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Eurovision, once envisioned as an anthem to music and European unity, has morphed into a political arena where countries showcase not only their musical talents but predominantly their geopolitical agendas. Despite its repeated efforts to remain apolitical, Eurovision has proven to be anything but. Beneath the glitter and synchronized choreography lies another competition, where music serves merely as a pretext for far more serious games.

Take the example of Israel, whose participation is often seen as a political saga in itself. This year, their song initially titled October Rain had to be renamed to avoid any allusion to the attacks of October 7, thus transforming a musical event into a debate on censorship and freedom of expression. This is just one example of how Eurovision manipulates the rules with the flexibility of a contortionist, excluding certain countries for their political actions while cleverly ignoring the controversies of others.

But let’s discuss the real protagonists of the 2024 edition: Switzerland and Ireland. Switzerland, with its unexpected victory thanks to Nemo and his song The Code, certainly made an impression. However, can we truly speak of a musical triumph when Nemo’s performance seemed to be noted more for his messages of inclusivity and his violation of Eurovision’s rules by displaying a non-binary flag than for his intrinsic artistic qualities?


And what about Ireland and the controversial performance by Bambie Thug? Between satanic symbols and obscure rituals, one might wonder if Eurovision has become a playground for controversies rather than a celebration of music. Indeed, artistic boldness and political engagement have their place, but when they completely overshadow the purpose of the contest, it raises questions.

Amid this media circus, France, represented by the talented Slimane, appears as collateral damage. With his song Mon amour, Slimane delivered a performance that was sober, elegant, and focused on the music. His impressive career, millions of albums sold, and numerous NRJ Music Awards should have made him an undeniable favorite. Yet, in this contest where spectacle and politics prevail over talent, Slimane had to settle for fourth place; a result that speaks volumes about the current state of Eurovision.

Ultimately, what will we remember from the 2024 edition? The vocal feats of the artists or the controversies they sparked? The enchanting melodies or the thinly veiled political messages? Eurovision seems to have lost sight of its primary mission: to celebrate music and bring people together through this universal art. Instead, the contest has become a geopolitical variety show where each country tries to outshine the others, relegating music to the background.

It’s time for Eurovision to reinvent itself, to refocus on what’s essential: the music. It’s time to celebrate artists for their talent, creativity, and ability to move us, rather than for their ability to generate controversies. It’s time to restore this contest’s nobility, to give it back its soul and purpose.

Slimane and France have shown that it’s possible to shine through the sheer power of music alone. Their fourth place, though unfair given their talent, is a stark reminder that Eurovision must evolve if it wants to regain its relevance and credibility. For in this grand theater of nations, music should always be the main actor, not just a mere prop for political games that have no place on stage.

Eurovision 2024 will be remembered as an edition where music was sacrificed on the altar of geopolitics and controversies. Let’s hope this observation serves as a catalyst for necessary and urgent change, so that Eurovision can return to what it should never have ceased to be: a celebration of music, diversity, and European unity. After all, isn’t that the true spirit of Eurovision?