Behind the Glitz and Glamour of Eurovision
By Sophia Hofbauer
For most people, Eurovision is about the music, the outfits, the parties and just overall the vibes, and to be completely honest, fair. However, beneath the surface of glitter and performance, the contest has increasingly become entangled in political tensions, despite the European Broadcasting Union’s (EBU) longstanding claim of political neutrality.
In recent years, controversies have increasingly overshadowed the event. The 2024 contest in Malmö and the 2025 contest in Basel are good examples of this. Both were accompanied by large protests related to Israel’s participation, with people calling for the country to be excluded in a similar way to Russia. While many protests were peaceful, the situation still led to increased security and a tense atmosphere around what is usually meant to be a light-hearted event.
This year, the situation seems to escalate even further. Before Eurovision had even begun in Vienna, several countries withdrew from the contest, some of them openly expressing political reasons for doing so, namely Israel. Spain, usually part of the 'Big Five', was among them. As a result, the number of participating countries dropped significantly, reaching a level not seen in decades and turning into the biggest boycott in Eurovision history.
At the same time, the voting system has also become part of the debate. Eurovision combines jury votes and public votes, which is supposed to balance professional judgement and audience opinion. However, recent results have raised questions about whether political views influence how and if people vote. For example, strong public voting results for Israel have been in different ways; some argue it reflects support, while others suggest that boycotts may have influenced who actually participated in the voting, leading to an overwhelming majority of pro-Israel viewers.
The overall atmosphere surrounding Eurovision has also changed. In Vienna, security measures were noticeably stricter, with heavy police presence and restricted areas in the city centre. Statements by the city mayor added to the sense that Eurovision is no longer about music, but also closely tied to ongoing political discussions. Also, the high number of people expected in Vienna Hotels has not been reached, showing that not only participating countries but also viewers have left the contest behind.
What makes Eurovision also interesting is that its 'non-political' identity has always been a bit of a myth. Even in earlier years, voting patterns often reflected regional alliances, historical relationships, and cultural proximity. Neighbouring countries tend to vote for each other, and political contexts are never completely absent. The difference today is that these dynamics have become so much more visible and simply hard to ignore.
One way to understand this shift is by looking at different levels at which politics enters the contest.
First, there is the institutional level. The EBU continues to insist on political neutrality, yet decisions about participation, as stated before, with banning Russia in 2022, clearly show that political considerations do play a role. Many, of course, viewed this decision as justified, but it also set a precedent that audiences now compare to other situations, namely Israel, raising questions about consistency.
Then there is the level of public engagement. Protests, social media campaigns, and calls for boycotts have become a regular part of Eurovision. These are not controlled by the EBU, but they still shape the atmosphere of the event significantly. Eurovision is no longer just watched.
At the same time, politicalisation is not necessarily something negative. A perfect example of this is Ukraine's victory in 2022. While it is undeniable that the war influenced public voting, the performance itself was also widely appreciated and competitive. In this case, political context and artistic quality went hand in hand rather than contradicting one another. The result felt meaningful to many viewers, not just as a political statement, but as a moment of cultural solidarity.
This shows that politics in Eurovision can sometimes enhance the contest, making it more relevant and connected to the real world. However, more recent developments suggest that there is a tipping point. When participation is questioned, countries withdraw, and security concerns dominate the headlines, this balance begins to shift. The focus moves away from performance and towards conflict, which changes how the entire event is perceived.
Looking at all of this together, it becomes increasingly difficult to argue that Eurovision is still 'just about music'. At this point, Eurovision is not simply being influenced by politics; it has become, in many ways, a political space itself.
