Eurovision 2024 will be remembered as one of the most dramatic editions – not only for its songs or Eden Golan, but also because of the Dutch representative. What truly happened behind the scenes with Joost Klein?

On May 11, 2024, at exactly 5:45 PM, Eric van Stade, former managing director of AVROTROS, stepped out of a shiny taxi at the Clarion Hotel in Malmö, Sweden. It was a calm early evening — a street orchestra softly played “The Winner Takes It All” by ABBA to set the Eurovision mood. Yet, in the background, protesters wrapped in Palestinian flags had begun to gather, passionately demonstrating against Israel’s participation in the contest.

What no one knew at that moment was that, although this was the day of the Eurovision Grand Final, it would in fact become the night when Joost Klein would be disqualified — sparking one of the most explosive scandals in the contest’s history.

Joost Klein Behind the Scenes of Eurovision 2024

To understand how Joost Klein’s Eurovision journey came to a sudden end, we must rewind to the early days of preparation in Malmö. Upon arriving in Sweden in late April, Klein received considerable support from both local and international fans. His song “Europapa” had already gone viral, and expectations were sky-high — both from fans and bookmakers, where he ranked third.

However, behind the scenes, tensions brewed. On April 30, shortly after a rehearsal by the Dutch team, an incident occurred between Klein and a Swedish camerawoman hired to film a backstage documentary. As she tried to capture footage of him removing his in-ear monitors — a routine moment — Klein loudly said: “Stop filming!” twice, in a tone audible to surrounding staff. When the camerawoman explained she had permission to film, he retorted sharply: “Still no!” and walked away.

This reaction raised concerns among production staff. Some speculated whether Klein had unspoken sensitivities or special needs. Others recalled the 2016 case of Norwegian representative Agnete, who struggled with depression — and was treated with extra care. The situation led to an official conversation between production officials and the Dutch delegation, emphasizing that Klein was expected to follow Eurovision’s strict behavioral guidelines. This is a massive production with thousands of precisely orchestrated details — and there is no room for exceptions.

Joost Klein and the Pressure Behind the Scenes

In parallel, it became increasingly clear that Klein was struggling with the unique pressures placed on Eurovision contestants. Although traditional press conferences had been canceled that year, they were replaced with required social media tasks — especially on TikTok, a platform where Klein first rose to fame. Ironically, it was here that he resisted most, seemingly frustrated by the loss of control over his content.

Further pressure came from other delegations’ media teams. Every country brought independent media crews that recorded extensively backstage — often waiting outside dressing rooms to catch artists as they exited. The Dutch team described it as a “siege”, in a time when performers needed peace and focus.

The situation intensified due to tensions surrounding the Israeli delegation. Amid boycott threats from other countries — especially Ireland and Norway — the conduct towards the Israeli delegation stood out. They received daily hostility from others backstage, including cold stares and demands to delete shared photos with Israeli team members.

Eventually, it seemed that all sides had come to an understanding. Rules were clarified, and the Swedish camerawoman was told she could film Klein, as long as proper protocol was followed.

Joost Klein’s Semifinal Performance – A Peak in Tension

On Wednesday, May 8, Joost Klein’s full performance was finally revealed to the international press. For days, only brief rehearsal clips and stills had leaked online — much to Klein’s frustration. He was unaware that in previous years, rehearsals were public, and he insisted on keeping his act secret until the live broadcast. His request was denied.

These leaks caused a noticeable drop in the Netherlands’ odds. When Dutch media published lukewarm reviews, morale within the delegation took a hit. In response, Klein posted a video to his Instagram mocking the bookmakers: “Die bookmakers, dat is gewoon een lijstje van gokverslaafden.” (Translated as: “Those bookmakers are just a list of gambling addicts.”)

The next morning, on May 9, he was approached by Dutch journalists outside his hotel. When a reporter asked about the promised “moon landing” in his act, Klein replied sarcastically: “Heb jij al veel weeskinderen gezien die zoiets doen als ik?” (Translated as: “Have you seen many orphans doing what I do?”)

When a De Telegraaf reporter brought up the poor reviews, Klein didn’t answer but launched into a rant about online clickbait: “Dat werkt niet, jongens. Stay tuned to the truth.” (Translated as: “That doesn’t work, guys. Stay tuned to the truth.”) In another interaction with a camera, he loudly declared to his followers: “We doen het met zijn allen!” (Translated as: “We’re doing this together!”). Watch Joost Klein’s semi-final performance at Eurovision 2024:

Europapa – A Brief Moment of Triumph

That evening, during the second semifinal, Klein gave a stunning performance. While he had appeared slightly uneasy during the dress rehearsal, he seemed completely in his element in front of the packed Malmö Arena. The crowd erupted, dancing and singing along to “Europapa.” The stage was electric.

As the song ended, Klein leapt offstage, gave out high-fives to fans, and ran backstage — straight into a second and final encounter with the same Swedish camerawoman.

“Hee! Why are you filming?” – The Fatal Outburst

The camerawoman was in the designated “cooling down” zone (“afkoelruimte”), watching the joyful participants when she attempted to film them with her Sony A7 III camera. Klein immediately spotted her and shouted: “Hee! Why are you filming?”

Initially, she thought he was joking — given the celebratory mood. But when she realized he was serious, she quickly turned off her camera, hoping to defuse the situation. Klein kept moving toward her.

Trying to protect her equipment, she hugged the camera close to her body. Klein made a sweeping motion with his arm toward the device. She felt the camera jolt against her chest and, looking up, saw Klein running toward the green room. Shaken, she realized the camera had been damaged.

Conflicting Accounts

Later in police questioning, Klein said he did not recognize the camerawoman from the previous encounter but believed he had made it clear that he didn’t want to be filmed while exiting the stage. According to him, he only intended to push the camera aside after being ignored.

There was no footage of the alleged contact, since the camera had already been turned off — complicating any investigation.

A Hostile Press Conference

Later that evening, Klein joined the official press conference for the ten qualifying acts. It was a lengthy event, widely shared online. Klein appeared bored and withdrawn. At one point, he draped a Dutch flag over his head.

When Eden Golan, Israel’s representative, was asked by a rude Polish reporter named Simon Stelmashyk an unprecedentedly audacious question: whether she believed her presence made other contestants feel unsafe. The Swedish moderator intervened, saying: “You don’t have to answer that.” Klein shouted: “Why not?” — a comment that echoed loudly throughout the room and quickly went viral.

Golan delivered a calm and diplomatic response. Throughout her answer, Klein refused to make eye contact and remained hidden under the Dutch flag. The incident underscored the intense backstage tension of that week. Watch Joost Klein cover himself with the Dutch flag during the press conference:

Joost Klein’s Disqualification – A Dramatic Friday Morning

On Friday morning, May 10, Claudia van der Pas, who had recently been appointed head of the Dutch delegation, received a phone call from Swedish police. She was informed that Joost Klein would not be allowed to perform in the Eurovision Grand Final.

The blow was both unexpected and severe. That same day, Klein still took part in the final jury rehearsal — a crucial performance not broadcast to the public but used to determine the jury votes. Since he was barred from performing live, the organizers decided to show footage of his earlier Thursday morning rehearsal instead.

In practice, this became Klein’s final appearance at Eurovision 2024.

Eurovision Continued – Without the Netherlands

During Saturday’s Grand Final dress rehearsal, Klein was supposed to walk in the traditional Parade of Flags. However, when his segment was due, Eden Golan entered the stage instead.

Backstage, it was now clear: the Netherlands had been disqualified. The Swedish police conducted interviews with both the camerawoman and Klein. But the public decision had already been made: Klein was officially out of the contest.

Internal Fallout – Collective Devastation

Inside the Dutch delegation, there was shock and disbelief. Nearly ten months of preparation — from artist selection to production and media planning — had collapsed in an instant.

Frustration quickly spilled into public view. Cornald Maas, a selection committee member and official commentator, stormed out of the hotel. He told reporters: “At some point it will come out what happened and then everyone will realize that nothing happened.” Then he added bluntly: “I almost wanted to say: Fuck the EBU! But I’m saying this now.”

At his side, delegation spokesperson Zimmerman reiterated: “The EBU then decided to disqualify Joost. We find that decision disproportionate.”

The Dutch delegation’s official position was clear: they believed the decision was excessive and unfair. However, these statements were made without any of the team members having directly witnessed the incident.

Who Was Actually There?

The only individuals present during the incident were Joost Klein himself and his four on-stage collaborators: Appie Mussa (dancer in the bird costume), Martijn van Eijzeren (a.k.a. Stuntkabouter, the DJ performer), and dancers Sophia Mason and Indy van Cauwenberg.

Other delegation members — media chief Josine Olgers, producer Teun de Kruif, Klein’s manager Rick Bakker, deputy head of delegation Claudia van der Pas, and Cornald Maas — were elsewhere inside Malmö Arena.

The only team member authorized in the immediate backstage area was creative director Gover Meit (formerly known as Stefano Keizers). He later said on Eva Jinek’s show that he didn’t witness the incident because “I was standing around the corner.”

The Dutch response — including their media strategy in the following months — relied entirely on the testimonies of the five stage performers. At no point was there any contact with the Swedish camerawoman, not even through legal representatives. Her attorney later stated that she wished to put the matter behind her. Watch the interview of Joost Klein and Gwer Mate with Eva Jinek:

EBU’s Decision – Legal and Moral Dimensions

On the Monday following the Grand Final — in which Switzerland took the victory — the EBU released an official statement: Klein’s disqualification had been unanimously approved by the Executive Board.

The Eurovision Reference Group, composed of representatives from various participating broadcasters, also supported the decision. Although the approval may not have been unanimous within that group, it was sufficient. In effect, representatives from other countries — including Klein’s competitors — had a hand in his removal from the competition.

His fellow contestants were the ones who voted him out.

A Divided Public

The incident sparked intense reactions in the Netherlands and beyond. Some supported Klein, claiming he was a passionate, complex artist who cracked under immense pressure. Others — especially in Swedish media — argued his behavior had clearly crossed the line.

Even within Dutch media, opinions diverged. Some outlets rallied behind Klein and the national broadcaster, while others criticized his combative attitude — pointing out that concerns about his unpredictable behavior were raised as early as his audition.

Shocking Revelation: Early Decision on Disqualification

Following the exposure of new details regarding the events in Malmö, a document was revealed that sheds light on how the EBU made its decision to disqualify Joost Klein from the competition. The document is an updated version of the rehearsal script, which had been distributed to several national commentators covering the event.

The revised script was sent out at 12:56 PM local time on Friday, May 10 — more than half an hour before the final dress rehearsal was scheduled to begin at 1:30 PM. According to this script, the Dutch delegation’s performance slot was completely removed, indicating that a decision had already been made not to allow Klein on stage for the rehearsal.

This update raises serious questions about the EBU’s handling of the situation. On one hand, the decision to disqualify Klein had clearly been made well in advance of the rehearsal. On the other hand, no formal or transparent update was shared with all delegations. The document simply marked the Dutch performance as “cancelled,” without offering any explanation for the disqualification or what had occurred backstage.

In an interview on a Dutch talk show, Klein revealed that he spent eight hours backstage on that Friday without receiving any further updates on his status in the competition. This supports claims that delegations were not kept informed in real time about major decisions — even when they were already recorded in the official rehearsal script.

The newly exposed document suggests that the decision to remove Klein was made long before the final show — but that the EBU’s communication surrounding the matter was flawed and incomplete.

A Promising Start – A Tumultuous End

It’s important to recall that it was Twan van den Nieuwenhuijzen, who had recently taken over as Head of Delegation following the disappointing result of Mia Nicolai and Dion Cooper in 2023, who had sought a fresh start. He organized an extra audition round — and despite competing against well-known names like Ilse DeLange and Numidia, Klein’s charisma, energy, and the Europapa concept won the jury over.

It was no secret that Klein could be difficult to work with. His past appearances at music festivals were marked by erratic and sometimes rude behavior. Before Eurovision, he was called in for an extra conversation, to emphasize how different this stage would be compared to his previous performances.

His song “Europapa” quickly became a viral hit — especially among children, who replicated its signature dance moves in droves. But just as quickly as he had risen — everything collapsed.

New Testimonies Emerge

Véras Fawaz, director and creator of the music video for “Europapa”, shared his experiences working with Joost Klein, stating that he was not surprised things didn’t go smoothly. On the podcast “Bigger Picture”, he said that Klein was already a problematic and controversial figure even before his disqualification from the Eurovision Grand Final in Malmö. In fact, according to Fawaz, Klein assaulted someone during the video shoot for the Dutch entry.

Fawaz and Klein have been longtime collaborators and know each other well. Still, Fawaz admitted he had difficulty with Klein’s behavior on set — especially when Klein allegedly lashed out at the assistant director: “This video cost me about a month and a half of my life. I earned zero euros from it. I don’t make money from videos anyway. So I think you also need to value the people who do this for you. That includes an assistant director who’s on set for zero euros. You just can’t yell at him. And I told him that.” Watch the official “Europapa” music video by Joost Klein:

Joost Klein at Eurovision 2025?

Ahead of Eurovision 2025, numerous rumors began circulating that Joost Klein might represent the Netherlands once again — as a kind of symbolic compensation for his disqualification. The Dutch national broadcaster confirmed that an offer had indeed been extended to Klein to return as the country’s representative, but the rapper declined the opportunity.

In a statement posted on his Instagram account, Klein confirmed the reports and added: “My team and I were already prepared, but it just doesn’t feel right. I’m thankful for all the love from around the world, but I’m still very affected by this past year. I need to give myself more time to heal.”

He also added, in a tone that blended poetry and subtle defiance: “Maybe I was blind, but now I see clearly. I have to follow the light. Not fight it. The media will be the media, but there’s no place for me there. My path is different, and I welcome anyone who wants to join this journey. Trust the process.”

During a performance in Belgium this past July, Klein surprised the crowd by calling on the Belgian national broadcaster to consider him for 2025 instead: “Who said I want to represent the Netherlands? Belgium, call me!” he shouted in response to a fan’s sign that read “Joost for Eurovision 2025,” alongside a Dutch flag.

Joost Klein’s Emotional Rollercoaster

Since his disqualification from Eurovision, Joost Klein has been on a deeply emotional journey. Initially, he expressed intense frustration over his experience in Malmö, Sweden — even shouting “F*ck Eurovision”* during one of his performances.

However, about a month later, at the Pinkpop Festival, his tone seemed to shift. Speaking to the audience, he said: “Why not 2025?” — hinting at a possible return to the contest. He also updated his Instagram bio to read: “Eurovision 2025.”

During his performance in Belgium, Klein showed a more vulnerable side. “I’m afraid to perform and afraid to go to the supermarket,” he told the crowd — a candid admission that suggested the emotional toll of recent events.

Reactions to Klein’s public statements have been mixed. While many fans continue to support him wholeheartedly, others have expressed confusion about his intentions. Klein appears to be a complex artist — one who blends raw vulnerability with provocation. This combination resonates with a younger audience, but it also unsettles more traditional corners of the music industry.

“Fuck the EBU”: Joost Klein Sparks New Controversy

Tommy Cash, Estonia’s 2025 Eurovision representative, and Joost Klein recently surprised fans with a bold new collaboration — a song filled with provocative lyrics on nearly every line. Known for his daring and politically charged style, Cash teamed up with Klein to release a track that immediately stirred debate in both the music and political spheres.

The phrase “Fuck the EBU” appears right at the beginning of the song, leaving no ambiguity. The lyrics present a rebellious stance not only against the European Broadcasting Union but also against the cultural and political norms of our time.

Other lines in the song include provocative and politically loaded declarations such as: “I wanna fly to Kyiv and go to Moscow,” “I wanna vote for Kamala and I also wanna vote for Donald Trump,” “I used to love McDonald’s, but I’ll never go back. I know I’m white, but I wish I was *****,” and “I wanna smoke a cigarette but also punch a vape. I like to keep it straight, but I also like it gay.”

The lyrics appear intentionally contradictory, reflecting the creators’ inner dilemmas — whether about political affiliations or lifestyle choices. This ambiguity raises questions about the song’s true message. It blends rebellion with humor, and the artists themselves clarify: “The song is funny. It’s not that deep.”

Some critics interpret the track as a direct provocation toward Eurovision and the institutional rules that govern it. Listen to the track by Tommy Cash and Joost Klein:

The Cultural Fallout of Joost Klein

Joost Klein did not exit Eurovision 2024 on the stage — but behind it. In one moment of tension, frustration, and a collision of circumstances, nearly a year’s worth of preparation unraveled. Europapa, a song that was on track to become one of the contest’s most iconic moments, was erased before reaching its climax.

But this story goes far beyond a pop music controversy. It touches on deeper questions: the boundaries of art, the freedom of expression, the power of media, and the fragility of success. The EBU’s unprecedented decision to disqualify a contestant — with support from other national broadcasters — marked a turning point for a competition that traditionally favors harmony over conflict.

Klein, a digital-age performer who built a career without filters, became a flashpoint where values, politics, technology, and raw emotion collided. This wasn’t just a technical matter — it was a cultural tragedy.

And amid all the headlines, outrage, and speculation, one lyric continues to echo through Europe’s collective consciousness: “Europapa”. The song that promised everything — and vanished from the continent’s biggest stage, just before its final note.

Netherlands at Eurovision 2025

“C’est La Vie” (translated as: “That’s life”) is the name of the song to be performed by the singer Claude who will represent the Netherlands in the second part of the first semi-final of Eurovision 2025 to be held on May 13 in Basel, Switzerland.

The song was written by the singer himself along with Arno Krabman who is responsible for the song “De Diepte” (translated as: “The Depth”) that represented the Netherlands in 2022 and reached 11th place in the grand final. In addition to these creators, the creators Joren van der Voort and Léon Palmen are involved in the writing and production of the song. Apart from Krabman, this is the first song by the other creators in the Eurovision competition. The song is performed in English and French. The song “C’est la vie” blends childhood memories with a burst of nostalgia and a deep reflection on the cyclicality and rotations of life.

Currently, the singer is ranked fifth in the betting tables, with a 7% chance of winning.

Who is Claude?

Claude Kiambe, 21 years old, was born in Congo and moved to the Netherlands with his family at the age of 13. The first Eurovision he watched was in 2014, when he and his family cheered for the winning singer Conchita Wurst from Austria. Since then, Claude has been an avid follower of the Eurovision contest. He began releasing music in 2022, with his debut single “Ladada (Mon Dernier Mot)” (in English: Ladada (My Last Word)). His song reached about 53 million views and won the 3FM award for “Best New Discovery.”

Claude released his debut album in 2024, in which he co-wrote and co-composed every song. Since then, he and his band have been performing extensively in the Netherlands and neighboring Belgium. His debut hit, for which he made English and French versions, achieved international success in about 15 countries worldwide, making Claude a globally recognized singer.

After the announcement of his selection, the Dutch singer said: “I feel extremely honoured that I will represent the Netherlands at the Eurovision Song Contest next year and I still can’t believe it. I’m really looking forward to it and can’t wait to present my song to Europe.”

Source: Parool