Former President Marie Louise Coleiro Preca joins Malta’s protests calling for a Eurovision 2026 boycott due to the controversial participation of Israel.
The wave of protests shows no signs of slowing down. While the Maltese national broadcaster PBS and the selected representative for Eurovision 2026, Aidan, are actively preparing for the competition, leaders of the movement opposing the current participation terms organized a large-scale demonstration last Saturday. The event drew hundreds of participants, most notably the former President of Malta, Marie Louise Coleiro Preca.
“Silence is Complicity”: Calls for Boycott Intensify in Valletta
During the demonstration, participants repeatedly chanted slogans such as “No music during genocide” and “Boycott Eurovision”. A prominent speaker at the event, Andre Callus, representing the Maltese organization Moviment Graffitti, delivered a sharp critique, stating: “Silence is complicity”.
Simultaneously, an open letter signed by over 150 Maltese creators from various artistic fields was released, quickly becoming a focal point of public discourse. The signatories argued that cultural events are inherently political, citing the precedent of Russia’s exclusion from the contest following the invasion of Ukraine. They contended that continued participation alongside Israel serves to normalize violence. Furthermore, the letter suggested that the substantial budgets allocated to the competition should instead be redirected toward strengthening local culture and providing long-term support for Maltese artists. This appeal was framed not merely as a personal sentiment but as a national demand for a policy shift.
Malta’s Minister for Culture, Owen Bonnici, rejected these demands, clarifying his position that Malta should remain in the competition to foster a culture of dialogue. He argued that withdrawing from the event would close doors rather than create a platform for meaningful discussion. Despite the government’s efforts to maintain a stance of stability, the issue has sparked widespread criticism on social media, with some citizens calling for a national referendum regarding the country’s participation.
Controversial Promo Video Sparks Ethical Debate
Leading up to Saturday’s demonstration, organizers released a graphic promotional video opposing the current lineup for Eurovision 2026. The video urged the Maltese government to spearhead a withdrawal from the competition as long as Israel remains a participant. The blunt and controversial nature of the footage has placed the 2026 contest at the center of an intense political storm. Beyond the call for a boycott, the video challenges the very legitimacy of certain participants and labels both attendees and viewers as “accomplices to crime”.
The video, distributed via the social media channels of the organization Moviment Graffitti, levels serious allegations. It claims the competition utilizes the slogan “United by Music” to mask war crimes and directly accuses the involved parties of genocide. The narrative targets the audience and participants alike, describing them as “partners in crime”.
Additionally, the production utilizes clips of Eurovision fans alongside footage from Gaza – some of which appears staged – edited to create a jarring contrast, implying that fans are indifferent to destruction. The video presents a severe narrative, arguing that the emotional power of music must not be used to “blur spilled blood” or overshadow the victims of conflict. It concludes by calling on viewers to choose between “complicity” and “standing with humanity”, emphasizing that true unity should be dedicated to peace and justice. The video ends with an explicit call to protest in front of the Maltese Parliament under the slogan: “No music for genocide”.
Warning: The video contains disturbing content, including depictions of violence and destruction, and may be unsuitable for children or sensitive viewers.
Growing Pressure from Cultural Organizations and Public Figures
The proponents of the protest demand that Malta withdraw from the Eurovision Song Contest under current conditions, adopting a firm stance regarding international law. The campaign statement asserts that the cultural stage is being used to “whitewash crimes” – a sentiment increasingly echoed by various advocacy groups across Europe.
The campaign further argues that the current participation structure contradicts “human rights values” and draws comparisons to nations that have been excluded from the contest in the past. According to the organizers, the ongoing conflict constitutes a “threat to all of humanity”, noting that the violence in Gaza has resulted in over 70,000 deaths. They claim this is the outcome of decades of illegal occupation, apartheid policies, and mass displacement. Furthermore, the organizers allege that the “colonial occupation” is being expanded into neighboring regions.
Officials, Organizations, and Artists: Who Is Behind the Protest?
According to the organizers, a range of organizations and public figures have joined the demonstration, including:
• Former President of Malta: Marie Louise Coleiro Preca
• LGBTQ+ rights organization MGRM
• Local human rights organizations
• A cultural workers’ trade union
• Dozens of artists: musicians, actors, writers, and producers
The initiators describe the action as a “broad protest by the cultural sector”. In Israel, however, it is viewed as another attempt to exert political pressure through music specifically targeting one of the few global stages that has long promoted the slogan “United By Music”.
Malta in Eurovision 2026
“Bella” (in English: “Beautiful”) is the song that will be performed by Aidan, who will represent Malta in the second semi-final on 14 May in Vienna, Austria. The song was written by Aidan together with Joep Van Den Boom and Sarah Bonnici. Bonnici previously represented Malta as a singer and songwriter at Eurovision 2024 with the song “Loop”, which finished last in its semi-final.
“Bella” is a 1960s-inspired ballad centered on love and longing for someone from the past. The song explores a love that was interrupted but never extinguished: the singer addresses a former lover, recalls an unexpected separation and the lingering pain, and expresses hope for reconnection and emotional alignment between their worlds. It portrays yearning, persistent waiting, and the belief that despite the passage of time the bond still exists and deserves another chance. The atmosphere evokes summer, the sea, and tenderness, alongside vulnerability and an acknowledgment of pain and loss. The song blends English, Italian, and Maltese the languages characteristic of the Mediterranean island and includes references to Maltese figures and motifs.
At present, Malta is ranked 13th in the betting odds ahead of Eurovision 2026.
Aidan – Who Are You?
Aidan, 27, is considered one of the dominant forces in Malta’s music charts, with an impressive record of 15 singles reaching number one. Known for his energetic and engaging live performances, he has performed on Malta’s biggest stages — including the country’s official New Year’s Eve celebrations, in front of more than 50,000 people.
In both 2024 and 2025, Aidan achieved major milestones in his career, headlining his own solo show at the MFCC Conference Centre — Malta’s largest indoor venue. His production, “AIDAN THE SHOW”, became a sold‑out sensation, moving over 10,000 enthusiastic fans and cementing his status as one of the pillars of Maltese music.
He previously competed in the Maltese national selection in 2018 with the song “Dai Laga”, placing fourth, tried again in 2022 with the song “Ritmu”, finishing second, and returned in 2023 — but was disqualified after the quarter‑final stage due to a rules violation.
Eurovision 2026: This will be Malta’s 38th participation in Eurovision. Malta joined the competition in 1971 and achieved its best result in Eurovision 2002 and Eurovision 2005 after finishing second twice.
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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.
