EUROVISION NEWS WITH ATTITUDE
Amid ongoing controversy following the Eurovision 2025 results, there are new insights into how the European Broadcasting Union viewed and responded to controversies at Eurovision 2024.
Internal documents, published exclusively by Spanish outlet verTele!, include a formal warning letter sent by the EBU to the Israeli broadcaster KAN for alleged misconduct, as well as the final conclusions of an independent investigation commissioned by the EBU after the Malmö contest. The latter helped set actionable recommendations for Basel.
During Eurovision week in 2024, the contest was marred by an escalating series of controversies — from disqualifications and the harassment of artists and journalists to the withdrawal of spokespeople and bans on certain flags. The atmosphere grew increasingly tense as the week unfolded.
Now, verTele! has published a letter signed by Martin Österdahl, Executive Supervisor of the Eurovision Song Contest, and Bakel Walden, President of the Contest’s Reference Group, on May 11, 2024 (Eurovision 2024 Grand Final). Addressed to Sharon Drikes, Head of Delegation for KAN, the letter formally warned of “certain breaches of the rules by members of the KAN delegation,” specifically citing two incidents.
The EBU received official complaints that the Israeli media team displayed “intrusive, offensive, and provocative behaviour” toward other national delegations during Eurovision week. The organisation reminded KAN that all participating broadcasters are required to respect filming rules, maintain professionalism backstage, and avoid conduct that could damage the reputation of the event.
The letter also noted that KAN commentators made discriminatory remarks during Ireland’s performance — a direct violation of the rule requiring commentators to remain neutral and avoid derogatory commentary about other contestants.
As a direct consequence, the EBU informed KAN that their delegation would be physically relocated away from other participants to prevent further incidents. The letter also warned that financial sanctions could be imposed, and cited specific rules from the contest’s code of conduct that KAN had breached.
According to verTele!, at least 16 delegations filed formal complaints about the Israeli delegation’s behaviour. The situation became so tense that six countries reportedly threatened to withdraw from the contest just 30 minutes before the final was set to begin — though two of these later denied the claims. Tensions were further inflamed by harassment of Spanish journalists by the Israeli press.
In response to the fallout, the EBU announced it would be launching a formal investigation. That took place one month after Malmö 2024 concluded. The investigation was led by Pernille Gaardbo, executive producer of Eurovision 2014. Gaardbo conducted 53 interviews between May 22 and June 6 with members of the EBU Core Team, the Reference Group, and nearly all Heads of Delegation involved in the contest.
The investigation followed mounting complaints — particularly regarding Israel’s conduct — and was publicly acknowledged by the EBU at the time. By July, the EBU announced it had concluded the inquiry and committed to implementing reforms. These included promises for structural changes, which were gradually unveiled: a “safe space” for artists, a call for “neutral and apolitical behaviour,” and a new Code of Conduct designed to protect participants and to “minimise risks” during Eurovision 2025.
verTele! has now obtained and published the original investigation report submitted by Gaardbo, which served as the foundation for these changes. The report outlined comprehensive recommendations to overhaul how Eurovision is organised and governed. The EBU subsequently adapted this into an official internal document — also accessed by verTele! — which was distributed to all member broadcasters.
This official document consisted of a new strategic “Roadmap” for the contest’s future, focusing on nine key areas of development, which the EBU pledged to refine through ongoing discussions with Eurovision’s governing bodies. These reforms were intended to be fully implemented for the 2025 edition.
The roadmap outlined nine key areas, which verTele! has analysed and debated. The newspaper concluded that the roadmap has not been implemented in a meaningful way. You can read them in full on the verTele! web site. But in short….
Key Area 1 concerns the list of participating countries. From the outset, the EBU emphasises Eurovision’s non-political nature, while also recognising increasing reputational risks tied to geopolitical tensions. However, the strategy notably avoids mentioning Israel by name, reducing the backlash in 2024 to vague references of “external forces.” This omission stands in stark contrast to the EBU’s swift expulsion of Russia in 2022. Although four member broadcasters — including RTVE and RÚV — formally requested a debate on Israel’s inclusion, the EBU chose to delay the debate, prioritising the continuity of the event over transparency.
Key Area 5 addresses crisis management, focusing on streamlining and strengthening internal procedures. But verTele! criticises this approach for emphasising damage control at the expense of accountability.
Key Areas 6, 7, and 8 concern external communications, collaboration with fans and media, and promoting inclusivity. Yet, in 2025, media restrictions were tightened: rehearsal footage was limited, space for fan engagement reduced, and semi-final winner press conferences were even removed.
Finally, Key Area 9 focuses on financial sustainability, calling for a review of costs and revenue models.
Jordi Pedra contributed this report from Barcelona and has been a fan of Eurovision since Rosa’s early 00’s disco craze “Europe’s living a celebration”. Listening to music, reading and traveling are some of the things that he enjoys the most to do… and watching Eurovision, without a doubt! You can follow him on Instagram @jordipmz or Bluesky. Keep up with the latest Eurovision news and gossip by liking our Facebook page and by following the team on Twitter @wiwibloggs.
It’s quite a good letter. Pity it wasn’t made public last year. Might have lessened the EBU hate (lessened but not negated). Sad thing is they made a lot of very good (and one would have thought already existent) changes to welfare and conduct during ESC, but still kept the voting methodology that was introduced l; and abused; in 24, for the 25 competition… And here we are again. Same abuse. They’re a bit tone-deaf at the EBU. Anywho… If they do it again in 26… They’re really not fit for the job, or live a alternate reality. Thanks VerTele…… Read more »
Intrusive, offensive, and provocative behaviour, but no DQ, how about the zero tolerance policy…
So basically, a certain nationality is allowed to display “Intrusive, offensive, and provocative behaviour” and all they get is a little letter basically saying “we gotta object a little but you know, you’re the chosen ones so you can do whatever you want”. The EBU is a joke of an institution. Invade my personal space once, see what happens. I’d get disqualified for sure. Unbelievable what artists are forced to put with.
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