Vienna is hosting the grand final of the 70th Eurovision Song Contest amid tight security and drizzle, but neither the weather nor political tensions have dampened fan enthusiasm. On Saturday evening, 25 acts will perform at the Wiener Stadthalle as millions worldwide tune in to decide the continent’s pop champion.
The lineup runs from a fiery Finnish violin-led duet to a Moldovan folk-rapper, a Serbian metal band and established names such as Australia’s Delta Goodrem. The field of 35 contestants this year is the smallest since 2003, and the anniversary edition carries extra attention — both for its performances and for the controversies shadowing the event.
Eurovision’s winner is determined by a mix of national juries and public televoting, converted into a points system that even many fans find bewildering. The act with the most combined points takes the title — and the right to host next year’s contest.
Betting markets have placed Finland’s “Liekinheitin” (“Flamethrower”) near the top. The entry pairs pop singer Pete Parkkonen with classical violinist Linda Lampenius in a high-energy duet that has become a fan favorite. Australia, a guest participant since 2015, is also climbing the odds with Delta Goodrem’s midtempo ballad “Eclipse,” featuring a dramatic staging moment in which she is lifted above a glittering piano. Organizers say a European country would likely host if Australia wins.
Other acts generating buzz include Moldova’s Satoshi and his upbeat “Viva, Moldova,” which mixes energetic performance with a subtle pro-European message, and Greece’s Akylas with “Ferto” (“Bring It”), a tongue-in-cheek critique of conspicuous consumption. Eurovision historian Dean Vuletic notes the contest often rewards underdogs: “It’s largely been a contest for underdogs. People like to see the artist-in-the-making or an artist from a smaller, poorer country on stage.” Still, surprises are frequent.
Politics has again crept into the festival. For a third consecutive year, Israel’s participation has sparked criticism tied to the war in Gaza. Five longtime participants — Spain, the Netherlands, Ireland, Iceland and Slovenia — are boycotting this year’s contest in protest. Pro-Palestinian demonstrators in Vienna have been smaller than those seen at recent contests in Malmö (2024) and Basel (last year), but a demonstration is planned ahead of the final, and activists staged an outdoor concert on Friday under the slogan “No stage for genocide.”
Congolese-Austrian artist Patrick Bongola, one of the concert’s organizers, said the event was meant to “show the world that not all Austrians are happy with this decision,” calling Israel’s invitation “an affront to all the people who believe in humanity, who believe in love and togetherness.”
Inside the arena, Israel’s entrant Noam Bettan has received warm reception from many fans, though four protesters were removed after attempting to disrupt his Tuesday semifinal performance.
Vuletic stresses that political controversy has long been part of Eurovision’s history — dating back to Austria’s boycott in 1969 of Spain under Francisco Franco — and points to other politicized editions, including in 2009, 2012 and 2024. Despite such tensions, Eurovision remains resilient and continues to expand: organizers are planning a spin-off, Eurovision Song Contest Asia, slated for Bangkok in November.
As the final approaches, the mix of spectacle, music and activism underscores Eurovision’s unique position at the crossroads of pop culture and international politics. Fans and pundits alike will be watching to see whether the favorites hold, an underdog surprises, or whether the contest’s broader controversies leave a mark on the results.
