Portugal’s national broadcaster faces internal protests after supporting Israel’s participation in Eurovision 2026, amid growing European calls for boycotts
Over recent months, numerous voices in Portugal urged the country not to support Israel’s participation in Eurovision 2026. Contestants in the Portuguese national selection announced they would withdraw if Israel took part, and Spain openly called on Portugal to join its stance.
However, during Thursday’s conference, Portugal voted in favor of the new regulations and Israel’s continued participation in the competition.
Internal Backlash at RTP
Following the decision, Portugal’s national broadcaster RTP now faces growing internal conflict. According to local reports, several employees have expressed strong opposition to the network’s stance and to the decision not to withdraw from the contest under the current circumstances.
The employees argue that Eurovision is entering one of the most polarized and controversial seasons in its history. They urge RTP’s management to reconsider its support and align with Spain, Slovenia, Ireland, and the Netherlands – countries that have declared they will not take part as long as Israel remains in the competition.
Portugal’s Eurovision Future
Portugal has long confirmed its official participation in Eurovision 2026, set to take place in Vienna this May. Still, the situation suggests that RTP is heading into a particularly dramatic season, marked by internal dissent and wider European division over Israel’s involvement.
“Deslocado” (in English: “Displaced”) is the song that will be performed by NAPA band, representing Portugal in Eurovision 2025 in Basel, Switzerland. Portugal finished 21st with 50 points, ranked 19th in jury vote and 21st in public vote.
Eurovision 2026: This will be Portugal’s 57th participation in the Eurovision Song Contest. Portugal joined the competition in 1964 and achieved its best result in Eurovision 2017 when singer Salvador Sobral won first place with the song “Amar pelos dois”.
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Maor Heumann has been writing about the Eurovision Song Contest and following it for over three decades. He has attended five contests and has found something to appreciate in almost every possible musical genre — from the sugary pop entries that finish last in the semi-finals to the quirky avant-garde pieces that even the competition’s juries struggled to connect with. He usually prefers original languages and songs with depth over Swedish-produced English clones — though he doesn’t promise to stick to that rule.
He grew up on the kibbutz of Sara’le Sharon, who instilled in him a love for music and created his first connection to the contest back in 1993 — before most of the current editorial team was even born.
