The Eurovision Song Contest, long touted as a celebration of music that transcends borders and politics, now finds itself at the heart of a storm that threatens its very foundation. As of mid-September 2025, the contest faces what many are calling an "existential" crisis: a growing coalition of European countries is threatening to boycott the 2026 edition in Vienna if Israel is allowed to participate. The controversy, which has escalated sharply in recent weeks, exposes deep divisions within Europe over the intersection of culture, politics, and the ongoing conflict in Gaza.
The situation reached a critical point on September 16, 2025, when Spain’s public broadcaster, RTVE, announced it would withdraw from the 2026 contest if Israel remains in the lineup. According to Harici, this move is particularly significant as Spain is one of the five largest financial contributors to the European Broadcasting Union (EBU), guaranteeing the country an automatic spot in the Eurovision final. Should Spain follow through, it would mark the first time since 1961 that the nation has not appeared in the final—a dramatic signal of the seriousness of the boycott movement.
Spain’s action did not occur in a vacuum. Ireland’s RTE had already declared its intention to withdraw, calling participation “unconscionable given the ongoing and appalling loss of lives in Gaza.” Broadcasters in the Netherlands, Slovenia, and Iceland have also joined the chorus, with Iceland’s position described as less definitive but still leaning toward a boycott if Israel takes part. The Netherlands’ AVROTROS cited concerns that Israel’s government used the contest as a “political tool” and expressed unease about possible interference in the 2025 event’s voting system, which saw Israel win the public vote.
The BBC, one of Eurovision’s most influential participants, has so far refused to rule out a boycott. Speaking to The Jewish Chronicle, a BBC spokesperson said, “We are aware of the various views and concerns which have been expressed in recent days in relation to next year’s Eurovision. At this stage, we will continue to be part of the discussions, led by the European Broadcasting Union, with other members and broadcasters.” The spokesperson added, “Eurovision has never been led by politics, it has been—and is—a celebration of music and culture that brings people together from across the world.”
BBC Director General Tim Davie echoed this sentiment before Parliament’s public accounts committee, stating, “Eurovision has never been about politics.” Still, Davie acknowledged the corporation is “aware of the concerns” and emphasized the importance of working with the EBU, which will make a final decision on Israel’s participation in December. Despite these assurances, the BBC has not excluded the possibility of withdrawing, highlighting the tension between its stated neutrality and the political realities of the controversy.
Martin Green, the director of the Eurovision Song Contest, has publicly acknowledged the scale of the divisions. “We understand the concerns and deeply held views around the ongoing conflict in the Middle East. We are still consulting with all EBU Members to gather views on how we manage participation and geopolitical tensions around the Eurovision Song Contest. Broadcasters have until mid-December to confirm if they wish to take part in next year’s event in Vienna. It is up to each member to decide if they want to take part in the contest and we would respect any decision broadcasters make,” Green told POLITICO and other outlets.
The vote on Israel’s participation is scheduled for the EBU general assembly in Geneva on December 4 and 5, 2025. Until then, each broadcaster must declare its intention to participate, leaving the contest’s future hanging in the balance.
For its part, Israel’s public broadcaster KAN has announced that it is preparing to participate in the May 2026 contest and insists it “has scrupulously adhered to the competition rules and will continue to do so.” Israeli Culture and Sports Minister Miki Zohar was blunt in his criticism of the boycott threats, describing them as “a shameful and hypocritical step that contradicts the values of the competition and the spirit of connection that forms its foundation.”
Jewish advocacy groups have also weighed in forcefully. Campaign Against Antisemitism, posting on X, argued, “Eurovision is supposed to be a celebration of togetherness, using music to bring nations closer. Excluding the world’s only Jewish state represents the antithesis of this sentiment.” The group highlighted safety concerns for Israelis and Jews attending the contest, noting that Israel’s National Security Council advised visitors to Switzerland earlier this year “to avoid displaying Israeli and Jewish symbols in public.” The organization also cited a survey indicating that “more than four-fifths (84%) of British Jews agree that boycotts of Israeli artists, academics or businesses selling Israeli products constitute intimidation.”
The controversy has reignited a debate over whether cultural bans are legitimate sanctions or a form of discrimination. Some European governments frame the boycott threats as a proportional response to Israel’s actions in Gaza, while others—along with Israeli officials and Jewish groups—warn that such measures risk morphing into antisemitism. The EBU, for its part, has tried to maintain its apolitical stance. German broadcasters ARD and SWR have stated they will support any decision made by the EBU, with SWR emphasizing that Eurovision is “organized by broadcasters, not by governments,” and that it brings people together “regardless of origin, religion, or belief.”
Yet, the precedent of Russia’s exclusion from Eurovision in 2022 looms large in the background. Back then, the EBU justified the ban on the grounds of Russia’s invasion of Ukraine, a move that many now cite as evidence that the contest cannot, in practice, remain entirely above politics. This history complicates the current debate and raises questions about consistency and fairness in the application of participation rules.
As the December deadline approaches, the EBU faces an unenviable task: balancing its founding principles of inclusivity and apoliticism with the deeply held convictions of its members and the broader European public. The threat of a fractured contest—or even a mass boycott—has never been so real. With Spain’s potential absence, the BBC’s wavering position, and mounting pressure from both sides of the debate, the integrity and future of Eurovision hang in the balance.
What was once a straightforward celebration of music and spectacle has become a battleground for Europe’s most contentious political and ethical questions. The outcome of this crisis will not only determine who takes the stage in Vienna next May but may also redefine the very purpose and promise of Eurovision itself.
