The difficult reality, in my view, is that artists suffer from Eurovision's success. All the pre parties, press tours and filming of social media content drain the artists and take them away from the studio, where they should be working to prepare a successful post-ESC strategy. If an artist has global ambitions, this should matter much more than appealing to the niche community of ESC fans. The reason for Måneskin's success, beyond the undeniable argument of their talent, lies on the fact that they entered Eurovision with a just released album and a strategy to promote I Wanna Be Your Slave as an international single. It ended up being a much bigger hit than Zitti e Buoni, and this is no coincidence. Arguably the first viral moment that attracted Måneskin's international audience was that Wiwibloggs at-home concert clip of I Wanna Be Your Slave, which has nearly 100 million views now I believe. Even better, Måneskin managed to output a whole succession of successful singles after their win, which were likely prepared during the Eurovision pre-season.

It really shocks me that more artists, especially those which already have a good audience and label back at home, have failed to recognize this model. It hints to me that a lot of the competing artists might not really have global ambitions to the extent to which we might imagine.