Four days before “Festival Di Sanremo” begins, Eddie Brock announces that if he wins, he will refuse to represent Italy at Eurovision 2026 due to Israel’s participation.
“Festival Di Sanremo 2026”, which serves as the selection process for Italy’s Eurovision entry, has not yet begun but is already stirring controversy. One of the prominent contestants in the competition has declared that should he win the festival, he will refuse to represent Italy at Eurovision 2026 in Vienna, Austria. Singer Eddie Brock, competing with the song “Avvoltoi” (in English: “Vultures”), explained that on a personal level he prefers to first establish his career in Italy before stepping onto the international stage. At the same time, he explicitly addressed the controversy surrounding Israel’s participation, stating that he identifies with artists who have expressed doubts and opposition on the matter.
The Debate Over Eurovision Participation Expands
Eddie Brock is not the first to voice such a stance. Singer Levante has already stated that if she wins Sanremo 2026, she will not take part in Eurovision. In her remarks, she noted that the contest has, in her view, become more political than in the past and expressed principled opposition to participation. In addition, Italy’s Eurovision 2018 representative Ermal Meta has criticized Israel’s participation in the contest and announced that he will perform his festival entry “Stella Stellina” (In English: “Little Star”) about a Gazan girl who was killed in the war.
These statements have sparked widespread discussion in Italy, particularly given that the Sanremo winner traditionally receives the right to represent the country at Eurovision 2026, which will be held this year in Vienna.
Not Everyone Is Refusing
On the other hand, other festival contestants have made it clear that they would gladly represent Italy on the European stage. Artists such as Arisa, Michele Bravi, Enrico Nigiotti, and Serena Brancale view Eurovision as a significant opportunity for international exposure and for delivering a broader artistic message.
“Festival Di Sanremo”, considered one of Europe’s most important musical institutions and having served for approximately 15 years as a gateway to Eurovision, now faces a fundamental question: will the winner also be willing to take the European stage, or will Italy need to select an alternative representative?
Between Music and Politics
“Festival Di Sanremo 2026” is expected to be one of the most talked-about editions in recent years, not only because of the songs but also due to its broader context. While Eurovision strives to remain an international musical platform free of politics, statements of this kind illustrate how public discourse often extends beyond the music itself. The debate surrounding Israel’s participation in Vienna continues to stand at the center of European discussion, highlighting how the world’s largest song contest has increasingly become a charged arena beyond the stage.
Italy at Eurovision 2025
“Volevo essere un duro” (in English: “I Wanted to Be Tough”) is the song performed by singer Lucio Corsi, which came second at the 75th edition of the Sanremo Festival. The song was written by the singer himself along with Tommaso Ottomano. This was the singer’s first-ever appearance at the festival. The song is performed in Italian. The song finished fifth in the grand final with 256 points.
Italy returns to the Eurovision Grand Final Top 5 after last year achieving “only” seventh place.
Eurovision 2026: This will be Italy’s 51st participation in Eurovision. Italy joined the contest in 1956, was one of the seven founding countries, and has won three times over the years. Italy’s most recent victory was at Eurovision 2021 with the song “Zitti e buoni” performed by the band Måneskin.
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Neta Geffen is a respected journalist at Euromix, Israel’s leading news site for Eurovision coverage. Since 2010, Neta has been closely following the Eurovision Song Contest, bringing with him extensive experience, profound knowledge, and a broad understanding of the history, politics, and cultural influences that shape the event every year.
Neta publishes articles, analyses, and up-to-date reviews on all Eurovision developments, including musical trends, format changes, political influences, and audience reactions across Europe and Israel. Thanks to a deep connection to the contest’s history, Neta provides readers with wide-ranging context—from the impact of political events on results, to in-depth analyses of songs and languages within the competition. Neta specializes particularly in the Eurovision rock genre, Balkan ballads, and native language entries, with a special focus on Italian and Greek songs.
