Eurovision 2024 was the most divisive contest in recent memory. Much of the anger was direct at the European Broadcasting Union, which faced criticism from artists and national broadcasters for, among other things, unsafe working conditions and a lack of privacy for artists.
Well now the European Broadcasting Union has responded. For Eurovision 2025 we will see, among other things, the introduction of a Welfare Producer to look after artists and staff; an “optimised” rehearsal schedule that is meant to give artists more downtime; and “no-filming” zones, which, no doubt, stem from the the Dutch delegations’ complaints that its artist Joost Klein was filmed backstage when he didn’t want to be.
We’re pasting the full press release from the EBU below.
EBU reveals new Code of Conduct and protocols to “protect wellbeing” of artists and staff
- The EBU is introducing a new Code of Conduct and Duty of Care Protocol to ensure clear roles and responsibilities for all involved in the event
- For the first time, agreeing to abide by the Code of Conduct will be a requirement for accreditation to the event, signaling the EBU’s commitment to fostering a respectful and supportive environment
- The Duty of Care Protocol emphasizes the shared responsibility of the EBU, Host Broadcaster, and Participating Broadcasters in safeguarding artists from unnecessary physical or emotional distress.
- New measures at the 2025 ESC in Basel include no filming zones within key artist areas, more closed-door rehearsals, and optimized rehearsal schedules to ensure artists have plenty of time to rest and enjoy the Host City.
- The EBU will continue to uphold the ESC values of inclusivity and celebrating diversity by commissioning a Eurovision Pledge to emphasize the commitment to community, respect, and equality.
The Eurovision Song Contest (ESC) continues to grow as the world’s largest and most celebrated entertainment show, attracting hundreds of millions of viewers globally.
As part of its ongoing commitment to creating the best possible experience for all involved, the European Broadcasting Union (EBU) is pleased to announce a series of enhancements aimed at safeguarding participant wellbeing, ensuring positive experiences for artists and delegations, and promoting the core values of community, respect, and inclusion.
The strategic changes have been approved by the event’s governing board, the ESC Reference Group following a comprehensive review of the events in Malmö last May and consultations with all 37 participating broadcasters and other key stakeholders to ensure the continued success and growth of the Eurovision Song Contest.
Focus on Wellbeing and Support
The EBU is making improvements in communication, wellbeing, and the positive experience of everyone attending the Eurovision Song Contest.
These include the introduction of a new Code of Conduct and Duty of Care Protocol, based on the existing rules and contracts, which will ensure clear roles and responsibilities for all those involved in the event.
For the first time, agreeing to abide by the Code of Conduct will be a requirement for accreditation to the event, signaling the EBU’s commitment to fostering a respectful and supportive environment for everyone.
Both documents will be published on Wednesday 11 December on eurovision.tv
The Code of Conduct mandates adherence to local laws, prohibits instrumentalization of the Contest and outlines expectations for professional behaviour, fair competition, and responsible communication.
The Duty of Care Protocol is focused on ensuring the safety, well-being, and success of all participating artists.
It emphasizes the shared responsibility of the EBU, Host Broadcaster, and Participating Broadcasters in safeguarding artists from unnecessary physical or emotional distress. The Protocol provides guidelines for Heads of Delegations to support artists effectively, minimize risks, and promote a positive experience throughout their participation in the Eurovision Song Contest.
Changes to Production and Participant Experience
In a further effort to better support participants, the EBU is implementing new measures at the 2025 ESC in Basel. These include:
- No filming zones within key artist areas to provide participants with private spaces to prepare for their performances.
- More closed-door rehearsals to help artists focus on their performances without distractions.
- Optimized rehearsal schedules to ensure artists have plenty of time to rest and to enjoy the Host City
- Introduction of a Welfare Producer to be a key point of contact for artists and staff to ensure a safe, respectful, and supportive environment.
These changes are designed to ensure that artists are confident on stage before performing to media and audiences.
Commitment to Unity, Diversity, and Inclusion
The Eurovision Song Contest has always been a celebration of diversity and inclusivity, bringing together people from all corners of the world. In 2025, the EBU will continue to uphold these values by commissioning a Eurovision Pledge to emphasize the commitment to community, respect, and equality.
“In 2024, 163 million viewers saw the ESC on TV. Our digital platforms also experienced exponential growth. These successes reinforce the need to continually adapt the show’s structure to meet the evolving demands of both participants and audiences,” said Martin Green, the new ESC Director.
“We are United by Music – it’s up to all of us to ensure the Eurovision Song Contest remains an event that promotes unity, diversity and inclusion.
“We believe the changes we’re making for Basel 2025 make the Eurovision Song Contest the best experience it can be for our participants, our staff, and our audiences.”
Bakel Walden, Chair of the ESC Reference Group, the Contest’s governing board adds: “These new measures, which will be implemented for the Eurovision Song Contest 2025 in Basel, are a first, important step to ensure the successful and responsible development of this iconic music event.”
“On behalf of all participating artists, delegations, and staff members, the Reference Group remains firmly committed to championing a positive, creative, and safe Eurovision Song Contest in an ever-changing global landscape.”
What this means is that we’ll all have less to consider before the live shows. The sort of momentum which propelled Fuego so high will no longer be achievable.
That’s a good thing in my opinion. One artist shouldn’t get a massive push based on the opinions of those allowed to see the rehearsals. Especially as the majority of fan media sites are from the same narrow demographic of person with the same sort of music taste.
I’m not gonna read all this. If it’s an announcement from the EBU, I already know it’s pure nonsense.
There’s a very simple way to ensure that the 2025 contest won’t be as toxic as 2024. Unfortunately, the EBU doesn’t have the balls to take the necessary action, and no doubt one delegation will be walking around backstage in Basel like they’re untouchable.
tbh with how political the contest is becoming i think it needs a reset bring back the orchastra and make it how it used to be a proper song contest where you just stood there and sang your song
I’d like that too David. It needs to be simpler. Like when the contest was actually a much bigger deal than it is now.
exactly all the best songs came before the year 2000 and the biggest selling song is still brotherhood of man as the saying goes less is more
Adonxs deserves to be bullied though
Your consistency to fuel this website with your nauseous poison is truly admirable, and almost non humain (more bot-like).
Your heart and soul are clearly dark and rotten and I sincerely hope you’ll someday be free by all this negativity.
Try joy, it’s nice, warm, and fun.
Moderation on this site is needed. Prime example here – They say nothing of value and create a toxic environment and encourage hate.
Good approach by the EBU. The anti see mites won’t be happy with the code of conduct though, means Bambi and the Greek girl would have been disqualified along with Joost for constant attacks on Eden.
And who would disqualify Eden and her delegation for constant harrasment of others?
The Swedish polices with the EBU
Eden is spewing her propaganda on right wing news sites all over the place so she deserves to be attacked.
Once again (and I don’t know why so many people don’t understand this), criticism of Israel and its actions is not anti-semit ism.
Criticism of Israel ? antisemitism.
That should be a “not equal to” sign.
I had to admit that there would be without hair and makeup rooms and artists would do hair and makeup in their hotels or their dressing rooms.
The g?noc¡dial entity called israel should not be taking part in Eurovision. What a joke the so called “values” or Eurovision are.
Actually, their government set them up by approving a bill suggesting the channel to be privatised.
Which could take them out from being in Eurovision. Talk about self own. I’ve heard about this bill and the ebu’s response against it. I worry that it could cause a domino effect that other countries could try to do the same thing that could dissolve the EBU if there are no public broadcasters and thereby no more Eurovision.
Are the rules for 2025 already finalised?
I wonder if a country can participate if the international court has issued arrest warrants against the prime minister of a participating country . Any information?
Sure it can, until broadcasting partner/TV house, artist or song itself are not in clear violation, they can participate. It’s a song contest of participating broadcasters, not a political institution.
Don’t ask what is a clear violation, that depends on how people in EBU chairs are feeling at the moment. By the looks of it, something clear today can be foggy tomorrow.
The warrants are towards specific individuals, not a blanket ban on an entire population from traveling outside their country.
Oh!
My late grandma used to say…IF YOU CANNOT TAKE THE HEAT, GET THE F*** OUT OF THE KITCHEN!
Is it snowing already?
This world IS going to hell, I swear.
How to admit you were wrong without admitting it
Exactly. Now they need to issue a public apology to Joost Klein, the Dutch delegation, and the whole country of the Netherlands.
And would arrest and put a file of complaint to Eden Golan and her delegation
“Wel fa re P r oducer”!! What b a ck ground is required for this role?? It sounds really unfortunate regardless of the Spiel.
Still, I think that participants can prepare themselves in advance of one if not the most fab moment of their careers. It means taking responsibility for your own feelings and actions. One can focus on: keeping healthy, building resilience because being at the contest in Swit zer land is so “hard”, focusing on what they can do, *ignoring what they cannot change* etc.
SPA management.
Better late than never!
The legacy of Joost. If only this was in place last year.
Shame on Eden. She would have been disqualified and Joost would’ve been 5th place originally.
Joost Klei could also have acted like an adult instead of lashing out at someone who didn’t think they were doing anything wrong.
If only it was obvious that Israelis are culturally speaking so very informal and straightforward. Some people could sometimes come across as rude, but that doesn’t mean they are rude.
Now the Poles would start this with Jojo being there
Israeli journalists found crying in the corner. ?
Poles would join with Jojo
Good. Hopefully the israeli media will take the hint and stop harassing the artists.
Unless KAN’s broadcaster goes private.
“The Code of Conduct mandates […], prohibits instrumentalization of the Contest and outlines expectations for professional behaviour, fair competition, and responsible communication.” – A nice description for a – MUZZLE.
Except if Jojo Siwa being there…
If 2024 did anything good it was to make us more aware of the press, stress and the toll on mental health it creates for the artists.
Like we all knew about it but it was more sort of arrogant ” deal with it” attitude towards the artists. 2024 showed how really nasty it can get. Hopefully this leads to more debate about what going to ESC really means
Imagine how Jojo Siwa being represented Poland and harasses with the Polish delegation to the other delegations
The part on not har rassing and thre atenng producers throughout the event and/or before the big night, is it included in this Code of Conduct or elsewhere?
That better mean the Israeli delegation stops filming artists without permission like last year. Or are they still above the rules?
They would’ve been disqualified before the finals originally, that was the mistake
all’s good but I would love to see these rules applied equally to all delegations
Eurovision contestants are human beings and must be treated with respect.
Agreed. If Jojo Siwa is there, she would break those rules
All this does is allow the Israeli delegation to harass other contestants without any video evidence to prove it.
oh they even do that during the carpet ceremony, like Michael Ben David towards Sheldon Riley
They would have originally disqualified Eden Golan before the finals instead of Joost Klein. Michael Ben David would also have been disqualified if he qualified
So I guess that :
1. There will be a massive suppression of the freedom of expression this year, thus effectively gentrifying the event so as to avoid the fully justified controversies of last year.
2. This inclusivity they are talking about contains everybody apart from P@lest1nians who are being mass@cred.
3. There is an asterisk somewhere in the documents with font size 1 that specifies that these “Codes of Conduct” don’t apply to Isr@el and Moss@d agents will once again roam freely backstage.
Ok! We will have the same situation as the jesc this year during the rehearsals I guess, more closed doors rehearsals means no 1st rehearsals filmed, only pics maybe…and 2nd rehearsals probably filmed to give us renderings in the jesc style and still without press and audience. The press and audience will probably be allowed from the dress rehearsals before the jury shows. I miss the time when nothing was hidden, when the press center was opened on day one, when the press could even see the 1st rehearsals, the eurofans experience was better but I understand too that it… Read more »
Disturbing and unfair for sure!
Why do Eurovision fans need to watch endless amounts of rehearsal footage in the first place? I don’t watch rehearsals for concerts I attend or other shows I watch. Who wants to watch rehearsals anyway? It’s like watching someone get dressed
And I miss the live streams lasting hours and hours live from the press center hearing all the first reaction about the rehearsals, it was fun
No more hair & makeup filming as well without permission
Gr8
Then remove EasyJet and Royal Caribbean if they are unreliable towards Eurovision artists. Simple as that.
Girl, I hate the Code of Conduct rule. I know it’s understandable but it’s no fun to have less filming on backstage. Hair and makeup rooms being small isn’t also a fun idea. That is one thing I hate about Eurovision 2025. I’m sorry.
They are there to sing and perform, nothing else. It’s not a reality show