The Eurovision Song Contest 2026 was marked by great music, and by continuing controversy over Israel’s participation.
Articles on Eurovision
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70 years on, Eurovision voters are driven by identity, politics and national alliances – and the juries and public often don’t agree.
In 2022, six jury scores from the second semi-final were nullified on grounds of collusion.
At one point in Eurovision’s history, all instruments present in a song had to be on stage.
Spain is the fifth country to say it will not participate in Eurovision 2026 if Israel remains a part of the competition.
The Intervision song contest is a relic of the cold war reactivated this year by Vladimir Putin.
Invites are rescinded, teams and singers are booed, and citizens wonder if they should disclose their nationality. Israelis are feeling the effects of international isolation.
Eurovision 2025 is a reminder of how music can force us to to confront the uncomfortable.
Many of this year’s songwriters have competed in the contest before.
Next year will mark the 69th edition of the contest. But the highly charged nature of this year’s event has left many question its future.
While they may have fallen short of Eurovision glory, Electric Fields still blazed a trail for First Nations representation.
Recent coments by ARIA CEO Annabelle Herd reveal a jarring discrepancy between our support for Australian musicians and our actual listening and spending habits.
Perth synth-metal band Voyager was voted ninth in the world at the 2023 Eurovisions. Was the keytar the secret to their success?
Sweden’s Loreen is now the second person to win Eurovision twice, the first woman to win twice, and the first LGBTQIA+ artist to win twice.
Thanks to the popularity of shows such as RuPaul’s Drag Race, camp is now mainstream. This is perhaps one reason Eurovision has suddenly become perceived as cool.
Offering an inclusive and diverse space for self-expression, Eurovision has found an appreciative audience in the LGBTQ+ community over the years.
2023 sees the UK host the Eurovision Song Contest on behalf of Ukraine. But what role does the stage itself have to play in the musical spectacle?
The UK has now chalked up a record 16 second place finishes. But what would it take to go one better and win the whole thing?
Let’s get one thing straight from the get-go: this contest is way older than the European Union.
When Teya and Salena take to the Eurovision stage next week, their song may be new, but their story of ghostly authorship and spirit possession comes straight from Poe’s work.
Top contributors
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Associate Professor in Humanities, University of Southern Queensland
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Reader in 20th Century History, University of Hull
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Associate Professor, Music Industry, RMIT University
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Academic, Leeds Trinity University
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Director, MA Cultural Policy, Relations and Diplomacy, Goldsmiths, University of London
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Associate Professor of History, University of Nottingham
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Teaching Associate in Politics and History, Monash University
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Lecturer in Medical Statistics, UCL
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Non-Clinical Lecturer in Biostatistics, Imperial College London
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Associate Professor in Politics and International Relations, Monash University
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Président, Kühne Logistics University; ESCP Business School
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Associate Professor of Design Research, Emerging Technology Research Lab, Monash University, RMIT University
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Professor of Drama, Flinders University
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Professor Emerita, Classical Studies, The Open University
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Co-director of The J.M. Coetzee Centre for Creative Practice, Adelaide University