The initiative No Music For Genocide has emerged as a growing cultural boycott targeting Israel, driven by artists, labels, and cultural workers who accuse the country of ongoing genocide in Gaza, alongside long-standing policies of occupation, apartheid, and ethnic cleansing in Palestinian territories.
With more than a thousand artists and music entities reportedly geo-blocking or removing their work from Israel, the movement positions itself as a tangible act of resistance within the global cultural sphere.
Framed as part of a broader effort to isolate and delegitimise Israel internationally, the boycott draws historical parallels with the cultural sanctions imposed on apartheid-era South Africa. Organisers argue that collective artistic action can exert meaningful pressure, particularly when aligned with wider political and economic movements. From the entertainment industry to grassroots activism, they see cultural withdrawal as a tool capable of amplifying global dissent.
No Music for Genocide also highlights what it describes as a stark inconsistency in the music industry’s response to global conflicts. Following Russia’s invasion of Ukraine, major record labels swiftly withdrew operations and catalogues from the Russian market, often accompanied by public condemnations and financial support for Ukraine. In contrast, the movement argues that no equivalent measures have been taken against Israel, despite years of conflict and escalating violence in Gaza.
Recent developments have further intensified these calls. The text underpinning the boycott accuses Israel of repeatedly violating ceasefires, expanding military operations beyond Gaza into neighbouring regions, and perpetuating systemic violence against Palestinians. These actions, it claims, have drawn condemnation from international organisations and legal experts, yet have not resulted in comparable cultural or institutional consequences.
Against this backdrop, attention has turned to the Eurovision Song Contest, one of the world’s most widely viewed live music events. As the competition approaches its 70th edition, millions are expected to tune in once again. For boycott supporters, Israel’s continued participation for a third consecutive year during the ongoing conflict represents a profound contradiction, particularly given Russia’s exclusion from the contest since 2022.
Artists and cultural workers aligned with the movement argue that Eurovision, under the umbrella of the European Broadcasting Union (EBU), is being used to normalise and “whitewash” Israel’s actions. They are calling for a boycott of the event until the Israeli public broadcaster KAN is excluded. This appeal extends beyond performers to include broadcasters, event organisers, production teams, and audiences.
Some national broadcasters and artists have already taken steps that the movement praises as acts of principle, including withdrawals and refusals to participate. These decisions are framed as part of a longer tradition of artistic resistance to political oppression, echoing past boycotts that sought to challenge systemic injustice through cultural means.
Criticism is also directed at the EBU itself, accused of applying inconsistent standards. While Russia’s participation was deemed incompatible with the contest’s reputation, the ongoing situation in Gaza has not triggered similar action against Israel. For critics, this disparity undermines claims of neutrality and raises broader questions about the political dimensions of cultural institutions.
At its core, No Music For Genocide is a call to action. It urges artists and industry professionals to recognise their influence and to use it collectively. The movement frames silence as complicity, arguing that moments of crisis demand visible and decisive positions.
As Eurovision approaches, the tension between entertainment and politics, culture and accountability, is set to intensify. Whether the boycott will significantly impact participation or public perception remains uncertain. What is clear is that the debate it has ignited is unlikely to fade quietly.
“No stage for genocide” has become the movement’s defining message, being a slogan that reflects a demand for cultural spaces to reckon with the realities unfolding beyond the spotlight.
Eurovision-related signatories
Among the more than 1,000 reported signatories are several artists connected to the Eurovision Song Contest and its national selections. Portuguese and Icelandic artists are particularly prominent, alongside representatives from other countries. The list includes:
Ana Cláudia (Portugal) FdC 2019
Ana Tereza (Portugal) FdC 2021
Bashar Murad (Palestine) Söngvakeppnin 2024
Beatriz Bronze (Portugal) FdC 2026
Ben Monteiro (Portugal) FdC 2019
Blanca Paloma (Spain) Benidorm Fest 2022 & 2023 | ESC 2023
Capital da Bulgária (Portugal) FdC 2025
Carlos Mendes (Portugal) ESC 1968 & 1972
Celina da Piedade (Portugal) FdC 2017
Cláudia Pascoal (Portugal) FdC 2018 & 2023 | ESC 2018
Cristina Branco (Portugal) FdC 2026
Cristina Clara (Portugal) FdC 2024
Daði Freyr (Iceland) Söngvakeppnin 2017 & 2020 | ESC 2021
Elisa (Portugal) FdC 2020
Ella Nor (Leonor Andrade) (Portugal) FdC 2015 | ESC 2015
Emmelie de Forest (Denmark) DMGP 2013 | ESC 2013
Fado Bicha (Portugal) FdC 2022
Filipe Sambado (Portugal) FdC 2020
Francisca Cortesão (Portugal) FdC 2018
Hatari (Iceland) Söngvakeppnin 2019 | ESC 2019
Hélio Morais (Portugal) FdC 2020
IOLANDA (Portugal) FdC 2024 | ESC 2024
Isa Leen (Rita Sampaio) (Portugal) FdC 2025
Janeiro (Portugal) FdC 2018
Joana Barra Vaz (Portugal) FdC 2018
João Couto (Portugal) FdC 2019 & 2024
Júlio Resende (Portugal) FdC 2018
Kaisa Ling (Estonia) Eesti Laul 2025
Luar (Portugal) FdC 2024
Luca Argel (Portugal) FdC 2025
Miguel Marôco (Portugal) FdC 2021
Montaigne (Australia) Australia Decides 2020 | ESC 2021
Pepperoni Passion (Portugal) FdC 2022
Rita Onofre (Portugal) FdC 2024
Stereossauro (Portugal) FdC 2021
Svala (Iceland) Söngvakeppnin 2017 | ESC 2017
Susana Travassos (Portugal) FdC 2018
Xico Gaiato (Portugal) FdC 2025
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