The Eurovision Song Contest, organised by the European Broadcasting Union (EBU), captivated a staggering 162 million people across 38 public service media markets during its three live shows. The Grand Final, held on Saturday, May 13, achieved an impressive viewing share of 40.9%, more than double the average of broadcast channels which stands at 17.4%.

Noel Curran, the EBU Director General, expressed his delight at the immense popularity of the contest, stating, “The Eurovision Song Contest has never been more popular, with hundreds of millions tuning in to the live shows on EBU Member channels and record-breaking numbers engaging with the songs and artists on our different digital platforms.” Curran also extended his gratitude to the BBC for their collaboration with UA:PBC in organising this extraordinary showcase of Ukrainian culture and European creativity.

Martin Österdahl, the Executive Supervisor of the ESC, emphasised the power of public service media in uniting the world through music. He said, “The Eurovision Song Contest has proved, once again, that public service media has the power to unite the world through music with a global reach we are hugely proud of.” Österdahl further expressed his excitement about the increasing number of people discovering the event each year, highlighting its role as a significant launchpad for new music.

The host country, the United Kingdom, witnessed its largest Eurovision audience ever, with an average of 9.9 million viewers watching the Grand Final on BBC One. This marked a 12% increase from the previous year, capturing a remarkable 63% share of viewers.

Tim Davie, the Director General of the BBC, expressed his pride in delivering three spectacular live shows that attracted record-breaking audiences worldwide. He acknowledged the extraordinary efforts of the BBC teams and their Ukrainian counterparts, stating, “This was a Eurovision Song Contest like no other, and we couldn’t have been more proud to showcase Ukraine and Liverpool to the rest of the world.”

The contest garnered significant popularity among younger audiences, with a viewing share of 53.5% among 15-24-year-olds, four times higher than the broadcast channels’ average of 13.8%.

Sweden, winning the contest for the seventh time in its history, achieved an average audience of 2.3 million viewers, accounting for a remarkable 82.3% of all TV viewers in the country. Meanwhile, Ukraine, the previous year’s winner, maintained a viewing share of 19.7%.

The ESC claimed over 50% of the viewing share in 13 out of 39 markets, with Iceland leading at an impressive 98.7%. Other Nordic markets closely followed, with Norway at 87.8%, Finland at 85.6%, and Sweden at 82.3%.

The digital platforms of the Eurovision Song Contest witnessed unprecedented engagement. The Grand Final attracted 7.6 million live viewers on YouTube, while the Semi-Finals garnered over 3.2 million live views. Additionally, the three live shows were viewed 4.8 million times on TikTok, the official entertainment partner of the contest.

In a groundbreaking move, non-participating countries’ viewers had the opportunity to cast their votes online for their favorite songs, promoting the contest’s values of inclusivity, diversity, and universality. Votes poured in from 144 countries, including the 37 participating nations. Notably, the United States, Canada, Kosovo, Luxembourg, New Zealand, Mexico, Hungary, Slovakia, UAE, Türkiye, and Chile recorded the most online votes.

The contest’s online presence experienced tremendous growth, with TikTok reaching 105 million unique accounts during the two weeks of the event. The official Eurovision account on TikTok witnessed 315 million video views, a 40% increase compared to the previous year. On YouTube, the official channel attracted 45 million unique viewers from 232 countries and territories during the live shows, surpassing the previous year’s figure by 2.7 million. Moreover, Instagram reached 32 million unique accounts, triple the number in 2022. The total video views on the four social channels amounted to nearly 540 million, almost doubling the figures from the previous year. Twitter recorded 4 million tweets featuring the word “Eurovision” between the First Semi-Final and the Grand Final.

Beyond its massive viewership, the Eurovision Song Contest continued to make a significant impact on the music industry. The official Eurovision Song Contest 2023 playlist on Spotify became the most-streamed playlist globally on Sunday, May 14. Five entries from 2023 broke into the platform’s Top 200 Global chart on the same day. The winning song, “Tattoo,” garnered 4.2 million streams, surpassing the previous record set by the 2021 winner, “Zitti E Buoni,” by Måneskin, which achieved 3.9 million streams. Loreen, the performer of “Tattoo,” became the first woman to win the Song Contest twice and set a new record for the highest number of streams in a single day by a Swedish female artist. The runner-up, “Cha Cha Cha” by Käärijä, achieved the most daily Spotify streams ever in Finland, amassing a staggering 469,000 plays on the day after the Grand Final and accumulating 2.5 million streams in a week in Finland alone.

The Eurovision Song Contest also left a lasting impact on its host city, Liverpool. Early data and figures from Merseyside Police indicated that an additional 500,000 visitors flocked to the city during the two weeks leading up to the event. Over 1,100 journalists from more than 50 countries covered the contest, resulting in a 20% increase in media coverage compared to the previous year. In May alone, over 150,000 articles were written about the Eurovision Song Contest.

The BBC hosted the Eurovision Song Contest on behalf of UA:PBC, the Ukrainian EBU Member, from May 9 to May 13. The event was broadcast in the 37 participating countries, as well as in Chile, Kosovo, Montenegro, North Macedonia, the United States, and online. For more information about the event, including full voting breakdowns, visit