ESC Insight

ESC Insight

Make Your Way To Minsk: Currency, Cuisine, And Nightlife

Make Your Way To Minsk: Currency, Cuisine, And Nightlife

What Can You Get For Your Rubles

Belarus has its own currency, sharing its name with their Russian counterparts – the Ruble – but not its value. As of 28 October 2018, 100 Belarussian Rubles (BYN) can be bought for 67 AUD, 41 Euro, 47 USD, or 37 GBP.

Belarus Currency

The country has a very low cost of living, and Minsk is the cheapest capital city in Europe. A McDonalds Big Mac meal would set you back just 8 BYN, whilst a restaurant dinner for 2 people comes in around 60 BYN.   A bottle of water is just 1 BYN, and a coffee or beer to drink would cost approximately 3.50 BYN.


Belarussian cuisine draws upon many of the dishes and influences of its neighbours, featuring homemade meat delicacies, cheese from cow or goat’s milk, and sweets made of honey, apples and cranberries.

The most popular are pork stew (machanka) and vereshchaka, homemade sausages, draniki (thick potato pancakes), kolduny, kletski (dumplings), babka (baked grated potato pie), cold sorrel soup, and mushroom soup.

Farmstyle cooking is featured in theme restaurants, and local staples can be found in canteen style establishments.  Visiting these, Belarus generally offers the opportunity to literally eat like a king for the budget of a peasant at lunch times.

Restaurant Kuhmistr is considered one of the best options, but the prices there are above the average. Soups cost from 7 BYN, salads and snacks – from 9 BYN, and prices of hot meals start from 15 BYN, but visitors are greeted with liqueurs and appetizers.

For something more casual and on the cheaper end of the scale, you can try Lido.  Here, you can load up a tray full of options to your hearts content – ranging from potato sticks, to cabbage rolls, beetroot salads and cheese curd desserts.

Would you like a side of military history with your fried chicken?

If that doesn’t tickle your fancy, Minsk offers many modern and Western restaurants, such as fast-food outlets including KFC and McDonalds, sit down chains and multicultural fare from China, Japan, Mexico, Italy and beyond.


Minsk is abound with pleasures to entertain everyone, be it a quiet evening of cinema or jazz, to a raucous night of clubbing.

The most famous nightclub within the city is Dozari, located on Independence Avenue.  It is the sort of location where you will find the latest Russian pop pumping out the speakers, and bouncers on the doors using face control.  Or if you prefer something with more guitars, you can try the TNT Rock Club.

There are a select number of cinemas across the city which show the latest releases in original language, including the Falcon Club boutique cinema located not far from Minsk Arena and within the Minsk Marriott complex.  Compared to most Western cinemas, tickets for 14 BYN are a bargain.

If you want something even bigger and better, Minsk features on the tour schedules of many popular touring artists from both East and West, in locations such as the Sports Palace, Prime Concert Hall and the State Palace.

During the period of Junior Eurovision 2018, you can escape and see the likes of American diva Anastacia on 20th November, or Eurovision alumni Alekseev and Ani Lorak on 18th November, both at the State Palace.

The Junior Eurovision Song Contest will be held on Sunday 25th November in Minsk, airing through selected broadcasters and online from 16:00 CET.   Join us on ESC Insight for our week-long on-ground coverage of the event from 19 – 25 November.

Categories: ESC Insight


Make Your Way To Minsk: How To Get To Belarus

Make Your Way To Minsk: How To Get To Belarus

The capital of Belarus, Minsk, was selected in late 2017 as the chosen host location for the upcoming 2018 Junior Contest. Unlike previous hosts, Belarus launched a bid specifically to host, as per the rules where it is not necessary for the winning country of the previous contest to produce the following year.

Belarus had already proven itself able to be great hosts off the back of the 2010 show hosted in the same location. However, the anticipation is that this year’s event stands to be far bigger and better than its previous show. Whilst broadcast technology has improved, and the number of competitors has increased, the eight years that have passed have also witnessed Belarus quietly become a new cool destination to visit, with its relaxed visa requirements and a new hub for events and summits.  The global travel publication Lonely Planet has even listed it as a top 10 country to visit for 2019.

Getting There

Last June led to the Government announcement of a new 30-day visa-free regime, allowing visitors from 80 countries to come to the previously bureaucratic nation, as long as entry and exit is via Minsk Airport from a country other than Russia.  This new more open policy has allowed it to be awarded the opportunity to host the 2019 European Games, as well as encouraging our own team to finally travel and discover the destination.

Minsk is serviced by a limited number of airlines; mainly those based in the region including Air Baltic, Turkish Airlines, LOT Polish, Aeroflot from Russia.  Further afield, there are available international connections through Etihad and Air China.  It’s national carrier – Belavia –  flies to most major European destinations such as Amsterdam, Berlin, London, Paris and Rome. The airport is located some 42 kilometres from the city centre, taking approximately an hour to reach by taxi or transfer, and longer on the regular public bus services connecting it to the centre of town.

Venue And Tickets

Minsk Arena is a modern venue located on the outskirts of the capital city, just 8 kilometres from the central station.  Opened in 2010, one of the first large scale event it hosted was the Junior Eurovision Song Contest in November that year and has since gone on to stage concerts for Depeche Mode, Jennifer Lopez and Shakira.

The arena holds 15,000 people, however with the staging for Junior Eurovision 2018, has been reduced to 12,000 people.  Many of the tickets have already been sold and a number of seats allotted to local children, schools and charities.

There are still some limited tickets for both the dress rehearsal and final, mainly on the dancefloor, at:

Where To Stay?

Whilst it’s a relatively new city for tourists to venture to, Minsk already has a large range of accommodations, with something for everyone. There is a small smattering of new hostels, good 3-star communist-chic accommodations, all the way up to modern business-catering hotels and 5-star well-known chains.

For Junior Eurovision, locations near the Arena include Hotel Sport Time (3 star), Victoria Olimp (4 star) and Minsk Marriott (5 star). All have rooms still available throughout the week leading up to the Contest, but keep in mind that they are not central city hotels.

AirBNB has also reached this part of the world, so those who want to self-cater can do so through renting an apartment.  Costs generally remain low in comparison to other cities, so no matter what your expectations, tastes and location preference, you should find something appropriate and affordable. 

Minsk Marriott

Getting Around

Like most of its East European counterparts, Belarus is a country with a well-developed transportation system; fast, efficient and extremely cheap. There is a railway system connecting the whole country, and within Minsk, a metro system of three lines.  It also has intercity coaches, city buses, trams, trolleybuses and minibus services.

The best way to reach the Minsk Arena from the centre of Minsk is to use the Number 1 bus service, which departs every 15 minutes, and takes approximately 30 minutes to travel between the Central Station stop and the Arena.  The cost of 1 trip is 0.60 BYN on bus, trolleybus or tram, or 0.65 BYN on the metro.

Transport tickets can be purchased at kiosks, from metro station vending machines, from a conductor or a driver.  Pre-purchasing tickets is cheaper, and you can buy single, day or multiple travel/seasonal tickets to save even more money.

It is highly recommended to purchase a ticket as fines are issued if you are caught travelling without one.  Penalties for an un-ticketed journey can be up to 25 BYN.

The Junior Eurovision Song Contest will be held on Sunday 25th November in Minsk, airing through selected broadcasters and online from 16:00 CET.  Join us on ESC Insight for our week-long on-ground coverage of the event from 19 – 25 November.

Categories: ESC Insight


Eurovision Insight News Podcast: More Details To Follow…

Eurovision Insight News Podcast: More Details To Follow…

Before the ESC Insight team prepares to fly to Minsk, we have the small matter of Junior Juke Box Jury. But before that, what’s happening in the rest of the Eurovision Song Contest world?

Eurovision Insight News Podcast: More Details To Follow…

A full playlist for Minsk, spinning around the Swedish hosts, and the circle of Eurovision life. Ewan Spence covers the latest Song Contest news for Minsk 2018 and Tel Aviv 2019.

As we work through the first few months of the new season, keep listening to the ESC Insight podcast to stay up to date with Eurovision, Junior Eurovision, and all the National Finals. You’ll find the show in iTunes, and a direct RSS feed is also available. We also have a regular email newsletter which you can sign up to here, and you can support us on Patreon.

Categories: ESC Insight


Adventures Down Under With Eurovision Asia’s 2019 Odyssey

Adventures Down Under With Eurovision Asia’s 2019 Odyssey

Fans in Australia and across the world have spent the last week in a whirl with ‘rumours’ of the imminent arrival of the Eurovision Asia Song Contest.  The long-awaited format for the region has gone through numerous bumps in the past decade, including attempts by German entrepreneur Andreas Gerlach dating back to 2009 which went through numerous naming issues to host city rights, to the contract with Blink TV and Australian broadcaster SBS announced in March 2016 which has since faced issues regarding broadcast partners in the Asian continent delaying its launch.

At the start of October 2018, outgoing Managing Director Michael Ebeid for Australian broadcaster SBS commented that organising the Asian contest was proving “too geo-politically difficult”, with the Australian broadcaster seemingly putting the idea on the back-burner to focus foremost on its newly launched national final for the Eurovision Song Contest.

Broadcaster Issues in Asia

It is understood that one of the biggest issues at play is that of China’s participation, with the nation now having a strict curb on imported TV shows and formats by the country’s central media regulator.  A directive was established in late 2016 to focus on original domestic programs, and channels are no longer able to air remakes of popular international reality shows. Additional restrictions also exist in regards to the number of international formats allowed into the Chinese market, with a rule that it air no more than two foreign or foreign adapted programs during primetime each year – restricted further in that only one of those can be new.

The rule was brought into play to assert Chinese culture and values, which “convey the Chinese Dream, core socialist values, patriotism and Chinese traditions” according to the statement issued by  China’s State Administration of Press, Publication, Radio, Film and Television.  Taking this into account, alongside the issues where the Chinese broadcaster Mango TV saw fit to edit the 2018 Eurovision Song Contest removing elements such as Irelands’ performance due to the LGBTQI themes and the tattoos of the performers for Albania and Switzerland, it becomes clear that any participation in a Eurovision Asia format for China – Asia’s biggest market – is difficult and unlikely at this point.

Mango TV Screenshot source: ABC

China would not be the only country however that may have issues with a format that has such strong ties to the LGBTQI community and espouses values such as freedom of expression.  Whilst the Song Contest is considered apolitical, messages such as ‘building bridges’ and ‘come together’ might not be welcome between nations that have long-held deep divides.  Issues like ownership over South China Sea, threats of retaliation between China and Japan, Taiwan and Hong Kong’s self-governance, and local political instability and religious tolerance in many more nations across the region, are likely to play behind the scenes and out on the stage just as much as we have seen between Russia and Ukraine, or Armenia and Azerbaijan.

We’re all going on a Gold Coast Holiday?

Whilst the broadcaster and the format owner  company Blink TV officially remain ‘tight-lipped’ over the Asian Contest for now, the fact that a report now exists and is openly available online, shows that the event is not as much on the backburner as was thought.

What we can garner from the release of the recent information is that, over the course of the past year and as recently as this September, the production company have made proposals to a number of cities within Australia to host not only the Asian contest, but the first Eurovision National Final.  Cities in play have included at least Sydney, Melbourne, and the Gold Coast.

The announcement of Gold Coast’s success in winning the opportunity to host the National Final last month however took many by surprise.  Sydney’s location as the home of SBS TV broadcasting and Melbourne’s status as the cultural capital with its large European population, would have proven hard to steer away from.  But when assessing in greater detail, and with the further knowledge of an Asian contest also being part of the package, it begins to make more sense.

Both Melbourne and Sydney are currently experiencing significant issues with mobility due to transportation development – Melbourne CBD with its new Metro project, and Sydney’s consistently delayed light rail closing the main streets of the city.  Additionally, Sydney is already suffering shortages in hotel rooms with development not keeping up with tourism demands, making it difficult for the city to secure major international events.  Both locations have ample suitable venues where a television production can be held as well as being the right size, but the costs associated with their hire for a 3-4 week period in which to get it to a ready state, would likely far outweigh the benefits.  Essentially, places like the Opera House would make an impact on international broadcast, but financially for the venue, it would make more sense to take one-night only or season-long events.

Gold Coast on the other hand has already undergone its development for international tourism readiness with the hosting of the 2018 Commonwealth Games.  Its venues, public transportation, roads and hotel supply are at a high standard, and the City Council with its recent major event experience, would be primed to handle such a program and its associated elements both in logistics and promotion.

Additionally, the city has its own international airport which is a destination point for 3 major discount carriers flying in from Asia – Air Asia from Malaysia, Scoot from Singapore, and Jetstar from Japan. This capacity is boosted by Brisbane airport, just one hour’s drive away, with its dozens of connecting carriers such as Thai Airways, Garada Indonesia and Cathay Pacific from Hong Kong.

Whilst the Chinese market is the number one source of visitors for the region (contributing over AU$1 billion to the economy in 2017), it is also popular tourist location as well for Koreans and Japanese, seeking out sunny beaches and shopping.  Despite six Asian nations featuring in the top ten source markets for visitation, the Queensland Tourism Board has long been trying to increase these numbers (currently sitting at attracting 25 percent of the total of international visitors, according to Travel Research Australia), in line with the interest experienced by its Southern counterparts in New South Wales and Victoria.  Hosting an event such as this will be a great opportunity for marketing its image across Asia,  alongside potentially hosting famous Asian artists such as BTS through the event which would encourage international travellers to attend.

What’s Possible?

The Gold Coast City Council report from September 2018 also gives great detail as to what we can likely expect of a Eurovision Asia launch.

Schedule as published in Gold Coast City Council September 2018 minutes

Looking beyond the timeline, it indicates that there will be (up to) 16 participants, that the event will mirror much of the Eurovision format and play out over the course of a week with 2 individual rehearsals, 3 dress rehearsals – two of which will be ticketed for public, one of which will be a jury final where 50% of the vote will be determined – and a final that involves public voting.  It also outlines details for an opening party, a location for public parties throughout the week, support for the fan hosted events and the Euroclub for artists in the evenings.  The dates noted in the report for ‘Eurovision Asia’ week to occur are 30 November to 7 December 2019.

The report also details that the Contest hosting is likely to take place in the Gold Coast on a 4-yearly rotational basis, thus indicating that it will not necessarily be a winners’ right to host the following year.  The report specifies that the Gold Coast partnership will be play for 12 years, therefore allowing them the chance to host a total of 3 times. The other 3 countries/host cities are not listed, and therefore no indication of the other major broadcast partners involved or the participating nations are known.

We must however keep in mind that the arrangements detailed would have been part of a large proposal put to them by Blink TV for consideration, and in no way represents a ‘done deal’. Don’t go booking your travel arrangements just yet!

The elements published instead represent what is required, a possible timeline and what it aims to achieve should it proceed.  Gold Coast Council have essentially given the ‘green light’ for it to occur in its Gold Coast Convention Centre and other precincts, and thus the Asian contest has secured some long-term commitment from the Council to promote and host in their backyard. An important step, but there are more steps in the journey.

What Do We Actually Know?

Nonetheless, we are certain that the first-ever National Final for Australia will be hosting in the same location on 9th February 2019.

Australia Decides‘ already launched its call for song submissions in mid-October, and closed over last weekend on the 4th November.  We understand that hundreds of entries have been received in a variety of genres, including some from high profile songwriters.  From this, a shortlist of 20 will now be drawn up and matched with high-profile Australian artists.

Whilst no names have been announced, according to the Gold Coast report the aim is for local artists such as Delta Goodrem, Ricki-Lee Coulter and Peking Duk to be secured. The final number of entries to be produced and performed at the national final will be approximately 10-12 songs and these shall be released to the public before the Contest.  The winner is to be determined from a mix of jury voting (at the dress rehearsal on Friday 8th February) and public voting at the National Final hosted by the current Eurovision commentary team of Double  J radio broadcaster Myf Warhurst and comedian Joel Creasey.  The winning song and artist will then go on to represent Australia at Eurovision 2019 in Tel Aviv.

Hosting the National Final event will essentially serve as a perfect testing ground for the production team and broadcaster to get ready for an even bigger opportunity should it come to fruition.

The Gold Coast Convention and Exhibition Centre, located in the heart of the beachside region, is located on the major highway and connected by both regular bus and light rail services.   It is surrounded by hundreds of hotels and apartments, close to shopping centres and a short walking distance to the Star Casino which serves as a major entertainment hub which could prove irresistible as a Euroclub (Asiaclub?) location giving its 24-hour licencing as well as serving as a delegation hotel.

Floor map. Source: GCCEC website

The venue itself has opportunities for arena-style seating with a capacity of up to 6000 people. With staging in place, this is more likely to be reduced to between 4000-5000 seats.  The location has already hosted a number of other large scale music events such as Pink, Rihanna and Kings of Leon, and given i’s build, it has the roof and floor capability to weight-bear the necessary lighting and film equipment to produce a high-quality TV production just as we have seen at the Eurovision Song Contest.

It also has a 1400 car parking space in which outside broadcast facilities can be located, a ground floor loading dock ready for delivery of production elements, and large space for a press centre and dressing rooms, as well as onsite catering.

Ultimately, we can see that Australia is taking its role in Eurovision involvement and its expansion in the Southern Hemisphere very seriously. Clearly they have noted all the lessons of optimal production elements of shows like Melodifestivalen, requirements for venues, expectations for both participants and fans, and have found a natural home for them to be delivered in Queenland; a place where hopefully it’s beautiful for the National Final and perfect for the next chapter of this Eurovision story.

Categories: ESC Insight


Your Three Minutes: How Italy Changed The Language Of Eurovision

Your Three Minutes: How Italy Changed The Language Of Eurovision

I’ve been listening to a lot of Italian music lately.

Not just any Italian music, but Francesca Michielin who participated in the Eurovision Song Contest 2016 for Italy with the song ‘Nessun Grado Di Separation’ (‘No Degree Of Separation’ for a strictly-English speaker like me).

Unlike some at ESC Insight (…Ewan…) I never claim to go for the Italian entries. Friends in the bubble describe Italy’s entries as rich, vivid, and expensive. I usually look to the Song Contest for something else… for instance can I dance to this in my car or sing it off-key in the kitchen?

When this teenage girl was announced, I found the song slow (that’s a no to the car-kitchen checkmarks) and what a shock, it was in Italian. Italy hadn’t voted for her to win Sanremo, but when Stadio acknowledged they had no interest in taking ‘Un Giorno Mi Dirai‘ to Eurovision – but knew that Michielin very much was – RAI handed her the ticket to Stockholm 2016. I remember her hat, fabulously bold lipstick, and wondering who does she think she is? This girl, younger than me, but looking so fierce. How Italian.

The Country Style

But that’s the thing. What does ‘How Italian’ mean? Some countries present the same three minutes over and over again; returning to their favourite acts comfortable sounds, and traditional elements. Some countries present similar themes or presentations; one can safely expect Portugal to send a song in Portuguese and probably expect it to be a jazzy or dreamy number like 2017’s Salvador Sobral or 2018’s Cláudia Pascoal. Russia has been known to send spectacle on top of spectacle (some may argue style over substance), while it feels that France pretty exclusively sends French tracks just one beret short of a smokey night time cafe under the Eiffel tower.

Even things done well can’t escape complaint. For a song and performance contest, Sweden has taken a lot of grief for presenting a spot-on performance for a music video, but that’s an argument for some other time.

The point is, every broadcaster has their own shorthand and you either embrace it, or you lean real hard in the opposite direction hoping for a different yet positive reaction (we’ll never know which direction the Bulgarian delegation were planning for Tel Aviv 2019).

Italy’s RAI is no different. I wouldn’t say looking rich, vivid, or expensive are negative aspects, just that they can be off-putting – exponentially so when the lyrics are usually fully Italian, either requiring a grasp of the language or depending largely on the song presentation to do the heavy lifting instead of the lyrics, either by way of the music video (not a factor for first-time viewers on the night) or transferring the music video to the stage somehow (in lieu of falling to the floor and cutting the music a la Spain, might we suggest a man in an ape suit and hope for the best?)

La mia città’ by Emma or ‘Grande amore’ by Il Volo were big winners for me, but despite the latter’s goosebumps-inducing track, I felt no emotional connection, and if three sophisticated men bellowing seductive Italian at me won’t create an emotional tie how could a low-key song by a stylish yet young songstress alone on stage get a reaction from this cheese-loving fiend?

But then it finally happened.

Deconstructing Separation

It starts in Italian. You can get the feeling or emotion from the song itself, but as to the words, well you’d need to know Italian. It’s delicate, a whisper of a verse. The song then builds at the pre-chorus, from whisper to her real vocals. Then a burst to the chorus, and the cycle repeats. A calm settles on you—“no, I don’t know what she’s saying, but I’m here for it,” you tell no one in particular.

The song flows onwards, you as its passenger, and then suddenly you understand.

Halfway through the song there’s a change. Same song, but now in English. Let’s look at what this does if you really sit down and listen to the song as an English speaker like myself.

At first listen, I didn’t realise the language switch had occurred. As soon as Francesca switches, she switches back, but the build has expanded even further! You feel a swell like a wave has carried you from the calm sway to the peak of her chorus. If you weren’t there already, you are now.

Francesca Michielin at Stockholm 2016 (Image: EBU/

Francesca Michielin at Stockholm 2016 (Image: EBU/

It’s 2018 now; this song is a couple years old, but I still go back to it. Something about the method in which the alternate language is used, how it just sneaks in. It’s precarious and seems like a spur-of-the-moment thing in a Contest where we all know every single step is meticulously coordinated.

If you look at fellow 2016 participant Amir with the French entry ‘J’ai cherché’ he breaks into English at his chorus, but this doesn’t have the same result. Each time it’s the chorus that’s English, each verse and bridge in French, so you don’t get the feeling something has been connected somewhere. It is a song to be celebrated in its own right for breaking a formula, but not as effectively. It’s still just a man dancing on stage in a language I have only a vague grasp of, occasionally breaking into English – mind you, this sentence can be applied to any number of entries.

Or, sticking with the other 2016 entries, Ukraine’s Jamala did the inversion of Francesca, with bits of Crimean Tartar throughout the predominantly English ‘1944’. While an effective tool for hammering emotion home, nothing for me has touched the connection Francesca brings.

It’s natural, and seemingly serves no purpose other than getting a bit of English in, but where some might go wild for an all-native language entry at the Song Contest, to me personally, this is better.

I may get a feel for a song in a language I don’t understand and really like it, like this past contest’s ‘Nova Deca‘ by Serbia’s Balkanika and Sanja Ilic—which I still don’t know what it was about, but I don’t at all care because it worked for me, and it was fine to leave it at that. I don’t gain anything from it as a performance, though, and don’t seek to find out more.

But ‘Nessun Grado Di Separation’ is as clear to me as the title suggests. If the song had been from start to finish in Italian, it’d have been a nice song I’d casually listen to on the shuffle, maybe skip it. But as it is, I never skip it. Alternatively, it would have also been easy to pass over if it had been entirely in English.

You see why this is a tricky tale to tell: it’s that healthy balance, that feeling of a country sending its own language to a Contest full of English songs, but the key difference is accessibility, that little bit of English to open that door for you as a listener – again, a primarily English-speaking one. To me, it’s almost as if she’s letting you in on a secret with that vulnerability. It is brief, but for a country seemingly known for sophistication and elegance, it’s so impactful. That Francesco Gabbani went the following year with the aforementioned apeman seemed like a blow to me personally after the emotional resonance of Michielin’s signature track, but the reason ‘Nessun Grado Di Separation’ did well was its catchiness and more importantly, it’s accessibility.

Sometimes Subtle Is Not Enough

Accessibility is not only sending an English-only track; it’s bringing English speakers along for one’s own nation’s language as a journey, all in three minutes. After all, there’s nothing strictly Italian about this song, other than its primary lyrics.

That fluidity is a part of accessibility. It’s not campy as so many entries are, but for me, it passes ‘the test’ and this is it: could it stand alone as an everyday music video you could share with your not yet into Eurovision friends?

Francesca placed 16th with 127 points in the Grand Final, so it’s likely not all felt the same as me about the song. But to be fair it took me a few listens to even realise what was happening, and a large arena setting coupled with one chance at hitting it home may not be ideal for that. Looking back, I’m surprised it placed that low, but not too surprised.

This delicate song was easily overpowered and overshadowed by others on the night, not to mention other events surrounding Eurovision 2016, such as Romania’s withdrawal, the incidents involving jury votes, or even Justin Timberlake’s presence. As a Big 5, Italy only had one chance at the stage, and for a young woman standing on stage with various balloons and accessories, that just wasn’t enough. Still, entries have come and gone since ‘Nessun Grado Di Separation’ and I’m still here talking about it rather than a newer song.

Categories: ESC Insight


Eurovision Insight News Podcast: Crash, Boom, Bang!

Eurovision Insight News Podcast: Crash, Boom, Bang!

You know that feeling when you record everything, and then the official slogan is released? That. So there’s no daring or dreaming in this edition of the News Insight podcast (it would have made the opening a little easier!) but lots more to go through!

Eurovision Insight News Podcast: Crash, Boom, Bang!

Lots of hosts announced, Junior Eurovision selections, and a cruise ship for Tel Aviv, Ewan Spence reports on the latest Song Contest news with ticket sales, artist selections, and diary dates.

As we work through the first few months of the new season, keep listening to the ESC Insight podcast to stay up to date with Eurovision, Junior Eurovision, and all the National Finals. You’ll find the show in iTunes, and a direct RSS feed is also available. We also have a regular email newsletter which you can sign up to here, and you can support us on Patreon.

Categories: ESC Insight

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