to perform live? That is a bit of a stretch..
Every artist wants to perform live and get some contact with an audience. Who would stay in a studio? Especially for fast up-tempo songs like “Uno” or Cleopatra”. Any delegation would be out of job if they even suggest those be performed in a studio..
I meant that there is a possibilty to rehearse in a TV studio endless times right before the TV recording (this is probably not forbidden by the EBU if the artist and the national broadcaster wish so), while in Eurovision, each country’s stage rehearsals are set.
Wtf…… I’m afraid this will be really unfair. And how much will it cost the countries to record a performance at home in a studio PLUS organize the live performance in Rotterdam?! I’m sure a lot of delegations will make everything they can not to have to go to Rotterdam to spare money if their recorded performance can be a participation in itself. Ugh.
This is what I was talking about when I said the Strictly Come Dancing situation wasn’t really comparable.
I meant that a Covid diagnosis would result in withdrawal for one, but not for the other. Strictly Come Dancing requires multiple performances over many weeks, so a back-up plan was not possible – for Rotterdam, it is.
Do the recordings have to be done in the country the act is representing?
Ooh, that’s a good question! I can imagine San Marino filming their performance in a theatre 😉
I think that senhit will record her performance in Italy (she is also living there if I’m right)
This actually gives me hope that the contest will happen no matter what. I, of course, hope the situation will be better by May and all the participating countries can travel to Rotterdam. But who knows, maybe something good will come out of this? Maybe Eurovision will evolve into something better. I also like the fact that each broadcaster could perfect their entry and send a performance they’re fully happy with.
This is what most people was asking for ESC 2020 that could have been aired that way this month for example just to declare a winner for the 2020 songs and of course due to the short delay between the 2021 contest the winning country would not host 2021 but still the Netherlands.
And what would’ve happened with the winner of 2020? Should’ve they hosted the 2022 contest and the 2021 winner the 2023 edition?
I mean, I would’ve loved to see a 2020 edition as well, but it was almost impossible to hold it.
If the Junior contest is possible, then so could the main one have been.
Yeah, but you are comparing an event that is taking place in November with one that would’ve taken place in May where everyone was by far more unexperienced with the pandemic. I mean, there is still some inexperience, if you look at the infection rates in Europe and around the world, but at least, most of the countries know now much more what to do than they did back in May. The only way that the 2020 edition could have taken place would’ve been by postponing it, which wouldn’t have made much sense. Also, don’t forget that the one event… Read more »
I should be over this by now. 🙁
I’m not blaming anyone, just saying that with hindsight, a delayed 2020 contest could have been possible. I’d have gladly sacrificed the Junior contest instead.
No, you can’t say this is what “most” people are asking for. The EBU had weeks to change course at the last minute because not only have resources been spent on a contest that never happened, the scenarios of what we’re getting know could not have been thought of with the short time frame. The EBU now has an entire calendar year now to plan ahead for 2021 with all possible situations considered to make the contest happen no matter what.
hmm. in a way great, I still hope all the delegations will be able to travel to Rotterdam.
the part I don’t understand is this one: The live-on-tape recordings should not contain any augmented or virtual reality, overlays, confetti, drone shots, water, use of chromakey or green screen.
so what is the reason behind this?
It has to look like a performance that could be done on the actual stage. At least that is how I read it.
that’s stupid, because augmented reality/green screen could make the performance look more impressive. and also I thought that in 2020 they were planning to use AR?
yeah for sure but since there isn’t any limits of what the size of stage should be or how many lights, how big the led screen should etc. why implement this restriction, it’s going to be unfair either way.
From what I could tell from their press release, the Host Broadcaster will be responsible in adding further editorial changes like visual and audio effects the same way they would so if the act manages to perform live in Rotterdam, in order to achieve the desire look of the performance by their respective delegation. So the finished taped performance that the broadcasters will send should be, for the most part, raw. And there should also be split audio, with separate layers for the backing track and vocal mixes (lead vocals and backing vocals would be separate as well). That is… Read more »
oh ok thank you for further clarification!