So what infrastructure does a city need to host Eurovision?

The Eurovision venue in Lisbon. Image: Adridan Bradley.

Eurovision is the largest entertainment show in the world. More than 200m viewers around the world watch the sublime to the ridiculous and the best and worst music that Europe (oh, and Australia) has to offer.

But what about the host city? What does it take put on the biggest Eurovision party there is?

Some 50,000 tourists will descend on your city from all over the world. You’ll put on 12 live shows, plus plenty of rehearsals – and need to schmooze about 1,500 journalists and bloggers. And that’s not counting all the delegations. 

And the kicker – you have no idea if you’re going to be hosting it until around midnight on the night of the final of the previous year. Imagine having to put on the world cup, with less than a year’s notice – and you never even bid in the first place.  And it’s all down to the host broadcaster, who may never have put on an event at this scale.

So, what do you need?

1. A venue

This is the most important part – but sometimes the hardest. You need an arena that can hold a giant stage, up to 15,000 fans, commentators from up to 50 countries – and a massive camera and sound system. Plus it’s going to need to be empty for about a month before the tournament.

If you don’t have anything that fits the bill, you could do what Azerbaijan did and just build a brand new one, or do what Denmark did and stick it in an empty warehouse. If Cyprus does win tonight, it’s thought that it’ll offer to just stick a roof on a football stadium.

Then it’s got to be able to cope with selling thousands of tickets – when demand will massively outstrip supply. This was another area where Kiev fell flat. The local agency just couldn’t cope with demand: it became luck of the draw, if the website would work for you.

Portugal’s ticket system this year was better – but it used a queueing system that was easy to bypass. The result was thousands of unhappy fans with access to Twitter – and a chance to lose some of that hard earned good PR for your city.

2. A press centre

The press centre in Lisbon. Image: Adrian Bradley.

A venue is useless if the 1,500 journalists can’t work, mingle with the acts, and fight over the best PR tat. In Lisbon, the arena is on the site of the EXPO World Fair 1998 – so they had a ready-made home. But yours has to be big, and come with a working area, press conference hall, interview rooms, radio studios, and ideally somewhere to eat.

3. Hotel rooms

Some 50,000 tourists come to Eurovision – do you have somewhere to put them? Can you build it in a year? The official line form the European Broadcast Union (EBU) is that every entrant to Eurovision could host it, but could Moldova really find enough space in Chisinau for everyone? It’s a tough ask. Plus hotelliers might rub their hands with glee at the opportunity to put up prices – but that doesn’t go down well with the EBU, so you’ve got to be able to keep a firm grip on the industry.


4. Flights

How’s everyone going to get there? One of the cities that wanted to host Ukraine’s Eurovision last year was Odessa – a lovely seaside resort that sadly has no direct flights from most of Europe.

5. A ‘Euroclub’

When you’ve got 1,500 journalists, most of whom are Eurovision fans, they expect to party. The contest hosts probably the most exclusive gay club in Europe over two weeks, playing Eurovision hits all the time.

In some cities, only delegations and press are allowed in. But recently they started extending that to fans as well. In Kiev, they had a huge Euroclub that everyone could buy a wristband for.

So with expectations set high, Lisbon brought them back down to earth with a tiny venue. That forced the fan clubs to set up their own club, which itself was too small; 1,600 wristbands sold out in a few minutes. Any host city needs to seriously think about where they’re going to entertain a bunch of adrenaline-fuelled Eurovision fans. 

A big problem that no host city, or host fanclub, has dealt with properly is what to do with fans who don’t drink or club. There’s a lack like of sober, quieter places.

6. A Eurovision village

This is another opportunity for the host city to show off to tourists – usually it’s in a central square with big screens, beer tents, merch stalls and a stage. There are special performances – screenings of all the live shows and a place for people from all over Europe to mingle.

But if you put it somewhere to show off your city, it often ends up being miles away from the arena – forcing people to make big trips back and forth across a city. That’s fine in Lisbon, where you’ve got great and cheap public transport, but it won’t work as seamlessly everywhere else. Also, don’t make Lisbon’s mistake – if you’re selling lots of beer, have more than six portaloos.

Could every city do it? You really do have to wonder. Kiev came perilously close to losing the right to host it last year, with rumours that Berlin was preparing to step in. A surprise win could leave some countries with a hell of a hangover on Sunday morning. But the Eurovision circus always finds a way to roll on.

 
 
 
 

“You don’t look like a train buff”: on sexism in the trainspotting community

A female guard on London’s former Metropolitan Railway. Image: Getty.

I am a railway enthusiast. I like looking at trains, I like travelling by train and I like the quirks of the vast number of different train units, transit maps and train operating companies.

I get goosebumps standing on a platform watching my train approach, eyeballing the names of the destinations on the dot matrix display over and over again, straining to hear the tinny departure announcements on the tannoy.  I’m fortunate enough to work on the site of a former railway station that not only houses beautiful old goods sheds, but still has an active railway line running alongside it. You can imagine my colleagues’ elation as I exclaim: “Wow! Look at that one!” for the sixth time that day, as another brilliantly gaudy freight train trundles past.

I am also a woman in my twenties. A few weeks my request to join a railway-related Facebook group was declined because I – and I quote here – “don’t look like a train buff”.

After posting about this exchange on Twitter, my outrage was widely shared. “They should be thrilled to have you!” said one. “What does a train buff look like?!” many others asked.

The answer, of course, is a middle-aged white man with an anorak and notebook. Supposedly, anyway. That’s the ancient stereotype of a “trainspotter”, which sadly shows no sign of waning.

I’m not alone in feeling marginalised in the railway community. Sarah, a railway enthusiast from Bournemouth, says she is used to funny looks when she tells people that she is not only into trains, but an engineer.

She speaks of her annoyance at seeing a poster bearing the phrase: “Beware Rail Enthusiasts Disease: Highly Infectious To Males Of All Ages”. “That did bug me,” she says, “because women can enjoy trains just as much as men.”


Vicki Pipe is best known as being one half of the YouTube sensation All The Stations, which saw her and her partner Geoff Marshall spend 2017 visiting every railway station in Great Britain.

“During our 2017 adventure I was often asked ‘How did your boyfriend persuade you to come along?’” she says. “I think some found it unusual that a woman might be independently interested or excited enough about the railways to spend sixteen weeks travelling to every station on the network.”

Pipe, who earlier this year travelled to all the stations in Ireland and Northern Ireland, is passionate about changing the way in which people think of the railways, including the perception of women in the industry.

“For me it’s the people that make the railways such an exciting place to explore – and many of these are women,” she explains. “Women have historically and continue to play an important part in the railway industry – throughout our journey we met female train drivers, conductors, station staff, signallers and engineers. I feel it is important that more female voices are heard so that women of the future recognise the railways as a place they too can be part of.”

Despite the progress being made, it’s clear there is still a long way to go in challenging stereotypes and proving that girls can like trains, too.

I’m appalled that in 2019 our life choices are still subjected to critique. This is why I want to encourage women to embrace their interests and aspirations – however “nerdy”, or unusual, or untraditionally “female” they may be – and to speak up for things that I was worried to speak about for so long.

We might not change the world by doing so but, one by one, we’ll let others know that we’ll do what we want – because we can.