
All opinions expressed in this article are those of the person quoted and do not necessarily represent the opinions of the other team members or ESC United as a whole.
This is the second in a two-part reflection on how accessibility has had a varied and complex history at the Eurovision Song Contest. The first part focused on past wins and losses, and this second part will look to the future in Basel and beyond.
Can Basel do better?
Unfortunately, many of the issues raised in Part 1 of this reflection seem likely to continue in 2025, with a recent email from OGAE UK, the official Eurovision fan association, indicating that only standing tickets were made available for allocation to members – that is, no wheelchair, ambulant disabled, or even seated packages. It has been speculated that this is due to the venue choice and configuration of the arena. The St. Jakobshalle, the venue of the 2025 Eurovision Song Contest, seems to have forgotten that disability means more than wheelchair use – it is a broad term for a spectrum of human experience.

There is one small area in the arena dedicated to wheelchair-accessible viewing, shown by the orange line on the inset map, and one elevator, indicated by the “Aufzug” label. Accessible toilets are available for use via Eurokey, an exclusive keypass system that costs CHF 45 (approximately US$50 or €48), plus delivery fees if ordering online. Although this ensures that the facilities are not misused by those who do not need them, the criteria for being able to purchase a Eurokey is extremely strict, defined by Pro Infirmis as “seriously limited mobility, visual impairment, chronic bowel or bladder disorders or [wearing] a stoma”.
This short list alienates many individuals with disabilities, including but not limited to those with:
- fainting or epileptic disorders who may require the extra space and safety an accessible bathroom can provide
- sensory or anxiety conditions who may benefit from a segregated cubicle
- chronic pain or joint issues who may need rails or supports to independently use facilities
- those who may need to be accompanied by a carer or assistance animal for social, behavioural, intellectual or physical reasons
All of this ignores the fact that using the toilet, a basic human right, becomes a transactional activity for those who do meet the strict criteria for Eurokey – while pay toilets are common in Europe, these charges are often no more than €1, and international visitors from outside the Eurokey region will have no use for this expensive key once they have returned home. There is also no indication online as to whether the venue has ambulant toilets with space for mobility aids.
Is that all?
This raises another glaring accessibility issue – the St. Jakobshalle indicates on their website that all animals are prohibited from the venue, and the Eurovision website confirms that this includes guide dogs. According to the United Nations Convention on the Rights of Persons with Disabilities, a document that Switzerland ratified in 2014, persons with disability have the right to “enjoy access to places for cultural performances or services, such as theatres, museums, cinemas, libraries and tourism services”, and to do so by way of the nation “facilitating access by persons with disabilities to quality mobility aids”. Accredited and registered guide dogs are considered mobility aids in Switzerland and have right of access to all cultural, sport and leisure venues that their handlers can visit, so St. Jakobshalle’s policy is a clear violation of this UN Convention.
It cannot go ignored that Geneva’s PalExpo, the other arena shortlisted to host Eurovision 2025, is fully accessible via both indoor and outdoor elevator, and where there are stairs in the facility, lifting platforms are available. Accessible bathrooms are available for use free-of-charge, allowing those who do not meet Eurokey’s strict rules to still access these spaces as their needs dictate. There are 12 accessible parking spaces on the premises, and registered assistance animals are allowed anywhere that patrons can go.
Knowing that a fully accessible option was shortlisted, but ultimately eschewed in favour of a building without the appropriate accessibility, shows that accommodating fans with disability seems to be less than a priority for the EBU. Choosing to celebrate smaller cities such as Basel is a valiant initiative, but the venues chosen must also have the infrastructure and accommodations to serve all fans who travel and pay top dollar to attend the shows, and who make the event what it is.
So where to from here?
The European Broadcasting Union, the host broadcasters, and venues once they are selected, need to do better in future to ensure that everyone, no matter their disability, can enjoy the live shows. As a start, this includes:
- Selecting host cities with the infrastructure to support everyone’s right to access
- Selecting venues that also support this right, both physically and within the venue rules
- Providing comprehensive training to staff and volunteers around appropriate behaviour and support for all visitors
- Building stages and green rooms that enable all artists to participate equitably and without alienation
People with disability are as diverse and unique as the rest of the population, and we deserve to enjoy cultural experiences without physical, social or ideological barriers. May we all be truly united by music as soon as possible.
Once again, thank you to all those who contributed their experiences to this research. Please feel free to add your own experiences and continue the discussions in the comments, in our Discord server (or my DMs therein), and on social media @ESCUnited