Eurovision Contestants Respond to Israel’s Participation

posted on: Dec 10, 2025

By: Fayzeh Abou Ardat / Arab America Contributing Writer

The Eurovision Song Contest has found itself more and more at the centre of geopolitics and art in recent years. The 2024–2025 cycle has been especially contentious since discussions about Israel’s participation in the tournament have heated up in light of its continuous military operations in Gaza. Many spectators believe that Eurovision should be an apolitical celebration of culture. However, it has become hard for many musicians to remain mute, particularly on a platform that draws hundreds of millions of viewers.

An increasing number of competitors, national finalists, and even past Eurovision celebrities have publicly opposed taking part in a competition that includes Israel. They have responded in a variety of ways, from silent rejections to participate in national elections to open letters and withdrawals. These choices indicate moral stances as well as the growing realisation that politics, music, and representation are closely related.

Artists Withdrawing and Calling for Boycotts

In protest of the EBU’s decision, musicians from a number of nations have publicly withdrawn from national competitions or declined to take part in events that are close to Eurovision. The appeal for ethical consistency in cultural institutions was spearheaded by young artists in countries like Iceland, Norway, Ireland, and Finland, where public debate became part of the mainstream political conversation.

For instance, a number of performers in Iceland who were shortlisted for the national final, Söngvakeppnin, declared they would not participate unless Israel was eliminated. Significant popular mobilization led to their decisions: countrywide polling, university student comments, and petitions all showed overwhelming support for stopping Israel’s participation. Although it finally stayed in the competition, the Icelandic broadcaster RÚV acknowledged the pressure and even hinted at the potential of completely withdrawing from Eurovision.

In the same way, Norwegian indie and electronic musicians withdrew from the Melodi Grand Prix process, specifically citing humanitarian concerns. Their withdrawals spurred discussions on the social obligations of musicians and whether it is morally acceptable for them to compete in Eurovision.

Contestants in Ireland, a country well-known for its diverse literary and political traditions, expressed feelings similar to those of Palestinian solidarity organizations on college campuses. A number of performers openly refused to participate in the selection process, claiming that Ireland’s colonial past morally connected it to the Palestinian cause. Later, demonstrations calling for a nationwide boycott were held outside the Irish broadcaster RTÉ.

One of the most tangible artist-led demonstrations occurred in Finland, where Käärijä, the 2023 Finland prize winner, denounced the EBU’s position and endorsed a boycott. Even though Finland eventually took part, pressure from the public and musicians caused obvious divisions within the typically cohesive Eurovision group.

A Contest Struggling With Neutrality, Ethics, and Public Pressure

Drawing comparisons to its other rulings to permit participation from nations under fire, the EBU insists that Eurovision is a cultural, not political, event. However, detractors contend that when a participant state is involved in a widely denounced military campaign, neutrality becomes untenable. They draw attention to the fact that Russia was banished in 2022 as a result of its invasion of Ukraine, implying uneven enforcement of the regulations.

The conflict is ideological and personal for the combatants. Some artists worry about losing opportunities that could define their careers, while others dread criticism from fans or organizations. However, many maintain that their refusal is an attempt to match their public persona with their moral convictions. “Music cannot be separated from the world in which it exists,” an Icelandic musician wrote in an open letter.

The public’s perception of Eurovision has also changed as a result of the boycott movement. Eurovision is now seen as a symbolic arena for European identity—and exclusion—rather than just a campy, glittering show. Deeper concerns about what “Europe” stands for and how cultural diplomacy works during a period of international strife have been brought up by this.

In the future, it’s still uncertain if a rise in boycotts will compel the EBU to make structural changes or alter the contest’s rules. It is undeniable that artists have demonstrated their willingness to take a stand at the expense of both visibility and opportunities. Their behaviour reflects a changing cultural environment where artists are now public intellectuals, activists, and moral agents in addition to performers.

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