The Ticket.
A country’s entry, live all the way to Basel.
For ΕΡΤ, I ran the broadcaster’s Eurovision: the digital and social for the whole of Greece’s contest, alongside their marketing team. We covered every act in the national final, then followed the one that won its way to Basel. It was a live operation, out of the rehearsal room, off the turquoise carpet, straight through the semi-final and the final, ready to shoot and ship the same day for months. It ran paid as well as organic: one campaign, geo-targeted across a dozen countries, to rally the diaspora and the international vote for Greece. The industry gave the work two Bronzes at the Social Media Awards, for the cross-platform strategy and for audience engagement.
A whole country was watching, something was needed every day, and the access was locked down hard.
A fixed deadline, a whole country watching, and something needed every single day, with no schedule to lean on. And the access was tight: closed rehearsals, filming only with the delegation’s sign-off, cameras kept out of the rooms. So nothing existed unless a ready team went in during the windows they allowed and shipped it the same day. Being ready was the only way to own the coverage at all.
It started long before Basel. The national final on 30 January took a field of songs down to twelve finalists, and we made content for every act on the bill. Then one won the ticket, and the whole operation turned to carry it the rest of the way. Two jobs in one run: cover the whole field, then follow one entry to the final.
The national final on 30 January drew 833,000 viewers and an 18.3 percent share, first in prime time across every national channel.
national final · 30 jan 2025 · every national channel
Broadcast ratings, 30 January 2025 · public record
Everyone remembers the big nights. The work was the quiet days between them.
Two islands of big nights, a whole spring of quiet days between them. Something good went out every one of them, with ERT’s marketing team, against a date that would not move.
Keeping one thing alive every day, against a date that would not move.
No schedule to lean on, and no way to move the date. It sat fixed months out, the access closed early, and the job, with ERT’s marketing team, was to keep something good going every single day until it arrived.
The national final took a whole field of songs down to twelve, then one prime-time show picked the entry. We made content for every act on the bill. The moment one won the ticket, the whole operation turned to follow it to Basel.
The making ran the full range, from a single still frame to a finished motion cut, shot on the ground and edited on the move. Whenever a moment landed it went out that day, at any hour, for months.
In Basel the whole crew worked the show in real time. Out of the rehearsal room, off the turquoise carpet, straight through the semi-final and the final, video came in all day and went back out as it happened.
Facebook, Instagram, X and TikTok, each in its own shape and pace, all carrying one campaign. The work didn't just build the audience, it drove the vote for Greece. Holding one voice across four feeds is the part the industry recognized.
Facebook, Instagram, X and TikTok, each in its own shape and pace, all carrying one campaign. Holding one voice across four feeds is the craft the industry recognized.
Two Bronzes, Best Cross-Platform Social Media Strategy and Best Social Media Strategy for Audience Engagement · Social Media Awards 2025 (Boussias) · public record
None of it was open access. Inside the few windows they allowed, a ready team shot, cut and shipped the same day. That was the only way in.
A whole contest, made one day at a time.
280+ posts and 800+ stories for EurovisionERT, 50M+ views on the content: the award-winning entry’s own figures, not independently audited
This is the shape of the operation, not an audited day-by-day log: a whole field of coverage narrowing to one entry, live and same-day, all the way to Basel.
One strategy, one voice across Facebook, Instagram, X and TikTok, the same campaign on every feed. What earned it was the operation behind it: a whole contest covered live, shot and shipped the same day for months, inside access that was locked down hard.
A whole contest, covered live and same-day, held with a team.
- coverage
187 songs down to 12 finalists down to 1 entry · the national final drew 833,000 viewers and an 18.3% share on 30 January, first in prime time across every national channel
public record - the awards
two Bronzes at the Social Media Awards 2025 (Boussias): Best Cross-Platform Social Media Strategy and Best Social Media Strategy for Audience Engagement · one strategy run native across Facebook, Instagram, X and TikTok
public record - the figures
280+ posts · 800+ stories · 50M+ views · the award-winning entry’s own figures, not independently audited
caveated - the result
the delegation finished 6th of 26 at the Basel grand final on 231 points
public record - reception
the official ESC video reached roughly 1.1M views on Eurovision’s own channel, the entry’s reception, not the account
a note
One voice, four feeds, ready for the day nobody could script.
One country’s campaign, one voice across Facebook, Instagram, X and TikTok, shot and shipped the same day for months. That’s the part the industry gave two Bronzes.
Two missions of one operation.
Same team, same year. This page is the flagship event, live to Basel. Alongside it I ran ERT’s whole entertainment programme, every series, show and film, the everyday social set to feed daily.
companion caseThe SlateERT’s whole programme, dailyOpen the caseNo pitch. No deck. Just a straight read on what you’ve got.