Eurovision's biggest crisis? Winner Nemo returns the trophy and accuses the contest of hypocrisy
Not long ago, Swiss musician Nemo was hailed as the face of transformation of one of the most watched music competitions on the planet. In 2024, he won Eurovision with the song The Code, becoming the first ever non-binary artist to win the show in its history. But now he's giving back the trophy he won. Not because of personal disappointment, but as a public and political protest against the European Broadcasting Union's (EBU) decision to keep Israel in the contest for 2026 - despite the country facing harsh international criticism over its military action in Gaza.
The move, which was accompanied by a strongly worded statement on social media, comes at a time when Eurovision is under unprecedented pressure - facing boycotts from several countries as well as strong discontent among artists, fans and creators associated with its community. And it also raises the question of whether a contest that has long presented itself as apolitical and built on values of unity and inclusion can afford to ignore the reality that happens off stage.
Back to Geneva. And back to values?
"Last year I won Eurovision and with it I was awarded a trophy. While I am extremely grateful for the community around this contest and for everything this experience has taught me as a person and an artist, today I no longer feel that this trophy should belong on my shelf," Nemo said in a statement. So he will send the trophy back to the EBU headquarters in Geneva as a symbolic exchange - instead of a glass microphone, he is asking the organisers to start acting in line with the values they themselves put on the flag.
Nemo, who has already been vocal in his demand for Israel's exclusion from the contest after its 2024 victory, has now stepped up. Eurovision, he says, has been "used to soften Israel's image", while the UN has meanwhile labelled the Jewish state's actions in Gaza as possible genocide. In a statement that belies both a personal tone and a strong moral message, he added: "If the values we celebrate on stage are not lived off stage, then even the most beautiful songs lose their meaning."
When states leave
Beyond the individual's statement, however, there has also been a significant shift at an institutional level. In early December, Iceland became the fifth country to announce that it would not participate in Eurovision 2026. Before that, public broadcasters from Spain, Ireland, the Netherlands and Slovenia took the same step. All these countries agree that Israel's continued participation is incompatible with the values the contest is supposed to uphold.
But the signals of disapproval are not only coming from the states. Some independent content creators, event organisers and influencers who are normally around the contest are also starting to publicly declare that they will not participate in the 2026 edition - scheduled for May in Vienna. The whole movement is gaining momentum, reminding us that Eurovision was never just about the music. No matter how much the organisers try to deny it.
Neutrality as a mask?
The European Broadcasting Union has long claimed that Eurovision is an apolitical event. But in practice this is an increasingly difficult position to sustain. Already in 2024, the contest was held under tumultuous circumstances - with massive protests in host Sweden, petitions and public calls for Israel to be excluded. Despite the fact that the competition rules prohibit explicit political statements during the performances, the atmosphere at this year's event was political from start to finish.
Also notable was the placing of Israeli representative Yuval Raphael, who, although he won the televote, ultimately came second due to the jury's votes. The media and activists then pointed out that the Israeli government had invested heavily in supporting its participant, using his presence in the competition as a PR tool.
On 4 December, the EBU responded to this problem by approving new rules to limit the ability of government or third parties to influence public campaigns around contestants. What was missing, however, was a clear position on Israel's actual presence in the contest. That's where the Union chose not to vote - and that's what many, including Nemo, see as a moral failing.
Eurovision in a crisis of confidence
For decades, Eurovision has built an image as a festival that brings nations together regardless of their political conflicts. But this "apolitical" nature is now clashing with a reality in which it is no longer possible to ignore what happens off stage. At a time when parts of Europe are facing the growth of authoritarianism, wars and social divisions, cultural institutions cannot stand aside. Not when they present themselves as guardians of values such as equality, respect and human dignity.
The artist's decision to return the winning trophy is thus more than a personal act. It is a mirror that holds up to the whole institution, and perhaps even to the whole of Europe. Nemo has done what many would not have expected him to do: instead of enjoying his status as a winner, he has drawn attention to the contradiction between words and actions. And in doing so, he may have shown once again what it means to be a true representative of the values that Eurovision loves to proclaim.
