“History is full of corpses of those who tried to be the moral compass”: the Malta controversy, inflated budgets, Israel and Finland – Martin Green, Eurovision’s new director, reveals everything.
Eurovision’s new director, Martin Green, who had until now remained silent and refrained from addressing controversial matters personally, reveals in an interview his views on a range of explosive issues and shares his vision for the future of Europe’s biggest and most colorful musical brand. As a reminder, Green’s role was created following the lessons learned by the European Broadcasting Union after the events of Eurovision 2024, and he operates alongside the current contest supervisor, Martin Österdahl from Sweden.
The “KANT” Controversy – And It’s Not Just About the Sound
Green directly addressed the storm surrounding the song “KANT” (translated as “Song”) by Malta’s representative Miriana Conte. He explained that although the word means “song” in Maltese, it is pronounced identically to one of the harshest profanities in English – and that the decision was intentional. “We’re producing a prime-time Saturday night show, aimed at all ages and all cultures,” Green emphasized, noting that the deliberate similarity to a curse word posed a serious problem.
When asked whether alternative solutions had been considered to preserve the song’s spirit while avoiding backlash from the BBC, he replied: “Our job is to identify the problem, not the solution.”
On a more personal note, Green also directly addressed the Eurovision audience, warning those planning to chant the word during the live broadcast: “I would ask our brilliant audience to also consider their actions. We all share the responsibility of ensuring Eurovision remains a space that feels safe and inclusive for everyone – even for young viewers watching it for the first time.”
Soaring Budgets: Has Eurovision Become Inaccessible?
Green confirmed reports discussed on a podcast that the use of pyrotechnics and special effects in Eurovision 2023 in Liverpool was extremely costly, and that the expenses were not distributed according to the size of each participating national broadcaster – in addition to the participation fees themselves. However, he emphasized that the prices were “cost-based only”, and not part of a profit-making mechanism by the host country.
“I don’t believe any host broadcaster sets out to make money from this,” he stated, but added: “These elements exist. Do they guarantee you a win? I don’t think so. Do they make a great show? Yes.”
With that, Green sends a clear message to future participants: visual effects don’t guarantee victory – sometimes simplicity wins – though he does not deny their visual advantage.
The New Code of Conduct: Clear Rules for a Sensitive Era
Green also introduced Eurovision’s new code of conduct, focusing on the principles of respect for others, openness to differing views, and care for the mental and physical well-being of participants. According to him, the code brings together values that were previously scattered across various documents: “It brings together values that existed in a million different documents – into one, more accessible place.”
Following a consultation process with all participants, Green noted: “People now understand much more clearly what content is driven by values.”
Regarding artistic freedom within a family-friendly framework, he said: “That’s the role of pop music – to push boundaries. It’s the role of artists to speak about what’s happening in the world… but what we have here is artists in context.”
On the demand to confine art within defined limits, he responded sharply: “History is full of corpses of those who tried to be the moral compass of everything.”
Israel’s Participation in Eurovision 2025: The Official Response
When asked in the interview about Israel’s participation in Eurovision, the interviewers – relatively hostile toward Israel – compared the situation to that of Russia, which was disqualified from the contest in 2022. Green clarified: “Countries don’t participate in Eurovision – public broadcasters do.”
He dismissed the stance of Stig Karlsen from Norway, who headed the delegation that boycotted Israel in the previous contest and claimed that participation in international competitions should reflect a country’s current global standing. “I believe that sports and cultural competitions exist to show the world how things could be, rather than how they are now. Artists have always been good at showing ‘grown-ups’ that their attempts to divide us will fail.”
In response to allegations of politicization, he said: “This isn’t about buying pins or seats. Subjectivity will always exist in art, and alongside it – values. Respect for others. Safety. Compassion.”
The Message of Eurovision – Especially in a Divided World
In a particularly powerful closing statement, Green described the essence of the contest in his eyes: “Unlike the grown-ups sitting in big houses and powerful places, here we’re talking about a group of young people – who, through music, art, and thanks to the ability to be together – find a way to live together.”
Strong Denial: No Demands Were Made to Finland
In response to reports claiming that the European Broadcasting Union had demanded changes in the staging of the song “Ich Komme” (translated as “I’m Coming”) by Erika Vikman, Finland’s representative, Green issued a sharp clarification. In a follow-up video published by the podcast, he said: “Any claim that the EBU or Eurovision requested changes is a complete lie.”
Between the “KANT” controversy, exploding budgets, and the new code of conduct – one thing is clear: Eurovision 2025 is no longer the same contest we’ve known. Under Martin Green’s leadership, the competition is entering a new era – bold, sensitive, and more precise. If until now we were used to seeing Europe’s grand stage as a colorful escape from reality, it is now becoming a moment of truth for culture, morality, and vision. The open question that remains: will the audience be able to keep up with the pace of change?
Source: Eurovisionfun
Eurovision 2025: This will be Switzerland’s 65th participation in the Eurovision Song Contest. Switzerland joined the competition in 1956, being one of the seven founding countries, and has won three times over the years. Its most recent victory was at the last Eurovision in 2025, with Nemo’s song “The Code.” This win follows Switzerland’s previous victory in 1988 with the song “Ne partez pas sans moi,” performed by international singer Céline Dion.
