As the Eurovision Song Contest marks its 70th anniversary in Vienna this week, there’s concern that controversy will play a more vocal role than the music at Europe’s carnival of camp. Five countries have decided to boycott this year in response to Israel’s inclusion in the event. Spain, Ireland, the Netherlands, Slovenia and Iceland will not perform – notable absences considering Spain contributes significantly to the European Broadcasting Union (EBU), which organises the event, and Ireland has won the contest seven times.
 
It’s the continuation of a theme after last year’s competition was mired in a similar controversy – many countries cried foul when the Israeli contestant finished with a surprisingly high number of votes. It was later revealed that the Israeli government, which had recently been accused of genocide by a UN commission, had unfairly influenced the contest through a wide-spread advertising campaign conducted in multiple languages, urging voters to use their maximum allocation on Israel’s contestant.

In response, the EBU has changed its voting system this year. “We’ve listened and we’ve acted,” says Martin Green, director of the Eurovision Song Contest. The changes include a reduced vote capacity to 10, the return of jury voting in the semi-finals and stricter regulation to limit third-party promotion. It’s a step forward but it’s unlikely to quiet the storm.
 
Having attended Eurovision a dozen times for Monocle, I can attest that the whole experience has become palpably more tense year on year. At the St Jakobshalle Arena in Basel 2025, the audience froze once it became clear that the big winner might be Israel. Inside, it felt as though a riot might ensue. 
 
But let’s be clear, the song contest – no matter the spiralling politics around it – remains loved by millions. A whopping 166 million TV viewers tuned in for the 2025 final and it has even begun franchising too, with the very first Eurovision Song Contest Asia being held in Bangkok this November. For all the events this week, including the two semi-finals and dress rehearsals, more than 95,000 tickets have been sold. Fans are flying in from more than 70 countries and an ever-growing US fanbase now makes up the fifth largest group of ticket-buyers – more than the Italians or French.
 
As Monocle’s informally titled Eurovision correspondent, I can at least attest that when it comes to the music, your usual melange of extravagant Europop will be served up piping hot. We have the runaway favourite Finns with their energetic “Liekinheitin” and Greece might have a chance with the hyper-pop catchiness of “Ferto”. 
 
The EBU is no doubt in a tricky situation, battling boycotts, protests and seemingly uncertain of its own moral guidelines. But no one will convince me that this is the end of the Eurovision Song Contest. It remains a delectable pop feast, so here are five songs to tuck into ahead of this Saturday’s final: 
 
1.
Finland: Linda Lampenius x Pete Parkkonen, ‘Liekinheitin’
This one will give you goosebumps. Renowned Finnish violinist Linda Lampenius shares the stage with singer Pete Parkkonen. It’s a classical-meets-pop mashup and, as the title suggests, there are plenty of flames onstage too.

2.
Greece: Akylas, ‘Ferto’
Don’t be fooled by the hyperpop beats: “Ferto” is a reflection on overconsumption and a touching tribute to the singer’s mother. 

3.
Australia: Delta Goodrem, ‘Eclipse’ 
Australia decided to send one of its biggest pop stars to the competition this year with the enjoyable ballad “Eclipse”. After not qualifying for the final in the past two years, the Aussies are bringing out the big guns. 

4.
Denmark: Søren Torpegaard Lund, ‘Før Vi Går Hjem’ 
Søren Torpegaard has played the leads in the Danish versions of West Side Story, Kinky Boots and Romeo & Juliet. Now he’s back with a great pop anthem. As you might have guessed, it’s rather dramatic and all about forbidden love. 

5.
Romania: Alexandra Căpitănescu, ‘Choke Me’ 
This electro-rock hit might not be for everyone. Despite the debate around the song’s title, you have to admit her performance is full throttle. 

Fernando Augusto Pacheco is Monocle Radio’s senior correspondent. For more from Fernando, read:

- Why São Paulo should rethink its plan to give up its reputation as an ad-free metropolis

- Joachim Trier, the director of Oscar-winning ‘Sentimental Value’, on taking art seriously and the wounded child inside every difficult parent

- Aitana, the new voice of Catalan electropop

Danish weekly Weekendavisen has been named as the World’s Best-Designed Print Newspaper for the third time in six years (writes Rory Jones). The US-based Society for News Designs, an international organisation founded in 1979, bestowed the publication with the award for its visual storytelling, in-house photography and unique style. It only takes a quick glance at its pages to see why. Inventive full-bleed illustrations flank stark and intimate portrait photography, while text is often presented in playful formats to visually engage the reader.

“We offer a niche, highbrow perspective,” Martin Krasnik, Weekendavisen’s longtime editor, told Monocle in our April edition of The Editor’s Chair. “Our readers can find everything online in terms of news, so we have to find a balance between the daily pulse and the weekly breath,” he added. This measured pace and panache continues to chime with its readership. Every week, 30,000 Danes thumb through the award-winning paper. It’s a readership that can now be more confident than ever that they are the real winners.

Want to meet the editor? Read Monocle’s interview with Krasnik here.

In the UK, France and Germany, centrist leaders are teetering as politics tilts. Here’s some analysis to help you cut through the noise, lift the lid and sniff out the facts.