This weekend marked the 70th edition of the Eurovision Song Contest, where Israel secured yet another second place. This outcome is significant for the country, especially as various left-wing activists have long sought its removal from the event.
Notably, figures like Swedish climate activist Greta Thunberg have called for Israel’s expulsion, in response to the recent Hamas attacks on October 7, 2023. They claim Israel is committing “genocide” while trying to prevent further acts of violence from Hamas.
Many celebrities instead of showing support for those affected by terrorism, urged the European Broadcasting Union (EBU) to ban Israel. This follows Russia’s expulsion from Eurovision in 2022 after its invasion of Ukraine. However, the EBU stood firm in its support of Israel, highlighting its long history with the contest, including four victories since 1973. In a twist, five countries—Spain, the Netherlands, Slovenia, Ireland, and Iceland—decided to boycott this year’s event, allowing Eastern European entrants like Moldova, Romania, and the eventual winner Bulgaria to thrive.
Rather than isolating Israel, these boycotts seem to have created an environment where Israel was treated as simply another participant. The competition proved to be the least controversial since the events of October 7. Israeli singer Noam Bettan performed the song “Michel” and took second place behind Bulgaria’s Dara and her track “Banga Langa.” This ranking feels particularly poignant considering the heckling Bettan faced during his semi-final and the global boycott calls against Israel.
Reports indicate that a few individuals were removed from the venue for their loud jeers during his performance. While some observers saw this as evidence of widespread opposition to Israel, the number of disruptors seems small compared to previous years when anti-Israel sentiments were more openly expressed during broadcasts.
Leading up to the event, Bettan appeared more integrated with other artists than before. Competitors expressed camaraderie by welcoming and even hugging him, which was quite a shift from the previous year’s atmosphere. Among the attendees was British pop star Boy George, representing the small nation of San Marino, and Moldovan artist Satoshi who, with his lively song “Viva Moldova!”, shared a light moment with Bettan.
A photo of Bettan along with singers from Albania and Denmark circulated online, illustrating the newfound support among competitors—an apparent change from recent years where Israel faced ostracism. However, concerns lingered that artists from Albania and Denmark might encounter backlash for showing any affiliation with an Israeli artist.
This year, Danish artist Søren Torpegaard Lund was also critiqued for a separate incident involving pro-Israel stickers, yet his explanation seemingly diffused the situation, allowing him to perform unharmed. Denmark’s seventh-place finish felt like a notable accomplishment in a more positive context.
The winners from Bulgaria maintained a favorable view toward Israel, with Dara reportedly expressing appreciation for Bettan’s rehearsal performance. Although these reports remain unverified, they didn’t seem to hinder the excitement surrounding Bulgaria’s victory, unlike previous years where similar sentiments could incite backlash.
The treatment of Noam Bettan in this year’s Eurovision reflects a potential decline in anti-Israel sentiments within this lighthearted yet prestigious competition. It suggests that hostility toward Israel may be waning among Eurovision fans, despite a broader rise in anti-Semitism across Europe in recent times.
