From soaring power ballads to novelty earworms, disco to metal and even “ouija pop”, there’s nothing quite like Eurovision – watched by millions around the world, tuning in to celebrate live music’s weird and wonderful.
Politics has always played a part, despite insistence by organisers the European Broadcasting Union (EBU) that it remains politically neutral.
Countries have pulled out or been banned in previous years – most notably Russia in 2022, just days after the invasion of Ukraine.
But it now seems like Eurovisioncould be facing its biggest political crisis yet.
Image: Yuval Raphael represented Israel at this year’s contest, held in Basel in May. Pic: AP
In the last two years, there has been growing controversy over Israel’s participation, with protests in host city Basel, Switzerland, earlier this year, andMalmo in Sweden when it held the competition in 2024.
Ahead of next year’s ceremony in Vienna, Austria, tensions have risen already.
Earlier this month, Irish broadcaster RTE made an announcement: it will boycott the competition if Israel is allowed to take part. The Netherlands and Spain quickly followed suit, and other countries including Slovenia and Iceland have suggested similar.
It comes amid increasing criticism of Israel’s continued military action in Gaza, launched in response to the attack by Hamas militants on southern Israel on 7 October 2023, which left some 1,200 people dead.
The Eurovision Song Contest Reference Group, the competition’s governing body, has extended the deadline for broadcasters to confirm participation to mid-December. It says a decision on Israel’s participation is pending and that it has “taken note of the concerns expressed by several broadcasters”.
Politics at Eurovision – and why is this different?
Image: Kalush Orchestra won for Ukraine in 2022. Pic: AP/Luca Bruno
What is unfolding now is unlike anything that has come before, says Dean Vuletic, a historian of contemporary Europe and author of Postwar Europe In The Eurovision Song Contest.
“Politics has always been there,” he says. “Countries have always used the contest to send political messages. For example, in the very first contest in 1956, West Germany was represented by a Jew and a Holocaust survivor.
“In recent years, though, things have changed because the European Broadcasting Union has had to make political decisions.”
Vuletic cites Belarus’s exclusion in 2021, after the country had experienced large protests over the disputed re-election of leader Alexander Lukashenko, and its entry was deemed too political.
The following year, Russia was kicked out just a few days after the start of the invasion on Ukraine. The EBU said at the time that Russia’s participation would “bring the competition into disrepute”.
But these are not the first examples of countries being excluded from the competition; this first happened in the early 1990s, when the then Federal Republic of Yugoslavia was banned due to UN sanctions.
“When it came to Belarus, Russia, there were also European sanctions,” says Vuletic. “Israel was for a long time not subject to sanctions from European countries for its actions in Gaza – although in recent days we’ve seen that changing.”
What have the different countries said?
Ireland (RTE): “RTE feels that Ireland’s participation would be unconscionable given the ongoing and appalling loss of lives in Gaza. RTE is also deeply concerned by the targeted killing of journalists in Gaza, and the denial of access to international journalists to the territory, and the plight of the remaining hostages.”
The Netherlands (AVROTROS): “AVROTROS can no longer justify Israel’s participation in the current situation, given the ongoing and severe human suffering in Gaza. The broadcaster also expresses deep concern about the serious erosion of press freedom: the deliberate exclusion of independent international reporting and the many casualties among journalists. In addition, there is proven evidence of interference by the Israeli government during the most recent edition of the Eurovision Song Contest, in which the event was used as a political instrument.”
Spain (RTVE): “Spain will withdraw from Eurovision if Israel remains in the contest. The board of directors of the corporation made this decision… by an absolute majority of its members.
Spain is the first member of the ‘Big Five’ to adopt this agreement and joins other European countries that have already announced their withdrawal.”
Slovenia (RTVSLO): “At the EBU General Assembly, which was held in London at the beginning of July, RTV Slovenia presented its position that if Israel were to participate in the Eurovision Song Contest – due to the genocide in Gaza – it would not participate in the competition.”
Iceland (RUV): “I think it is likely that if there is no change in EBU’s position and it does not respond to these voices of concern coming from us, from Spain and Slovenia and others, then that will call for reactions from these broadcasters. But let’s just wait and see.”
What about the BBC?
Image: Remember Monday represented the UK at Eurovision in 2025. Pic: MANDOGA MEDIA/picture-alliance/dpa/AP
BBC director general Tim Davie has said the corporation is “aware of the concerns” raised, but the song contest has “never been about politics”.
A spokesperson for the broadcaster sent a similar statement to Sky News, saying: “We are aware of the various views and concerns which have been expressed in recent days in relation to next year’s Eurovision. At this stage, we will continue to be part of the discussions, led by the European Broadcasting Union, with other members and broadcasters.
“Eurovision has never been led by politics, it has been – and is – a celebration of music and culture that brings people together from across the world.”
Why is Spain’s stance particularly important?
Spain is one of Eurovision’s “Big Five” countries, a group which also includes France, Germany, Italy and the UK. While the host broadcaster – decided by the previous year’s winner – will often contribute most towards the cost of staging the contest, the Big Five will also make up a significant amount.
These countries are big markets for Eurovision and acts are given direct entry to the final because of this. They also act as reserve countries should a winning country not be able to host; in 2023, the UK stepped in following Ukraine’s win the previous year.
Image: Pic: Corinne Cumming/ EBU
“Dr Eurovision” Paul Jordan, who has a PhD in the subject and also worked behind the scenes as part of the EBU’s communications team between 2015 and 2018, says Spain’s stance has increased the pressure.
“There’s always been these tensions but there’s never been a kind of threat of a mass boycott in the way that has happened now,” he says. “The fact they are now outwardly saying they won’t participate with Israel in, that could make the EBU sit up and take notice because there is potential funding pitfalls and audience pitfalls.
“Having a big five country not part of the contest could potentially unravel the funding model. I also think the funding itself potentially needs to be looked at in the context of the financial challenges facing public broadcasters today.”
The EBU has said it is “assessing the potential impacts” of broadcasters pulling out. When asked by Sky News if this includes financial ones they, simply said that “all impacts will be assessed”.
Are other countries likely to follow suit?
Image: Germany, represented by Abor & Tinny at this year’s event, has said it will support the EBU’s decision. Pic: MANDOGA MEDIA/picture-alliance/dpa/AP
Sky News has contacted broadcasters set to take part in the event. Italy’s RAI, another of the Big Five, said it hoped to have news on the issue soon. Germany’s SWR said its parent company, ARD, supports the consultation process and will back the EBU’s decision.
In a statement, an SWR spokesperson said the goal is “to reach a well-founded and sustainable agreement that aligns with the values” of the EBU.
“The ESC has been a major musical event for decades, connecting people across Europe and beyond through diversity, respect, and openness, regardless of origin, religion, or beliefs. It is a competition organised by EBU broadcasters, not by governments.”
Experts agree the number of countries threatening a boycott will likely increase – although it could work both ways.
“We have to see what this period of consultation will bring, which countries will also join the calls for a boycott of the contest if Israel does participate, which countries might be steadfast in their support of Israel,” says Vuletic.
“For now, that’s not clear, whether countries will actually be so supportive of Israel so as to themselves contribute to a boycott of the contest. That would be a very big political message because if they take the side of Israel and not of their European partners, then we might see even greater ramifications of this crisis.”
What has Israel said?
Image: Netta won the competition for Israel in 2018. Pic: Armando Franca/AP
Israel’s broadcaster, Kan, did not respond to Sky News’ request for comment.
However, chief executive Golan Yochpaz reportedly told the Times of Israel that the event should not become political and that that there is “no reason” why Israel should not be part of it.
He also highlighted Israel’s success in the competition, with one win in 2018 and three other top-five finishes in recent years.
The situation in Gaza
More than 65,000 people in Gaza have now been killed in the war, according to the Hamas-run health ministry. The figure does not specify the number of Hamas members killed.
The ongoing military action continues following the Hamas terror attack on Israel in October 2023, which saw around 1,200 people killed and 251 people taken hostage. Forty-eight remain in Gaza, but fewer then half are thought to still be alive.
Earlier in September, a UN commission agreed Israel is committing genocide – the first time such an explosive allegation has been made publicly by a UN body. Israel has vehemently denied this claim as “distorted and false”.
Sky News analysis shows thousands of families remain in crowded tent camps in Gaza City, with the UN estimating last week that a million people remain there.
Israel, however, believes 40% of the population has already fled south and earlier this week opened a new evacuation route for 48 hours.
What happened at the contest this year and in 2024?
Image: Final scores for the Eurovision Song Contest 2025. Pic: BBC
Israeli contestant Yuval Raphael, a survivor of the October 2-23 Hamas attack, won the public vote with the song New Day Will Rise, and at one point looked set to be crowned the overall winner of this year’s competition – but ultimately finished second when the jury vote was included.
There were protests before and during her performance.
“I was just metres away from pro-Palestinian protesters who threw red paint when the Israeli artist appeared on stage,” says Vuletic. “And of course, it must be hugely stressful for these artists. There are also increased security measures, especially for these artists who are targeted.
“You could sense the tension in the arena when it became apparent that Israel could win the contest. A lot of people were willing to allow Israel to participate in the contest, they were not necessarily supporting the Netanyahu government… but when it appeared that Israel really could win the contest you could really sense this fear among the live audience in the arena, that the contest could be held in Israel the following year.”
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Protest during Israel’s Eurovision song
Having Israel as a host country would lead to a lot more countries boycotting, he says.
“It’s become so toxic,” says Jordan. “You see now, booing on the stage in a way that you had for Russia before. But really, in 2024, it became much more pronounced.
“Eurovision is meant to be joyous. And I remember the day of the [2024] final being with friends in a pub. And it just felt like an impending sense of doom, something was going to go wrong… it just felt that this is a house of cards that could potentially come falling down…
“Eurovision for me was all about escapism, they call it the Eurovision bubble. And that was a very special thing. And I feel now that’s kind of changing. It feels like an event that we all grew up with, now at 70 years old, and it could potentially start to unravel. It’d be a great shame, I think, culturally, if that does happen.”
Who else has commented?
Image: Austria will host the event in 2026 following singer JJ’s win. Pic: Reuters
Austrian singer JJ, who won this year’s competition, has also reportedly called for Israel’s exclusion in 2026.
Following his win in May, singer JJ said it was “disappointing to see Israel still participating”, according to Spanish newspaper El Pais. “I would like the next Eurovision to be held in Vienna and without Israel,” he added.
And Austria will of course host the show next year.
In a statement sent to Sky News, broadcaster ORF said the decision is a matter for the EBU.
“It is always the public broadcaster of a country that takes part in the Eurovision Song Contest, not the government or country itself,” an ORF spokesperson said. “Ultimately, however, the decision regarding participation is a matter for the EBU and its members. ORF will be a good host for all delegations in May 2026.”
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Russia’s alternative Eurovision
What happens now?
The competition’s director, Martin Green, has said the EBU understands “the concerns and deeply held views around the ongoing conflict in the Middle East” and that the organisation is still consulting with all members “to gather views on how we manage participation and geopolitical tensions”.
Broadcasters have until mid-December to confirm whether or not they are taking part – and the EBU then has a decision to make.
A woman has been charged with fraud offences over the alleged sale of Oasis tickets.
Rosie Slater has been charged with 11 counts of fraud by false representation, Staffordshire Police said.
The 32-year-old, of Newcastle-under-Lyme, Staffordshire, has been granted unconditional bail and is due to appear in court at North Staffordshire Justice Centre on 11 December.
The charges relate to the alleged sale of Oasis tickets in May.
It comes as ministers confirmed plans to make it illegal for tickets to concerts, theatre, comedy, sport and other live events to be resold for more than their original cost.
Earlier this month, pop stars including Sam Fender, Dua Lipa, Coldplay and Radiohead urged the prime minister in an open letter to stand by his election promise to restrict online ticket touts.
The huge profits made by resellers were put in the spotlight last year when thousands of Oasis fans complained of ticket prices for their reunion tour, with some Wembley Stadium show tickets listed at more than £4,000.
The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.
Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”
“RIP RKID,” he added.
Image: Gary “Mani” Mounfield and his wife Imelda at the world premiere of “The Stone Roses : Made Of Stone” in 2013. Pic: Reuters
Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.
Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.
Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.
Image: Ian Brown, left, with Mani, right, performing on stage during their 2012 reunion concerts in Manchester. Pic: Reuters
The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”
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Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.
“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”
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The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.
“It never failed to bring a smile to my face – and that was exactly the same for the man himself.
“One of the absolute best in every way – such a beautiful friend.”
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Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.
He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.
Image: Pic: Robert Marquardt/ZUMA Press Wire/Shutterstock
The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.
The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.
The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.
Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.
More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.
Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.
“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.
“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.
“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”
Image: Chevalier, author of the book Girl With A Pearl Earring, with the painting of the same name. Pic: AP
Why authors are so worried
The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.
Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.
Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.
Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.
The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.
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Could the AI bubble burst?
These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.
Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.
Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.
Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.
The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.
However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.
Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.
One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.
“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.
Is there a role for government?
Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.
The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.
“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.
“It is both bad economics and a betrayal of the very cultural assets of British soft power.”
A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.
“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.
“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”