EBU Executive Supervisor Gert Kark discusses the Finnish live violin controversy, the Israel boycott, and preparations for Bulgaria 2027 in a candid interview.
The new Executive Supervisor of the Eurovision Song Contest on behalf of the European Broadcasting Union (EBU), Gert Kark, breaks his silence in a special and sensational interview in his native Estonia. Kark, who stepped into the large shoes of Martin Österdahl as the Executive Supervisor of the contest in the autumn of 2025, summarizes his first season in Vienna. In a candid interview, he addresses the political pressures, the musical revolutions he led, and does not hesitate to express views that will surprise many fans.
“I Stand Behind the Live Music Scandal”
One of the most talked-about moments of the Eurovision 2026 season was the approval of live instrument playing on stage, manifested in the performance by the Finnish representative, Linda Lampenius, who played the violin live. The move sparked considerable controversy and questions regarding fairness, but Kark takes full responsibility. “Our rulebook has about 300 pages, and every year there are many changes based on what happened in the previous season,” Kark explained. “I personally stand behind this ‘scandal’ where the Finnish violin was played live. It was a completely new rule this year, but many national broadcasters simply didn’t read the rules properly and it caught them by surprise. I am happy they played live.”
The admission sheds light on the incident that stormed social media in Israel and worldwide. Many fans argued that the contest must remain equal—either everyone plays live, or no one does. The fact that many national broadcasters missed the change in the 300-page rulebook and only discovered it when the Finnish delegation arrived for rehearsals created a sense of a lack of transparency.
However, Kark clarifies that his main role is maintaining fairness. “My job is to closely monitor that everything is conducted according to the format and that the rules are kept. The most important part is ensuring fairness, because it is a competition, and all 35-40 participating countries must receive exactly the same conditions,” he emphasized in the interview. It now remains to be seen whether, following the revelation of the rule, Eurovision 2027 in Bulgaria will see a wave of countries abandoning playback and bringing live musicians to the stage.
Responding to the Boycott: “I Have Putin to Worry About”
Beyond the musical drama, Kark had to navigate the contest despite a dramatic boycott by five countries (Spain, Ireland, the Netherlands, Iceland, and Slovenia) that withdrew in protest of Israel’s participation. In response to the pressure, the contest supervisor presented a particularly indifferent and surprising stance, far from the usual diplomatic phrasing of the EBU. “Fortunately, I don’t have to deal with politics and I work with whoever they give me,” Kark stated. “I will say honestly – I have never voted in elections and it doesn’t interest me. I always answer like this: I am Estonian, I have Putin to worry about, why should I get into someone else’s conflict?” (Israel and Noam Bettan ultimately finished in a respectable second place in the Grand Final in Vienna).
In the same breath, Kark closed the door on Russia returning to the competition in the foreseeable future. “The Russian national broadcaster is not a member of the EBU, or they have been suspended by the union. So the answer is definitely no, of course they are not returning,” he ruled decisively.
On the Road to Bulgaria 2027: “No One Believed They Would Win”
Now, the supervisor’s sights are set on the next contest in Bulgaria, which won thanks to DARA with the song “Bangaranga“. Kark revealed that in mid-June he will fly to Bulgaria for an initial technical meeting. “With experienced national broadcasters it is easy, but with Bulgaria it will certainly be more challenging because they have never hosted and no one believed they would win this year. Nevertheless, I have many friends there and I am glad we are heading back towards Eastern Europe.”
Kark also addressed the inflated production costs of the countries and expressed skepticism regarding special effects. “The stage and lighting are equal for everyone, the lasers and effects are funded by the countries and I am skeptical about that. Bulgaria did win thanks to a crazy show, but in my opinion, it’s not necessary. Look at Portugal in 2017 – he just stood there with nothing and won. Often it is just too much.”
The Man Who Wanted to Disappear from the Screen
One of the surprising changes viewers felt this year in Vienna was the disappearance of the Executive Supervisor from the screen during the iconic moment when he confirms the voting is valid. Kark admits this was a deliberate move on his part: “It was a personal request of mine. I want to be an anonymous person and therefore we canceled that part. Now all confirmations go through the hosts exclusively.”
Finally, the Executive Supervisor provided the most surprising quote, admitting he has no emotional connection to the dramatic event he manages. “I have never been a Eurovision fan and I am not a fan now either, I dare to admit it. It is simply a job and I love the television side of it. When I have a free moment, I immediately run away to do gigs in the theater or on other TV shows.”
Tell us in the comments: What do you think of the new supervisor’s approach towards the boycotts, and are you for or against the live music rule he introduced to the competition?
Eurovision Song Contest 2026 was held in Vienna, Austria, following the country’s victory at Eurovision 2025 with the song “Wasted Love” performed by JJ. The competition took place at the Wiener Stadthalle, the largest indoor arena in Austria, with the semi-finals held on May 12th and 14th, and the Grand Final on May 16th. This marked the third time that Vienna hosted the contest, having previously hosted the event in 1967 and 2015.
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Noy Yehoyada is an Israeli journalist and content creator at the EuroMix team since 2024, bringing a personal, feminine, and LGBTQ+ voice into the Eurovision sphere. A devoted Eurovision fan since the age of 16, she plays an active role in covering the contest—including on-site reporting at Eurovision 2025 in Basel and across European pre-party events. Alongside her writing and commentary, Noy plans the editorial schedule for the website, closely tracks national selections and song reveals, participates in live broadcasts, and creates digital content focusing on representation, musical diversity, and emotional connections.
Beyond her work at EuroMix, Noy has over six years of experience in the cosmetics and pharma industries, with a background in sales, personal consulting, and managing beauty departments. She enjoys pop, rap, contemporary art, and traveling in Europe—and especially loves songs that make her want to dance, as well as those that tell a story.
