The 70th Eurovision Song Contest reached its sequin-drenched climax on Saturday in Vienna, yet the glitter on the Wiener Stadthalle stage could not mask a political schism unprecedented in the competition’s history. Five European countries — Spain, the Netherlands, Ireland, Iceland and Slovenia — orchestrated the largest boycott ever seen, refusing to participate in protest at Israel’s inclusion while its military campaign in Gaza continues. Thousands of fans undeterred by the symbolism of Mozart’s opening burst filled the arena, but outside, the Austrian capital’s rainy streets saw critics denouncing what they call a compromised celebration.

Viewed from the capitals of the boycotting nations, the decision reflects a deepening conviction that the contest’s founding principle — music as an apolitical bridge — has become untenable. This marks the third consecutive year that calls for Israel’s exclusion have clouded the event, and the scale of the walkout signals that the European Broadcasting Union may soon be forced to revisit its membership rules. Meanwhile, within the arena, the show continued with a defiant exuberance. A fiery Finnish duo, an acclaimed Australian star in Delta Goodrem, and a floor-filler from Bulgaria emerged among the favourites, their performances beamed to millions worldwide in a glitzy spectacle that organisers still insist is ‘non-political’.

The tension between escapism and reality is not new to Eurovision, which has long been compared to a World Cup with songs instead of football. But analysts in London note that the stakes have risen: a boycott of this magnitude damages the brand’s carefully curated image of unity. In Vienna, tight security and a wet, grey afternoon did little to dampen the ardour of fans who travelled from across the continent, yet the quietest moment in the hall came not during a ballad, but when the host introduced the Israeli act to a ripple of nervous applause and scattered boos.

Looking forward, the question is whether Eurovision can absorb such fractures without losing its central identity. The five boycotting countries represent a significant bloc of broadcasters and audiences; if their protest hardens into a pattern, future contests may face a choice between inclusivity as currently defined and the credibility that comes from taking a stand. The 70th edition, for all its violin fireworks and folk rap, may be remembered less for the winner’s song than for the silence of the nations that chose not to sing.