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The Eurovision Song Contest has throughout its history been called Europe’s largest music competition, an arena where national differences can meet in culture and entertainment rather than in political conflicts. In recent years, however, it has become increasingly clear that the contest cannot free itself from the world’s conflicts. The question of Israel’s participation in Eurovision 2026 in Vienna, as well as the EBU’s planned membership vote in November 2025, constitutes one of the contest’s greatest political challenges. Regardless of the outcome, this decision will shape both Eurovision’s future identity and the EBU’s credibility as an international cultural organization. Political pressure is increasing The background is well known: several European public service broadcasters, including Spain, the Netherlands, Ireland, Iceland, and Slovenia, have openly threatened to boycott if Israel is allowed to participate in next year’s contest. To exclude a member country, a 75 percent ma...

The Eurovision Song Contest (ESC) was created to heal a war-torn Europe – but has become a watered-down pop industry hiding behind a false façade of politically neutral entertainment. Two contests, two worlds – and a new Cold War where glitter, confetti, and seas of flags are used as weapons. When ESC began in 1956, the purpose was clear: Europe, torn apart by the Second World War, was to be reunited through music. Each country’s entry was to represent its own culture, language, and distinctiveness. It was a project in the name of peace and reconciliation, where cultural identity was seen as a means to unity. ESC was therefore from the beginning a political project – but a project aimed at peace. People did not speak of “soft values” in propaganda terms, but of reunification through culture. It was a radical idea: that notes could build bridges where bombs had torn down walls. But if we look at ESC today, 70 years later, the picture is almost the opposite. The ambition to show national...