Eurovision 2025 will be remembered not only for its stage productions, glittering costumes, and catchy melodies, but also for its powerful political backdrop.
In a year when the war in Gaza once again made headlines, the contest once again became a political football.
Not only did musical preferences came to the fore, but questions of diplomacy, ideology, and voter manipulation.
Israel Divides Media
The performance of Israeli participant Noa Shaffir was accompanied by an unprecedented campaign.
Israeli media, including the Times of Israel and Ynet, wrote openly about mobilising diaspora voices and launching a large-scale PR program designed to present the country in a positive light amid international criticism of its actions in Gaza.
The Israeli delegation actively cooperated with pro-consular organisations in Europe and North America, promoting the idea that culture should remain outside of politics.
However, since the announcement of the finalists, the competition has acquired a distinctly political coloring.
Hashtags #BoycottIsrael and #FreePalestine spread across social media. In several countries in the Middle East and North Africa, including Tunisia and Lebanon, Eurovision was not broadcast at all, as a tacit protest against Israel’s participation.
Divided Europe
Europe’s reaction was mixed.
In countries such as Ireland, Sweden, and Belgium, protests took place outside the arena where the contest was held. At the same time, countries in Eastern and Central Europe, including Poland and Hungary, were more reserved about the politicisation of the event, focusing on the musical component.
France, despite pressure from social movements, did not support the boycott of Israel.
A representative of the French Foreign Ministry said that "music should remain a bridge, not a weapon."
However, this did not prevent the French delegation from receiving a barrage of criticism in Arab and pro-Palestinian circles.
A similar position was taken by Germany where, despite protests, the Israeli contestant was greeted with applause in the hall.
However, representatives of Spain, Malta, and Iceland allowed political statements from the stage, openly expressing support for the Palestinians.
The organisers of the contest imposed a fine on the Icelandic delegation, which only intensified the wave of discussions in the European media.
Voter Manipulation: Digital Warfare
One of the most discussed aspects of the contest was the topic of voter manipulation.
According to a study conducted by the think tank Europe-MENA Watch, the participation of Israeli organisations in a coordinated voter campaign, via social media, significantly impacted the results of the televoting.
Israel was not alone in resorting to such methods.
Analysts pointed to suspicious activity on the part of Turkey, whose delegation did not participate in the contest, but actively influenced online discussions.
There were also attempts at voter manipulation by individual fan communities directed against Israel, with instructions on how to vote for other countries to reduce the chances of the Israeli performer winning.
Invisible Participants: The Middle East and North Africa
Although no country in North Africa or the Middle East, with the exception of Israel, participates in Eurovision, their influence is increasingly felt. Protests in Amman, Cairo and Rabat over Israel’s participation were part of the overall picture.
In Lebanon and Algeria, the media used Eurovision as a symbol of “European hypocrisy”, accusing the EU of double standards for supporting Israel while formally committing to human rights.
Particular attention was drawn to the position of Morocco, which protested at the diplomatic level against “attempts to normalise Israel’s cultural policy through European platforms”.
This statement provoked a response from Brussels, where the EU reminded that Eurovision is not a extension of government control, but a competition organised by the European Broadcasting Union.
What is Next for the EBU and Eurovision?
Eurovision 2025 demonstrated that the song contest has long gone beyond culture and has become an arena for information wars, diplomatic pressure, and ideological clashes.
Europe, at the intersection of humanistic values and the realities of Middle Eastern politics, is forced to balance between freedom of expression and the danger of turning music into a weapon of influence.
The organisers of the competition announced that in 2026, the rules of conduct for delegations will be revised, including restrictions on political messages from the stage and on social networks.
However, it is obvious that even the strictest regulations will not stop political slogans.
Eurovision 2025 has shown that music, far from being isolated from world events, can become a mirror of politics than a showcase for music. As Europe navigates between solidarity, free speech, and political alliances, the contest risks becoming more than just entertainment.
The challenge now is to preserve its cultural essence while addressing the politicisation of conflict.
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