How Eurovision REALLY works behind the scenes – from lightning fast set changes to secret ‘smuggling routes’

Eurovision is a whirlwind of sequins, smoke machines, and soaring key changes – the kind of spectacle that hooks 180 million viewers to their screens every year.

From Finland’s hard rock monsters Lodi to Moldova’s Epic Sax Guy, each act brings a new wave of glitter-fuelled chaos to the stage. 

Props have always been part of the Eurovision DNA, ever since Germany’s Margot Hielscher belted her heart out into a telephone in 1957. 

And in recent years, the bar has been raised to bonkers new heights with this year, there being disco balls, space hoppers, a magical food blender, a Swedish sauna and a fallen chandelier.

But while fans marvel at the fire cannons and holograms, a small army of unsung heroes are working behind the scenes at breakneck speed to pull off the shows incredible set changes.

So what really goes on between set changes? MailOnline takes a look….

Inside how Eurovision really works – with backstage crew given just 35 seconds between acts, which they likened to a ‘Formula 1 tyre change’

In recent years, the bar has been raised to bonkers new heights with this year, there being disco balls, space hoppers, a magical food blender, a Swedish sauna and a fallen chandelier

35 seconds to change set

There are just thirty-five seconds to get a set of performers off the stage before another one goes right in their place.

This includes making sure everyone has the right microphones and earpieces.

Speaking about the set changes, Richard van Rouwendaal, the affable Dutch stage manager, told the BBC: ‘We call it the Formula 1 tyre change.

‘Each person in the crew can only do one thing. You run on stage with one light bulb or one prop. You always walk on the same line. If you go off course, you will hit somebody.

‘It’s a bit like ice skating.’

‘F1 tyre change’

The Eurovision stage crew start preparations for their ‘tyre change’ weeks before the actual live performances

‘We have about two weeks,’ said Van Rouwendaal, who’s normally based in Utrecht but is in Basel for this year’s contest

The Eurovision stage crew start preparations for their ‘tyre change’ weeks before the actual live performances.

Every country taking part in the song contest will send a plan of their staging for the crew to map out the transitions.

‘We have about two weeks,’ said Van Rouwendaal, who’s normally based in Utrecht but is in Basel for this year’s contest.

Therefore, when it comes to those actual performances, the backstage crew are fully aware of what needs to take place on stage.

Attention to detail  

Along with stagehands, there are multiple people responsible for positioning lights and setting pyrotechnics.

There is also 10 cleaners who run onto the stage to sweep, mop, and vacuum it between every performance.

The reason for this is because cameras used to film the song contest are so good that they can even pick up a shoe print on the floor.  

Van Rouwendaal explained how the attention to detail is clinical, as every performer has their own microphone stand set to their height before every performance. 

Even if an artist decides to wear a different shoe for the grand final, it will cause a big problem. 

‘Smuggling routes’ 

There are several secret passageways which are used to get the props in and out of vision during the hit contest

During the show, there are several secret passageways which are used to get the props in and out of vision.

The ‘smuggling routes’ play a crucial role, especially when a performer needs a new element halfway through.

Back in 2022, Sam Ryder’s performance for the UK saw him belting out his song before an electric guitar appeared out of thin air.

And none other than Van Rouwendaal managed to put it there.

‘It’s choreographed to the nearest millimetre,’ he said. ‘We’re not invisible, but we have to be invisible.’

Long hours 

Moving thousands of parts on and off stage within a live three-hour broadcast, it comes as no surprise that it must be very stressful

Moving thousands of parts on and off stage within a live three-hour broadcast, it comes as no surprise that it must be very stressful.

This year, the organiser has gone to great lengths to ensure they have protected the welfare of their contestants and crew.

This includes closed-door rehearsals, longer breaks between shows, and the creation of a ‘disconnected zone’ where cameras are not allowed.

Back in 2008, Eurovision production star Ola Melzig built a bunker under the stage, complete with a sofa, due to the long hours, which would see the team pulling up to 20-hour days.

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