It wasn’t just the trophy that was broken on this ESC evening. The organizers have to put up with questions: The worst hostilities against Israel came from the heart of the song competition.
There is this scene that is symbolic of the entire Eurovision Song Contest (ESC) 2024: Early on Sunday morning, the glass ESC trophy is suddenly in ruins. Right in the middle of the stage in Malmö, Sweden. Nemo had just won the world’s biggest song competition a few moments ago when the mishap happened.
The broken stump of the cup remains on the ground. The trophy will be replaced within seconds. But what the TV audience experienced in the hours beforehand turned the entire musical spectacle into a shambles. “The trophy can be repaired – maybe the ESC also needs a little bit of repair,” the Swiss act later says ambiguously.
Israeli artist Eden Golan remained brave for a long time in this final – but after her performance she burst into tears. She is repeatedly exposed to unspeakable hostility. The worst thing about it: They don’t come primarily from the Internet as expected or are even limited to demonstrations outside the door. The loudest cries of hate, whistles and boos come from the audience in the hall. People demonstratively turn their backs on Golan during her appearance. She focuses on the cheers, which always predominate. “There are so many people who support me.” But what is bitterly noticeable: ESC artists also stab Eden Golan in the back. This is new, unexpected.
Acts provoke at press conferences
“I have to say that this whole experience was really intense and not just pleasant. There were a lot of things that showed that it’s not just about love and unity, and that really made me sad,” Nemo says of the tensions of this year, which are related to the Gaza war and the many thousands of deaths.
The fact that the world at the ESC is no longer just rainbows and unicorns became clear days before when all the artists appeared together in front of the press. The admission of Israel is the main topic of all questions to Eden Golan. She gets her back from her colleagues: not.
A journalist asks the 20-year-old whether she is worried about endangering the other acts with her presence. When Golan initially doesn’t want to answer, she gets pressure from her colleagues at the podium. “Why not?” asks the Dutchman Joost Klein, who had previously ostentatiously buried his face under a flag. Golan replied: “I think we are all here for one reason and one reason only. And the EBU has taken every measure to make this a safe and connecting place for everyone.”
Side swipes also from the Greek artist. Conspicuous yawning, snoring noises, rolling eyes. Finally, the musician puts her head on the table while her Israeli colleague has the floor. It doesn’t stop with such rude gestures. Irish act Bambie Thug said in an interview when asked whether Israel’s participation was a burden on the ESC: “It overshadows everything and contradicts everything that Eurovision is supposed to be.”
Organizer EBU seems to be losing control
Even before the start of the second semi-final, in which Israel will make its ESC appearance, the organizers – the European Broadcasting Union (EBU) – take a stand on the pressure from the public. One is aware of “the deep feelings and strong opinions that this year’s Eurovision Song Contest – against the backdrop of a terrible war in the Middle East – has evoked.” Opinions are legitimate and understandable. However, the decision to include Israel is at the discretion of the EBU. “These artists come to Eurovision to convey their music, their culture and the universal message of unity through the language of music.”
But that doesn’t stop. And as if this construction site wasn’t enough, another one is added at the last minute. Joost Klein (“Europapa”) is disqualified. He is said to have made a threatening gesture towards a camerawoman who was filming him, even though he didn’t want to. On the final evening, the Dutch and other small fans take revenge with boos and hollers against the elegantly dressed ESC boss Martin Österdahl, who in normal years initiates the awarding of points completely unmolested and happily high above the audience – the heart of the ESC. His voice can hardly be heard, it echoes so loudly from the hall. This is joined by Israel’s opponents: every point for the country is punished with boos.
Anyone who has been watching the ESC on television for many years knows: the EBU likes to have complete control over the image its most important Eurovision project presents to the outside world. In the past, whistles and boos have been reduced in volume using small microphone tricks, for example in the context of Ukraine and Russia. The camera work traditionally likes to hide everything unpleasant: protest posters, angry faces and unpleasant opinions.
The fact that this no longer works today should be a lesson for the ESC 2025 in Switzerland. Then winning act Nemo will definitely be part of the show again. “I really hope that Eurovision will and can continue to stand for peace and love in the future. I think there’s still a lot of work to be done on that,” says Nemo – the replacement trophy next to him.
UKRAINE: alyona alyona & Jerry Heil (Teresa & Maria) FRANCE: Slimane (Mon Amour) SWITZERLAND: Nemo (The Code) CROATIA: Baby Lasagna (Rim Tim Tagi Dim) ISRAEL: Eden Golan (Hurricane) GERMANY: Isaak (Always On The Run) EBU statement on hostility towards artists from May 9th.