Estonia’s Gert Kark Takes the Helm of Eurovision Song Contest

Kark’s promotion to EBU ESC Executive Producer – a newly defined position replacing the old “Executive Supervisor” role – not only acknowledges his decade of behind-the-scenes contributions, but is also a point of immense pride for Estonia, a small nation with a big passion for Eurovision. In a region long dominated by Nordic leadership in Eurovision’s management, Kark’s ascent brings Baltic representation to the forefront.

In this article, we delve into Gert Kark’s journey from local Estonian TV to the top of the Eurovision production team, the recent developments that led to his appointment, and how fellow Nordic and Baltic producers have shaped the contest in the past. It’s a celebratory look at how one of Estonia’s own has reached the pinnacle of Eurovision – a testament to talent, hard work, and a bit of eastern pride in the world’s most-watched music show.

From ETV to EBU: Who Is Gert Kark?

Gert Kark, sitting on the right side of Martin Österdahl during Eurovision 2025 (on the left in the picture)

Gert Kark’s story is one of humble beginnings and steady rise. Before stepping onto the international stage, Kark spent years at Estonia’s public broadcaster ERR/ETV, where he cut his teeth in television production. In fact, his big break came somewhat unexpectedly: in 2011, as a young enthusiast fresh out of working in theater, Kark walked up to the reception desk at ETV and essentially asked for a jobeeter.err.ee. He was soon taken on as an administrator for “Terevisioon”, a popular morning show, marking the start of his TV careereeter.err.ee. Kark quickly proved himself, moving on to assist with talk shows like “Ringvaade” and working on major live broadcasts. His talents shone brightest in sports broadcasting – during the 2012 Olympic Games he earned a chance to direct sports segments when much of the sports department was awayeeter.err.ee. This experience led to a full-time directing role in ETV’s sports newsroom, where Kark thrived for over five yearseeter.err.eeeeter.err.ee.

By 2016, having gained substantial live-event experience and a solid work ethic (“my work ethic and drive come from my time at ETV,” Kark has said), he made the leap to the European Broadcasting Union. The timing was perfect – the EBU was looking for fresh talent, and Kark had always dreamed of working abroad in a major cultural hub. He joined the EBU in 2016 as a Project Manager for the Junior Eurovision Song Contest (JESC). Though he admits he didn’t know Eurovision as deeply as he knew sports at first, he grabbed the opportunity with both hands.

Over the next several years, Kark became an indispensable figure in Eurovision’s production team. He expanded his scope from Junior Eurovision to the main Eurovision Song Contest (ESC) by 2017. In EBU credits and internal roles, Kark was often listed as “Eurovision TV Project Manager” or specifically “Project Manager – Show, Contest and Voting”, meaning he coordinated nearly every technical and logistical aspect of Eurovision shows (except finance). If you watched recent contests, you wouldn’t have seen him on camera, but he was there in the control rooms and backstage. In fact, during the tense voting sequences of Eurovision broadcasts, Kark could be spotted sitting right next to then-Executive Supervisor Martin Österdahl, effectively as his second-in-command. This apprenticeship under Österdahl gave Kark front-row experience in how the contest is run at the highest level.

By 2024–2025, Gert Kark had a hand in almost every part of Eurovision’s production. He helped manage show production and voting systems for events like Junior Eurovision 2024 and ESC 2025. Colleagues describe him as detail-oriented yet collaborative – exactly the kind of person you need to juggle 40+ national delegations, complex televoting systems, and live TV spectacles seen by hundreds of millions. “My happy task is to be responsible for the part that viewers see on the screen,” Kark told ERR, explaining that Eurovision’s organization is now so large that no single person can do it all. His focus has been on the televised show itself, ensuring everything that makes it to air – from performances to interval acts to voting graphics – runs flawlessly. After nearly ten years with Eurovision events under his belt, Kark was more than ready when a new opportunity knocked.

The Road to Executive Producer: Recent Milestones

Kark’s elevation to Executive Producer of the Eurovision Song Contest in the fall of 2025 comes as part of a broader shake-up in how the EBU manages the contest. Longtime Executive Supervisor Martin Österdahl (a Swede who led ESC from 2020–2025) announced his departure in mid-2025. The EBU hinted at structural changes when bidding Österdahl farewell, saying “future announcements regarding the contest team structure” were forthcoming. Those changes became clear by October 2025: the traditional Executive Supervisor role was retired, and in its place, two distinct senior roles were defined – a Eurovision Director (focused on business, branding and strategy) and a Eurovision Executive Producer (focused on the creative and technical production of the shows). This split mirrors how massive the contest has become. As Kark himself noted, Eurovision has grown so large that “it’s no longer realistic for one person to be responsible for everything: the TV show, diplomacy, communications, and finances… no matter how talented you are, human capabilities have limits”.

The newly created Executive Producer position was posted internally at the EBU over the summer of 2025, and Kark decided to throw his hat in the ring. After discussions with colleagues and encouragement from friends and family, he applied and was ultimately selected for the job. By early October, the EBU quietly updated the Eurovision website and Reference Group roster to list Gert Kark (Estonia/EBU) as “Eurovision Song Contest Executive Producer”, effectively confirming that he would replace Martin Österdahl as the EBU’s lead in contest production. The news didn’t come via a big press release, but Eurovision watchers noticed: outlets like ESCXTRA and Eurovoix reported on Kark’s appointment and the title change from Supervisor to Executive Producer. The Eurovision fandom quickly recognized this as a significant moment – not only was a new person in charge, but that person hailed from Estonia, adding some geographic diversity to Eurovision’s top brass.

In his new capacity, Gert Kark will sit on the Eurovision Song Contest Reference Group (the contest’s governing board) as the EBU’s representative. In fact, he officially joined the Reference Group at its latest meeting, taking the seat formerly held by Österdahl. This group of around 8–10 members oversees key decisions: format changes, financing, branding, and ensuring each year’s host broadcaster preparations stay on track. By stepping into this role, Kark is now at the core of Eurovision decision-making. According to insights from EBU insiders, the plan is that Martin Green (a British events producer who was brought on as “Eurovision Director” in 2024) will focus on big-picture strategy and partnerships, while Gert Kark as Executive Producer will focus on the show itself – the staging, the broadcasts, the voting system, and coordination with each year’s hosting TV network. It’s a two-headed leadership structure designed to keep Eurovision growing while not overburdening one person. By all accounts, Kark’s hands-on experience with the nuts-and-bolts of the contest’s production make him an ideal fit for this more technically-oriented leadership role.

Kark has expressed that one of his priorities is to make the whole Eurovision process smoother for everyone involved. “All parties should have things become easier… all participating countries are ultimately one big family, and none of them should think ‘me’ instead of ‘we,’” he said, emphasizing teamwork among the EBU, host broadcasters, and national delegations. In practice, this means Kark wants to streamline communications and logistics so that both the organizers and the 40-odd delegations feel supported. He also noted that his team will even oversee side events and delegation services – a very holistic approach to contest management. It’s clear that after years of coordinating between host broadcasters and the delegations (one of his previous responsibilities), Kark intends to improve that workflow even further in his new role.

Pride of Estonia: A Celebratory Moment

For Estonia, Gert Kark’s rise is more than just a staffing change at the EBU – it’s being hailed as a moment of national pride. This is a country of just 1.3 million people, which first joined Eurovision in 1994 (post-independence) and won the contest in 2001, achieving the first ever Eurovision victory for the Baltics. Eurovision has a devoted following in Estonia; each year, the national selection Eesti Laul is one of the TV highlights, and the country frequently punches above its weight in the contest. Now, seeing an Estonian in one of Eurovision’s top international roles is a symbolic triumph. Local media has covered Kark’s appointment with a positive, almost emotional angle. ERR (Estonian Public Broadcasting) ran a feature on Kark titled “Eurovision’s new Executive Producer Gert Kark: My work ethic and will come from ETV,” underlining how his years at Estonia’s broadcaster shaped him. In that interview, Kark humbly credited his time at ETV for teaching him the values that carried him to success, and he thanked his former colleagues for “holding on to me perhaps a bit too much” – a nod to the strong camaraderie he experienced there.

There’s also a sense of David vs Goliath pride here: Estonia may be small, but it consistently produces world-class talent, now evident not just on the Eurovision stage (think of singers like Elina Nechayeva or Koit Toome) but behind the scenes as well. Gert Kark’s achievement is being celebrated alongside other Estonians making waves internationally. Interestingly, he pointed out that all three Estonians currently working at the EBU happened to come from the same era of ETV’s sports department (Kark himself, plus colleagues Madli Ulbi and Alvar Tiisler) – a quirky fact that suggests Estonia’s broadcasters have a knack for grooming talent that can go global. It’s not every day that someone from Estonia lands a C-suite-like position in an organization as significant as the EBU, which makes this appointment stand out even more.

The timing is also fortuitous: Eurovision interest in Estonia is high after a string of good results. (Notably, Estonia finished 3rd at Eurovision 2025 in Basel, their best result in many years, causing jubilation back home.) Riding that high, the news that an Estonian will now help steer the entire contest feels like a natural continuation of the country’s Eurovision success story. Social media in Estonia and across the Baltics lit up with congratulatory messages for Kark, many expressing how “one of us” is now helping run Eurovision. It’s a celebratory atmosphere, with commentators noting that this could inspire a new generation of Baltic media professionals – a reminder that even roles behind the camera can bring international recognition.

From a more personal perspective, Kark’s journey resonates as an inspirational tale. Here’s someone who started as a receptionist/assistant on a morning show in Tallinn, and a little over a decade later, he’s the Executive Producer of Europe’s favorite TV show. It underscores a message that big dreams can indeed be realized, even if you come from a small market. All of Estonia will surely be watching the next contests with extra enthusiasm, knowing that one of their own is calling the shots in the control room.

Nordic & Baltic Producers Who’ve Shaped Eurovision

While Gert Kark is the first Baltic native to hold the EBU’s top production role for Eurovision, he follows in the footsteps of several Nordic and Baltic figures who have left their mark on the contest’s organization. The Northern European region has a rich history of contributing producers and executives to Eurovision’s success, both on the EBU side and as host broadcasters. Here’s a look at some notable names from the Nordic/Baltic sphere and their contributions:

• Svante Stockselius (Sweden) – Served as Eurovision’s Executive Supervisor from 2004 to 2010, during which he oversaw major expansions such as the introduction of semi-finals. Stockselius, a Swede, was instrumental in modernizing the contest in the 2000s and maintaining its popularity after the turn of the millennium. Prior to his EBU role, he had produced Sweden’s Melodifestivalen and even chaired the Reference Group, blending Nordic TV savvy with pan-European vision.
• Jon Ola Sand (Norway) – Executive Supervisor from 2011 to 2020, Sand became the recognizable face of Eurovision’s voting sequence for a decade. A Norwegian TV executive with experience at NRK, he had also been Executive Producer for the 2010 Eurovision in Oslo before taking up the EBU post. Jon Ola Sand’s signature sign-off “Take it away!” during live shows became iconic. Under his watch, the contest expanded globally in reach (China, USA broadcasts, etc.) and navigated challenges like the voting revamp and rule changes. He was widely respected for his calm, diplomatic handling of the show – traits Kark, who worked under him briefly, has surely absorbed.
• Martin Österdahl (Sweden) – Executive Supervisor from 2020 until 2025. Before becoming the EBU’s Eurovision chief, Österdahl made a name as Executive Producer of Eurovision 2013 in Malmö and 2016 in Stockholm when SVT hosted. He brought a creative flair and project-management rigor (even winning an award for his leadership of the 2013 contest). Martin’s tenure as Supervisor saw Eurovision through the cancellation of 2020 and the successful relaunch in 2021, as well as innovations like the introduction of “Rest of World” voting. Österdahl, a Swede with a passion for storytelling, was also a member of the Reference Group for 7 years prior. Gert Kark directly worked under Österdahl as a deputy, and now effectively succeeds him – a passing of the torch from Nordic to Baltic.
• Juhan Paadam (Estonia) – Executive Producer of the 2002 Eurovision Song Contest in Tallinn. Paadam was Estonia’s Head of Delegation and was tapped to lead the production when Estonia hosted (after their surprise win in 2001). That show in Tallinn was the first Eurovision held in a former Soviet country, a momentous occasion with Paadam at the helm. He later served as a consultant to other contests, including helping out the next year in 2003. Paadam’s successful hosting in 2002 proved that Estonia’s TV professionals could handle a production of that scale, paving the way for more Baltic involvement in Eurovision’s production teams.
• Brigita Rozenbrika (Latvia) – Executive Producer of Eurovision 2003 in Riga. Initially, Latvia’s hosting faced some hurdles, and Rozenbrika, then head of LTV’s Eurovision team, took charge of the production a few months before the contest. With support from Swedish and Estonian colleagues, Brigita delivered a memorable show. Her leadership in 2003 meant that two Baltic states in a row (Estonia and Latvia) produced Eurovision events, which was a significant regional achievement. It’s worth noting that Gert Kark was just a teenager then – little could anyone imagine that 22 years later, an Estonian would be running Eurovision at the EBU.
• Heikki Seppälä (Finland) – Executive Producer of Eurovision 2007 in Helsinki. When Finland finally got to host (after Lordi’s win in 2006), Yle entrusted Seppälä with producing the contest. That year saw a record number of participants and the first official two-semifinal format (brainchild of Svante Stockselius at the EBU). It was a complex production, and Finland’s team delivered with Nordic efficiency. Producers like Seppälä demonstrated how Nordic public broadcasters set high standards for staging and logistics – expertise that often gets shared across borders.
• Pernille Gaardbo & Jan Lagermand Lundme (Denmark) – Key figures for Eurovision 2014 in Copenhagen, with Gaardbo as Executive Producer and Lundme as Head of Show. Their inclusion here is a nod to Denmark’s role – while not part of the EBU leadership, their contest in 2014 was one of the most technically ambitious (turning a shipyard into an arena!). It highlighted the depth of production talent in the Nordic region.
• Ebba Adielsson (Sweden) – Executive Producer for the upcoming Eurovision 2024 in Malmö (host broadcaster role). As a Swede producing her country’s show and also sitting on the Reference Group, Ebba represents the continuing Nordic presence in Eurovision organization. Though not an EBU staff member, her role underscores how frequently Swedes, in particular, are involved in making the contest run smoothly.

This list could go on – from Christer Björkman (Sweden’s Melfest producer who has had hands in many Eurovisions) to technical gurus from Finland or Iceland – but the pattern is clear. Nordic countries have long provided leadership and production expertise to Eurovision. Now, with Gert Kark’s appointment, the Baltics have a prominent seat at the table too. As ESCXTRA noted, Kark “adds some geographic diversity to the role… being from a Baltic country”, breaking what was effectively a long run of Swedes and Norwegians in charge. It’s a moment many in Northern Europe are proud of, reflecting the broader Eurovision spirit of inclusivity and shared ownership.

Looking Ahead: A New Chapter for Eurovision

With Gert Kark steering the production side of Eurovision, fans and participating broadcasters alike are curious and optimistic about what this new chapter will bring. Kark comes into the job with 10 years of hands-on experience specific to Eurovision – few, if any, of his predecessors had that much direct contest experience on day one. Insiders say he is intimately familiar with the intricate “machine” of Eurovision, from staging to voting software, which could mean a smoother contest operation and perhaps some innovative tweaks that make the show even more enjoyable. We might not see Kark on our TV screens (unless they show the control room, he’ll be there with a headset on), but his impact will be felt in how well the show is run and how it adapts to new challenges.

For Estonia and the Baltics, Kark’s success is a morale boost – a reminder that their contributions to Eurovision go beyond just entries and occasional victories; they are now helping lead the whole enterprise. It also strengthens Northern Europe’s voice within the EBU. As Eurovision continues to evolve (with expansions like the American Song Contest spinoff, Rest of the World voting, and ever-more elaborate productions), having a diverse leadership team that includes different regional perspectives can only be a good thing.

In a broader sense, this appointment reinforces Eurovision’s core ethos: a coming together of nations, each contributing their talent to create something larger than any one of them. Eurovision has always been about unity in diversity, and now its executive team reflects that a bit more. The world’s largest live music event – watched by over 160 million people in 2025 – will now be partially shaped by an Estonian creative vision at the top. That’s cause for celebration in Tallinn, in Stockholm, in Oslo, and across the continent.

As we cheer on Gert Kark in his new role, many are expressing confidence that Eurovision is in good hands. Those who have worked with him describe him as “an excellent leader and storyteller” – qualities that mirror what EBU higher-ups praised about Martin Österdahl when he took over and that Kark undoubtedly shares. His journey from a local TV “Terevisiooni” assistant to Executive Producer of Eurovision is the kind of success story that Eurovision, at its heart, loves to celebrate. It’s about time the spotlight shone on the people behind the curtains who make the magic happen.

In the end, Eurovision is a family, and now one of the family’s northernmost members has ascended to a proud position of responsibility. Congratulations to Gert Kark – may his tenure bring even more innovation, inclusivity, and spectacular shows to this much-loved contest. As Estonia basks in the pride of this achievement, the rest of Europe can look forward to seeing how a Baltic breeze might refresh the sails of the Eurovision Song Contest in the years to come. Here’s to a new era, led by Estonia’s own Executive Producer of Eurovision!