In a dramatic exclusive interview, Eurovision 2026 Director Martin Green addresses the Israel boycott, political voting, Canada’s future participation, and delivers a surprising answer on Australia potentially hosting Eurovision 2027
If you thought the EBU was in a panic over the wave of boycotts and withdrawals from Eurovision 2026 in Vienna — think again. After months in which countries such as Spain, Slovenia, The Netherlands, Iceland and Ireland announced they would not take part in this year’s contest in protest over Israel’s participation, the top boss of Eurovision has decided it is time to lay his cards on the table — and he has no intention of apologizing.
In an exclusive, candid and unfiltered interview with leading Austrian newspaper “Der Standard”, Martin Green, Director of the Eurovision Song Contest, responds for the first time to the geopolitical chaos surrounding the contest, delivering headlines that will make Eurovision fans smile — and boycotting broadcasters sweat.
“The Bigger You Are, the Less Immune You Are”
The interview took place on the sidelines of a Heads of Delegations meeting in Vienna, with the elephant in the room unmistakable to all: the fallout from the conflict in the Middle East and Israel’s participation in the contest against the backdrop of a deeply divided continent. When Green was asked directly about the politicisation of the contest, he offered a definitive response that encapsulates the EBU’s position:
“The bigger you become, the less immune you are to geopolitical conflicts”.
In other words, Eurovision has long ceased to be a modest song competition. It is now the world’s largest live cultural event (with 35 participating countries in 2026), and as such, it is impossible to completely detach it from the news cycle. But rather than yielding to pressure from countries seeking to turn a music stage into a diplomatic battlefield, Green signals business as usual.
A Cold Shoulder for the Boycotters: “That Is Their Decision”
The most compelling part of the interview came when Green was asked specifically about countries — such as Spain — that have chosen to boycott Eurovision 2026 solely due to Israel’s participation. Anyone expecting the contest director to plead for their return or express profound dismay received a characteristically cool response.
“That is their decision, and we respect it”, said Green, without drama and without any public attempt at reconciliation. Green made clear he firmly believes Eurovision will survive the current wave of boycotts, adding a line that will undoubtedly infuriate Israel’s opponents: he expects these boycotts will “ultimately become simply a part of the long history” of 70 years of competition. In short, from the EBU’s perspective, the boycott is nothing more than a minor blip — a passing incident that will be absorbed into the historical record of the contest, just like previous boycotts of the past.
Reality vs. Fantasy: What Is the EBU Trying to Convey?
Green summarised his approach with an attempt to redirect the focus back to music:
“Eurovision can show how the world could be, not how it really is. While others are trying to divide us, we can stand as united as possible”.
But behind the lofty rhetoric about unity, Martin Green‘s message is unmistakably clear: the EBU has no intention of bending to political pressure from broadcasting corporations. Israel remains in the contest in Vienna, and those who choose to stay home and watch from the sofa — or boycott the broadcast entirely — are welcome to do so. As Green has previously noted, he hopes the withdrawing countries will decide to “climb down from the tree” and return to the contest in 2027. Until then, Eurovision appears to be managing perfectly well without them.
The Local Drama: Conchita Wurst’s Thunderous Absence
As if the EBU did not have enough drama, the interview also provided the first official response to the decision by Conchita Wurst, the iconic Eurovision 2014 winner, to take no part in this year’s production of the contest.
The resounding absence of the local diva from the stage in her home country is nothing short of seismic for fans. When Green was pressed to comment on this withdrawal, he reached for his most polished PR response in an attempt to douse the flames:
“We respect the decisions that artists make. If this is the right step for their career, then that is their decision. Eurovision gave a great deal to Conchita, and Conchita did a great service to Eurovision”.
Despite the transparent attempt to wrap the absence in diplomatic courtesy, one cannot help but wonder: has Conchita Wurst simply chosen to distance herself this season from a brand that is currently attracting predominantly negative attention and political entanglement, or does a deeper behind-the-scenes conflict lie beneath the surface?
The EBU’s Short Memory and the Limits of Protest
The Austrian interviewer did not make things easy for Martin Green, confronting him with the second elephant in the room: the claim that “Eurovision is not political”. After all, how can the EBU maintain this position when, as recently as 2022, Kalush Orchestra from Ukraine secured an unmistakably political victory in the immediate aftermath of the Russian invasion? Green’s answer was almost comical in its attempt to deny reality:
“Ukraine won because it was an excellent song. It really is that simple”.
Nevertheless, he acknowledged that the contest has never been entirely immune to world events, and argued:
“Our audience is smart enough to understand that there is a difference between a public broadcaster and the government of that country”.
A barely concealed reference to countries boycotting the contest. And what about the very real fear of protesters disrupting the broadcast from inside the arena? Here, Green drew a bright red line:
“Everyone has the right to express their opinion, but we draw the line the moment the broadcast of the show is disrupted. If someone comes to the arena to protest for whatever reason, that is where we draw the line. There are plenty of places and ways to raise your voice, and it is important that people do so”.
Just, it seems, not in front of his cameras.
“No Money? Don’t Buy Fireworks”
The interview also touched on a painful vulnerability of this year’s contest: the participation count of just 35 countries. Despite this being the lowest figure in years, Green refuses to be alarmed. In his view, over 70 years of history there have been numerous instances of countries withdrawing for one or more years, and he maintains that the current number is still “a very respectable figure”.
But when asked whether Eurovision has simply become “too big” and too expensive for smaller national broadcasters collapsing under the financial burden, the contest director offered a response likely to provoke considerable frustration among some member countries, and reacted dryly:
“With us, you can choose whether to pay extra for fireworks on the stage — we do not roll those costs onto everyone, […] A huge set does not guarantee victory. It is all about the song and the voice”.
In other words, a limited budget is no excuse. From the EBU’s perspective, there are no plans to scale back the contest — on the contrary, Green revealed that they are actively working on creating additional continental versions of Eurovision around the world.
The Canada Scoop and the Australian Nightmare
Alongside the drama, the interview also delivered some moments of gossip that have kept fans thoroughly occupied. Green was asked directly about the persistent rumours that Canada was set to join this year. He swiftly dispelled the hope, clarifying that Canada is not a full EBU member and, while it is considering applying, participation is not currently on the table until that changes.
When asked why Australia is included despite not being a full member, Green explained it was a “gesture of appreciation” for their years of support. But then came the real bombshell: given that Australia is currently sitting near the top of the betting odds this year, Green was asked whether there is any chance of a Eurovision held in Sydney. Until now, the EBU had maintained that, by tradition, Australia would host the contest in Europe — but Green flipped that position entirely on its head:
“That would be something… we would need to put on a show in the middle of the night”.
He admitted, before immediately adding the bottom line that changes the rules of the game:
“But yes: if you win, you have to do it”.
Eurovision fans — start checking flight prices to Oceania, because it appears anything is possible.
Eurovision 2026: the 70th edition of the contest will take place in Vienna, Austria, on May 12th, 14th, and 16th, 2026. The Wiener Stadthalle arena, which will host the event, is expected to accommodate around 16,000 spectators per show. The contest returns to Austria following the nation’s third historic win with the song “Wasted Love”, performed by JJ. It will be Austria’s third time hosting Eurovision, after previous editions held in the country in 1967 and 2015.
