Viewers of the international song contest Eurovision raised concerns about the way applause was handled, pointing to the organizers, the European Broadcasting Union, as the source of potential audio manipulation. This scrutiny emerged as part of broader coverage from Metro and other outlets.
On social networks, attendees at the Golan speech in Malmö, Sweden shared clips in which some audience members were heard expressing disapproval through boos and jeers in response to Israel’s actions in the Gaza Strip. The voices captured in these videos sparked a discussion about how audience reaction is presented on live broadcasts and what it reveals about public sentiment.
The European Broadcasting Union denied rumors that the applause was faked. In a statement, the SVT channel, which is staging the event, explained that the on-air audio is adjusted to balance sound levels so viewers have a consistent listening experience. The organizers stressed that no censorship of audience noise is intended and that a range of opinions from the audience is allowed to coexist with the musical performances.
The competition featured Eden Golan advancing toward the final stage scheduled for May 9. Golan spent part of her childhood in Russia. She was permitted to enter the competition after her team revised the lyrics of a song originally titled Hurricane due to political references associated with the original text. The final event drew significant attention, with nearly 10,000 demonstrators participating in a protest that included prominent figures such as Greta Thunberg among those voicing objections to her presence in the final lineup.
In addition to Israel, artists from Latvia, Austria, the Netherlands, Norway, Greece, Estonia, Switzerland, Georgia, and Armenia also qualified to perform in the finals. The diverse lineup highlighted Eurovision’s international reach and its role as a platform for artists from various regions and backgrounds to share their work on a global stage.
Meanwhile, a former public official commented that banning Eurovision is not a feasible option, arguing that prohibitions can fuel desire and curiosity rather than extinguish it. The discussion around the contest continued to unfold as fans and critics debated the responsibilities of broadcasters, the ethics of performance rights, and the impact of political context on a festival primarily built around music and unity across cultures. In this evolving conversation, spectators from North America and Europe alike followed developments, weighing how large-scale broadcasts balance entertainment with current events and audience voice. [Source attribution: contemporary media coverage, multiple outlets]n