Why is Eurovision so gay?

Eurovision is that gloriously campy, glittering night of the year when Europe (and now much of the world) gets together for a feast of pop hits, flamboyant outfits, questionable choreography, and voting dramas that fuel memes for days. But it’s also one of the queerest events on the planet. Straight men have football and gay men have Eurovision. Let’s dive into the sequined history of how Eurovision became so gay.

A Modest Start (and Not a Sequin in Sight)

When Eurovision kicked off in 1956, it was a fairly straight-laced affair. The post-war contest was more about fostering peace and unity across Europe through music than making statements or dazzling audiences. Think ballads, suits, and a lot of wholesome hand-holding. Hardly the flamboyant spectacle we know today.

Back then, it was a black-tie event, with orchestras and ballads dominating the scene. No wind machines, no pyrotechnics, and definitely no drag queens in sight. So how did we go from modest to fabulous?

The Glam, Camp, and Outlandish Performances Begin

The shift started in the '70s, thanks to artists like ABBA. Let’s face it, Eurovision and gay culture owe a lot to ABBA. When the Swedish supergroup won the contest in 1974 with "Waterloo," they brought glamour and glitter to a whole new level. With their wild costumes, catchy tunes, and a confident mix of pop and rock, they set the stage for what Eurovision could become: a dazzling spectacle full of over-the-top performances.

You'll see how straight-laced Eurovision was if you watch the 1974 show in full. Olivia Newton-John represented Australia with a conservative performance - she would eventually spice things up in the early 80s when she released "Physical". The opening act, a folk singer from Finland, was also conservative with her sensible, borderline Victorian outfit. 

ABBA really shook things up with their campy instincts. And before you point out that the four members of ABBA are heterosexual, so is Liza Minnelli!

LGBTQ+ Visibility on the Eurovision Stage

As attitudes towards LGBTQ+ rights progressed in Europe, Eurovision became a space where queer artists could thrive.

One of the earliest notable moments of queer visibility in Eurovision was in 1998 when Israeli transgender singer Dana International won with the song “Diva.” It was a watershed moment for trans visibility in mainstream media and Eurovision history.

Artists like Conchita Wurst, who won in 2014 with “Rise Like a Phoenix,” and the contest’s countless drag, gender-bending, and androgynous performers continued to solidify its status as the gay event of the year.

Queer Subtext Turned Full-On Celebration

What’s also fascinating is that Eurovision began to reflect queer subtext long before it became openly queer. Songs about breaking free, overcoming adversity, or triumphing over oppression often resonated deeply with LGBTQ+ fans. In many ways, Eurovision was offering a soundtrack to queer life, even if the lyrics were metaphorical and drenched in schlager pop.

By the 2000s, the subtext turned into a full-on, uncoded celebration. Eurovision leaned into its camp status and began embracing the fact that it was adored by LGBTQ+ audiences worldwide. Broadcasters and hosts often made subtle (and not-so-subtle) nods to Eurovision's queer following, and countries started bringing acts that played to this crowd. Performers embraced drag, gender-bending fashion, and unapologetically camp themes—and fans loved it. Even straight performers began to breadcrumb the largely gay audience, realising that they had to win the gays to win the prize.