On February 10th, in the freezing snow of Tampere, 300 people gathered in Sori Square to demand Israel’s exclusion from the 2024 Eurovision Song Contest. If the European Broadcasting Union (EBU) refuses, protesters insisted that Finland’s broadcaster Yle and this year’s Finnish act must boycott instead. The demonstration, organised by @TampereWithPalestine, was part of a growing Europe-wide movement. Musicians, fans, and artists across the Nordic region and beyond are calling for Israel’s ban, with petitions, open letters, and coordinated protests multiplying.
Eurovision’s “Non-Political” Myth
Eurovision presents itself as a joyful, “non-political” space. But this very claim shields it from responsibility while politics runs through every note of the contest. Eurovision thrives on contrast: joy and spectacle as a sanctuary from the world’s pain. But the privilege to “switch off” from politics belongs only to those not targeted by racism, occupation, or war. Calling Eurovision “apolitical” denies how culture normalises states like Israel, Azerbaijan, or Russia as legitimate members of the global community. Audiences who accept the “just music” narrative become complicit in this normalization.
Artwashing and Pinkwashing Genocide
Eurovision participation offers states enormous cultural and economic benefits. Israel exploits this in two ways:
- Peace narrative: Casting itself as inherently peaceful, while branding opposition as “darkness” or unfair. Most of its artists, from Netta to Noa Kirel, are proud IDF veterans.
- Queer inclusivity narrative: Using Eurovision’s reputation as a queer-friendly event to practice pinkwashing—promoting itself as progressive while demonising Palestinians and Arab nations as homophobic. This “homonationalism” allows Israel to frame its settler colonialism as enlightened inclusion.
Why Boycott Matters
The EBU has previously banned countries: Belarus in 2021 for censorship, and Russia in 2022 after its invasion of Ukraine. Israel’s broadcaster KAN has spread genocidal rhetoric, while Israel arrests Palestinians for social media posts and kills journalists in Gaza. By its own rules, Israel qualifies for exclusion. Yet, as with Russia, the EBU is unlikely to act unless member states and artists threaten to withdraw.
The boycott movement is powerful because it hits Eurovision where it hurts: reputation, advertising revenue, and audience trust. Boycotts against apartheid South Africa proved effective; the 2019 Eurovision boycott in Tel Aviv spread global awareness of Palestinian oppression. Today’s movement builds directly on that momentum.
Arguments that Israel “is not part of Europe” are counterproductive. The real issue is not geography but genocide, apartheid, and violation of EBU’s values. Claiming otherwise excuses Europe’s deep complicity in Zionism, colonial projects, and current military support for Israel.
No Normal Eurovision
As the South African Council on Sport once declared: “No normal sport in an abnormal society.” Likewise, there can be no “normal” Eurovision in a Europe that looks away from genocide. Boycotting Eurovision is not easy for fans—it means giving up something beloved. But that is the point. Sacrifice sends a louder message than words: Palestinians are not expendable.
Skipping Eurovision 2024 is a small price compared to the lives being destroyed daily in Gaza. By refusing to participate or watch, we tell the EBU and the world that we reject complicity in genocide—and we tell Palestinians that they are not forgotten.
We must boycott.
